Two new releases from FFM originate in Moscow and Kiev. A couple of solo performers travel parallel trajectories from self-doubt to a less disconcerting state, somewhere on the edge of aspiration.
Sugar God (Evgeny Pozdnyakov, Moscow): "I've tried to create the atmosphere of being in outer space, or of a bird's flight. It's a combination of romantic solitude and nostalgia"
Aleksandra Obraztsova's intriguing stage-name is a play upon the title of Jean-Pierre Jeunet's 2001 feature "Amelie." Obraztsova authors her hushed, pensive songs using the alter ego of "Ameli na Meli."
A student at Saint Petersburg's Rimsky-Korsakov Conservatory, Olga Glazova has won a wide range of competitions, both domestically and internationally. Her new album is released through FFM.
Humility and understatement color a number of Russian instrumental releases. Their audible modesty is prompted by childhood memories, an eco-aesthetic, and disorienting experiences online.
Several new jazz and instrumental releases find good reason to celebrate complexity or surprise. They all share a desire to avoid the predictable crudity of commerce, mass media, and modern politics.
These four new releases from Russia and Ukraine all lean towards a validation of smallness. There are various reasons not to be loud, arrogant, and self-assured. Local history is one of them.
On October 27, the Big Samhain festival will take place in Saint Petersburg. It gathers a wide range of folk traditions from Russia, Scotland, Ireland, and France - to name but four windswept lands.
The Minsk netlabel "Ezhevika" (Blackberry) helps to confound any stereotypes about Belarusian electronica. There are no connections to civic or political issues. Instead we find a creative maximalism.
The Sketis organization continues to champion а crisscrossing of folk traditions. Not only is canonical practice forced to incorporate novelty; peripheral locations are also paid major attention.