For reasons both social and philosophical, four Russian projects release new recordings with zero promotion. The logic of material wellbeing is sidelined in favor of a quieter worldview, hinted at in quotations.
Against the backdrop of recent geopolitical events, one might understand why minorism would have a marked appeal. Four collectives from Russia, Ukraine, and Estonia place smallness front and center.
Two new releases from FFM originate in distant places: Novosibirsk and the Kola Peninsula, above the Arctic Circle. In both cases, the musicians' address brings more benefit than inconvenience.
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.