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.
Four recordings from three Russian cities show increasing concern about the promise of adulthood. Greater hope emerges from literature, retrospection, and even thoughts of "prenatal" oceanic life.