Four recent publications from solo artists in both Russian jazz and pop music are dedicated to themes of individual effort––and the related risks thereof.
As a series of new recordings take inspiration from the melancholy romance of Soviet pop music, the question arises: what about tomorrow?
A new label in Moscow––Terminal Dream––is dedicated to local ambient artists. Brought together, they reveal some common ideas about sound, space, and purpose.
As a number of Russian, Belarusian, and Ukrainian artists consider their future plans, it transpires that the most hopeful songs grow from the greatest failures. Frustrations breed aspirations.
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."