In the city of Samara is a female choir led by Dmitrii Kolevatykh: Roundelay. This substantial, shifting lineup of young women creates a sound unique within modern Russian music.
Marble Boy are a duo from the Ukrainian city of Kharkiv: Anton Shatokhin and Maria Demenko. Recent events at home are tangentially reflected in the private emphases of a new EP, entitled "Notion."
Some Russian recordings this week refer to their distance from the capital, directly or otherwise. Rather than fall victim to any stereotypes of provinciality, they instead see a benefit in remoteness.
A couple of rock bands far from Moscow ponder the benefits of avoiding its cutthroat industry. No matter how that might sound like consolation for a failed career, other ensembles tend to agree.
As material constraints frustrate a number of young Russian musicians, thoughts turn to various kinds of ascent. Poems are dedicated to movement above the rooftops - and even into the stars.
Four new rock publications from Russian cities consider the likelihood of subversive song-writing in a culture where the weight of history seems great. Thoughts of sedition morph into acceptance.
The need for young musicians to hold down a couple of jobs can be trying. Related material complications lead, over time, to a celebration of immaterial values, such as wistfulness and a slacker ethos.
As these performers list the professional or political obstacles facing their work, a nostalgia develops for intuitive, pre-adult experience. Those earliest years harbored some nameless values.
A number of publications this week display an interesting tension between grand romance and self-deprecation. By understating their heartfelt values, these artists stress a stubborn fidelity to a fading cause.
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.