The British magazine Wire has just published a very important and impressive compilation of new electronic music from Ukraine. Entitled "Zikro," it has been curated by Andrey Kiritchenko.
Two Russian electronic recordings speak of the search for "a new language" in the gaps between various genres. They're equated with a civic absence or lack. In Estonia, two kindred recordings take a more optimistic view.
The dark, dense forests of Karelia lead the Petrozavodsk duo Love Cult to conjure an entire universe of alternative dimensions. This tendency to prejudice dreams over urban actuality is found elsewhere.
One of the more enduring assumptions or stereotypes regarding Slavic songwriting would be that of sadness, if not misery. When melancholy does indeed make an appearance, what form does it take?
The MNMN label from Kostroma does much to promote the philosophically anxious end of Russian electronica. These four projects yearn for silence and solitude, but "fate" has other plans.
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 "Put' k Sebe" folk festival is held in Russia's Kaluga region each autumn. Some of the performers from this year's lineup suggest how ancient practice might correct various failings within modernity.
Some gentle, introspective works from industrial Ukraine and Kazan place high value on the importance of aimless, purposeless composition. Gradually, however, a fixed worldview takes shape.
Ambient and introspective recordings from Novosibirsk, Krasnoyarsk, and (originally) Yekaterinburg all question the promise of local reality. Beyond depressing fact lingers a vague fantasy.