Several new Russian and Ukrainian recordings are framed by talk of professional difficulties. Failings in the outside world are countered with calm acceptance and an emphasis on introspection.
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.
A new compilation of dour electronica appears from the Full of Nothing label near Petrozavodsk. Amid all the stereotypical assumptions of northern misery, an optimistic worldview takes shape.
As Yungchen Lhamo and Anton Batagov promote a collaboration grounded in Tibetan prayers, other Russian artists have a different view of distant places. Hope and horror begin to alternate.
Moscow's Electrosound label has gathered seven drone or dark ambient compositions together. They are designed to evoke a sense of unease; slowly it becomes clear where such worries originate.
Moscow's Anise Project is fronted by Anna Volkova. She speaks of how adult experience tempers youthful fantasy. Some causes of that local fatalism are sought by other collectives in folklore.
The power of retrospection endures in new electronic recordings this week from Kiev, St. Petersburg, and Krasnoyarsk. Nonetheless, even those memories are subject to material demise.
Downtempo, garage, and glitch-hop tracks this week are bound by their composers to forms of social skepticism. A sluggish, moribund world prompts a certain sound. Optimism emerges only slowly.
On the heels of Mujuice's new album, "Metamorphosis," a number of electronic albums appear with related emphases. They all validate change over stasis - in ways that make any fixed utterance difficult.
Performers from Moscow, Novosibirsk, Pskov, and Sevastopol cast a doubting eye on modern society. As a result, their materials grow quieter in anticipation of better, more isolated realms.