Our interlocking and semi-improvised recordings from Moscow's underground rock scene still give voice––in 2016––to some very old dilemmas indeed.
From one industrial city in Southern Siberia comes a wide range of noise experiments, informed by their social surroundings. Clamor fades into calm.
Four new acoustic releases have roots in very diverse towns, all the way from Magadan to Kharkiv. What they share is a desire to hide from crude actuality.
CXEMA (The Scheme) is an underground techno community in Kiev. Four new podcasts, each showcasing an electronic artist, are unavoidably framed by recent events.
Krasnoyarsk's Klammklang label has become the region's primary outlet for tape music. What, however, is the rationale or philosophy behind such an outmoded format in 2016?
New electronic and electroacoustic recordings from Russia and Belarus speak in doubting terms about the near future. Should one turn to faith––or good deeds?
New instrumental or hypnagogic recordings from Naberezhnye Chelny, Ulan-Ude, Moscow, and Dnipropetrovsk are all dedicated to silence. Dreamers need peace and quiet.
Although none of these recordings are dance music in the strictest, most canonical sense, their dalliance with rhythmic escapism and abandon is crucial.
A collection of ambient and drone recordings from Yekaterinburg, Sevastopol, and Kiev share a common desire. They all express a sage preference for solitude over city life. Silence often heals.
The new LP from Sal Solaris is dedicated to transgression, both in sound and society. Other electronic releases from various Russian cities ponder similar themes.