New electronic recordings from a range of outlying Russian cities draw parallels between their location and local history. A sense of distance transpires, both from cultural centers and the passage of time.
Humility and understatement color a number of Russian instrumental releases. Their audible modesty is prompted by childhood memories, an eco-aesthetic, and disorienting experiences online.
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 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.
Talaka.by is a Belarusian web portal: "We run a noncommercial platform that's designed to help people realize their socially useful projects - together." Those projects include music.
St. Petersburg ensemble Iamthemorning have announced a new EP that builds upon some Ophelian motifs from prior recordings. The same symbolism of wistful demise appears in other towns, also.
A Belarusian "ethno-jazz" ensemble announces some remixed, yet traditional compositions. That same desire to stay relevant through reinvention informs a number of other dance releases.
A collection of December recordings from Russia, Belarus, and Ukraine ponder various alternatives to social reality. Hopeful glances are cast out to sea, into the sky, and through the doors of a church.
Using the ecosphere, Orthodox Christianity, an isolated address, and other reference points, these musicians suggest there's much to be gained from abandoning the chutzpah of Moscow life.
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.