From Russia, Ukraine, Belarus, and Lithuania come four responses to the drudgery and dead weight of quotidian experience. The most satisfying among them involve looking backwards.
Faith in social spheres is a theme discussed in new material from Moscow, Kiev, and a range of Estonian towns. Not everybody shares an optimistic view of audiences and other noisy collectives.
A well-established Moscow hardcore outfit insists that now is the time to sing in Russian. Local political problems require a local response and register. Not everybody agrees, however.
A few days ago, the Belarusian magazine Experty.BY announced a series of awards, dedicated to the best domestic music of last year. A wide range of prizes were involved, defined in terms of format or genre.
Two recurring reference points in Slavic electronica are childhood and the open landscapes that symbolize an early liberty. Four new releases interweave these motifs, whilst mourning the clamor of modernity.
The Los Angeles label Not Not Fun has just published a compilation of six female electronic artists. Resident in both Russia and Ukraine, they offer a peaceful, creative alternative to recent events.
In a world of adult responsibilities, urban anxiety, and other challenges, the spontaneous nature of childhood experience can seem very appealing. Four new recordings look back to a simpler time and place.
The Sketis label is announcing a series of new albums from both Russia and Latvia. They, in turn, draw upon a melange of folk traditions, ranging all the way from Siberia's criminal past to the Balkans or Tajikistan.
Moscow's Fancy Music has just released a lengthy compilation album, dedicated to the 200th anniversary of romantic poet Mikhail Lermontov (1814-1841)
The work of Belarusian folktronica ensemble Shuma (Šuma) is defined with an intriguing turn of phrase: "digital archaica." A new collection of remixes helps to explain that bond of tradition and hi-tech.