In four new recordings from Russia and Belarus, thoughts of the future predominate. As tomorrow looks unpredictable, childhood and adolescence gain a special importance.
One of the most enduring motifs of Soviet culture within Russian popular music has been the so-called "Space Race"––the competition between Moscow and Washington to explore the cosmos.
Two all-female Russian outfits sing of human relations with bittersweet humor. Placed together with other releases this week, their knowing smiles become an overarching social skepticism.
The Belarusian label Ezhevika has just published a compilation album, "I MIRACLE." It gathers nineteen recordings from towns both near and far; together the tracks create a workplace philosophy.
Marxist rhetoric, when addressing social change, likes to codify the passage of quantitative civic changes as qualitative. Four new recordings from Russia and Lithuania adopt the same spirit.
From Kiev, Yerevan, Moscow, and Kazan, a range of new publications all turn to distant objects of desire. Whether that distance is temporal or spatial, it always implies dissatisfaction with the present.
Over a series of new Russian recordings, feelings of self-determination lessen in the face of both history and modern likelihood. Modesty becomes the sincerest form of expression.
Several new Russian electronic recordings display an increasing gratitude for both solitude and silence. The further one happens to be from clamorous modernity or a capital city, the better.
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.