As a couple of Slavic rock bands admit a fondness for Bristolian trip-hop, the value of introspection is discussed elsewhere. It transpires that the same hushed lyricism - made public - still matters.
Several rock publications this week come from Moscow and its environs. Nonetheless, for all that potential, these bands toy with themes of decadence, paranoia, and even the apocalypse.
From the outskirts of two capitals - Moscow and Minsk - come some songs designed to inspire. They discern a certain civic or ideological "emptiness" and hope to offer a consoling alternative.
The passage of time leaves its mark on the work of many performers, especially during the transition from youth to adulthood. These recordings try to hold keep those changes at bay.
Unrelated materials from Kiev, Donetsk, Moscow, and St. Petersburg offer an insight into some social failings. Four projects all endorse the benefits of solitude, far from social crudity.
The noisy garage rock of two young Russian bands is, unexpectedly, a reaction their anxieties. Some grand alternatives to despair - fantasy and boundless optimism - also run into various problems.
Four new rock releases from Belarus and Russia express forms of protest against typicality. Social failings give rise to a contrary mood: not everybody, however, shares the same level of self-confidence.
As the V-ROX Festival gets underway in Vladivostok, rock bands from around Russia come together - in a city that's maximally distant from the capital. Issues of geography come quickly to the fore.
Vladivostok will soon host a music festival and professional conference, V-ROX. Conceived by members of Mumiy Troll, V-ROX will introduce Russian and Asian markets to each other.
These four bands from disparate Russian locations share a romance that's directed towards isolated, imprecise objects of desire. Local existence often fails to please; hope looks elsewhere.