Several new Russian and Ukrainian recordings are framed by talk of professional difficulties. Failings in the outside world are countered with calm acceptance and an emphasis on introspection.
Romantic metaphors inform these new recordings, all borrowed from discussions of open forests, boundless oceans, and "schizoid" thought. Daily life, however, stubbornly refuses to cooperate.
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.
Mira Iskhome in Krasnodar releases some new recordings that are tied to Russia's southern electronic scene. For three other dancefloor publications this week, location is equally important.
The professional or profitable options available to today's musicians are small in number. And yet the amount of music moving online increases. The rationale behind that creativity is not logical.
Originating in Minsk, Saint Petersburg, Yekaterinburg, and Moscow, four new publications discuss the strange benefits of faltering and failure. In a mundane world, mistakes are a sign of uniqueness.
Four electronic publications from Moscow and Yekaterinburg express concerns over the noise and crudity of present-day experience. As a result, retrospection and nostalgia both have appeal.
Downtempo, garage, and glitch-hop tracks this week are bound by their composers to forms of social skepticism. A sluggish, moribund world prompts a certain sound. Optimism emerges only slowly.
On the heels of Mujuice's new album, "Metamorphosis," a number of electronic albums appear with related emphases. They all validate change over stasis - in ways that make any fixed utterance difficult.
Performers from Moscow, Novosibirsk, Pskov, and Sevastopol cast a doubting eye on modern society. As a result, their materials grow quieter in anticipation of better, more isolated realms.