Vmgnovenijah are a trio: Sasha Stroganov (guitar/vocals), Svyatoslav Vershinin (drums/percussion), and Pavel Klushnik (bass). Their ornate, almost unpronounceable stage-name is actually a deliberately odd combination of two words in Russian, which - when placed equally close in English - might read "Inmoments."
As FFM reconsiders some of the Russian and Belarusian rock recordings of winter 2016, a common theme emerges of self-deprecation. Albeit with strange benefits.
Our interlocking and semi-improvised recordings from Moscow's underground rock scene still give voice––in 2016––to some very old dilemmas indeed.
The recordings under consideration all speak in favor of humility and various forms of dialog. Current actuality, however, tends to prefer a strident monolog.
As Russia struggles with economic disarray, four rock recordings across the country ponder the role of songwriting as an alternative expression of "law and order."
As socioeconomic realia impinge more and more upon private experience, the call for both difference and dignified dreaming sounds louder.
The traditions of Slavic rock are––even today––likely to be associated with wordy, political agendas. Four new recordings, however, pay more attention to silence.
The Belarusian magazine Experty.By has compiled a series of Top Ten lists, cataloging the best bands and recordings of last year.
Four rock bands consider their professional success––and the sacrifice it demands. Various alternatives are pondered to linear notions of progress.
New garage, stoner, and doom rock recordings express a growing tension between dreams and actuality. The responses range from desperation to indifference.