Recent industrial publications from Kiev (via Vienna) and Moscow (via Omsk) juxtapose a factory-floor aesthetic with regional, chronically ailing networks
New techno from Belarusian and Russian towns describes itself in neo-Marxist terms, as a repetitive or quantitative choice leading to qualitative change
Our interlocking and semi-improvised recordings from Moscow's underground rock scene still give voice––in 2016––to some very old dilemmas indeed.
From one industrial city in Southern Siberia comes a wide range of noise experiments, informed by their social surroundings. Clamor fades into calm.
CXEMA (The Scheme) is an underground techno community in Kiev. Four new podcasts, each showcasing an electronic artist, are unavoidably framed by recent events.
New electronic and electroacoustic recordings from Russia and Belarus speak in doubting terms about the near future. Should one turn to faith––or good deeds?
The new LP from Sal Solaris is dedicated to transgression, both in sound and society. Other electronic releases from various Russian cities ponder similar themes.
The two newest FFM releases have direct connections to the Russian capital. One has slowly moved towards Moscow; the other hopes somehow to escape.
Improvisation plays a key role in a range of new electronic publications. All of them invite listeners to look beyond convention––and therefore far beyond nameable experiential states.
Two noise projects in Moscow see a connection between their recordings and the nation's social fabric. Similar ideas transpire far away––in Siberia's "Vovne" group.