Moscow's Brinstaar stands behind a new publishing venture, Kota Records. Over the course of several recent interviews, he establishes an elegant worldview with which to counter the mainstream.
A few weeks ago in May, the Siberian city of Omsk hosted a festival of street art entitled "Spaces of Multiplicity" A regional sound artist quickly planned a celebration of noise in a pedestrian underpass.
The Petrozavodsk duo Love Cult have just announced they'll be writing one track each day - for an entire year. Other new projects, such as Moscow's Rhizome, express similar forms of private industry.
uSSSy is/are an instrumental duo from Moscow: Artem Galkin (guitar) and Pavel Eremeev (drums). As Galkin calmly announces his departure from the band, a central theme of absence reappears.
Some St. Petersburg electronic recordings discern a happy overlap between the workings of nature and a minimalist soundscape. Civic clamor, however, often sounds louder - and more crudely.
Several new jazz and instrumental releases find good reason to celebrate complexity or surprise. They all share a desire to avoid the predictable crudity of commerce, mass media, and modern politics.
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.
A new compilation of dour electronica appears from the Full of Nothing label near Petrozavodsk. Amid all the stereotypical assumptions of northern misery, an optimistic worldview takes shape.
A handful of new rock recordings include overlapping issues of isolation, impending poverty, and grim destiny. Considerable effort is needed in order to erase those feelings of diminished agency.
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.