Various inevitabilities gather strength around three releases from Moscow, St. Petersburg, and Minsk. In the face of diminishing liberties, a certain presentism emerges, celebrating the here and now.
All the way from Rome to Moscow and Sochi, four new electronic recordings look askance at social convention. Some respite from tedium is found in a number of absurdist or even "terrorist" tactics
The Los Angeles label Not Not Fun has just published a compilation of six female electronic artists. Resident in both Russia and Ukraine, they offer a peaceful, creative alternative to recent events.
Grave Board Clan is a Belarusian collective of electronic musicians, founded ten years ago. They just published a major "Sample Pack," designed to showcase the GBC and encourage collaborations.
The importance of silence and solitude appears in four new publications. They emerge across considerable distances, all the way from some lightless forests in Karelia to the quieter, cobbled streets of Ukraine.
Several key reference points connect these projects. Some of them originate in Poland, while others take us to Ukraine. Bolder still, however, is the overarching desire of these performers to leave home altogether.
As the New Year rolls around, a handful of Russian publications ponder the weight of history. Have regional events, in a number of different towns, led over time to a specific worldview or behavior, even?
Against a backdrop of civic unrest, several Russian and Ukrainian performers opt for a more restrained or "estranged" aesthetic. They begin with the cool, mechanical operations of an old Roland 303.
Two new releases from FFM. One is Ukrainian, the other is Russian - and both are instrumental. The difference between them, genres aside, is in their attitude to the weight of the surrounding world.
One might think that a challenging social environment would lessen the appeal of romantic wistfulness among young artists. A hard life might breed resignation or greater pragmatism. Nothing of the sort.