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.
From Siberia to Moscow - and even Kiev - a series of new releases admit openly to the influence of Western music from prior decades. A dissatisfaction with the here and now prompts lasting retrospection.
New recordings from Yuzhno-Sakhalinsk, Seversk, Saint Petersburg, Petrozavodsk, and Moscow all turn their attention to the passage of time. In a realm of gaudy materialism and crude pragmatism, time promises more than effort.
The Moscow band called Motherfathers have long been associated with the capital's noise and experimental rock scenes. Now, however, they are publishing a drone EP designed overtly as sonic therapy.
Surrounded by a series of failing support systems, be they social or financial, four Russian ensembles turn to themes of family. In difficult times, thoughts of friends and colleagues grow more important.
Four new dance releases from around the Russian capital seek an escape from the daily grind. Increasingly, however, a pessimistic view of the future makes prior decades an attractive reference point.
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.