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
"The theme of an .exe file loops backs to my very own childhood: to the sounds of idm music, to DOS programs, and an overall sense of 'cyber-romance'" (Pixelord, Aleksey Devyanin)
Either through the traditions of shoegaze or the older conventions of nocturnal and stellar imagery, four recordings look back towards a purportedly "Eurasian" form of solitude.
Russian social networks are home both to shyness and subversion. Some artists seek nameless refuge, while others plan loud protest––from nowhere.
The Microfunk label in Saint Petersburg has decided to archive and advertise some of its premium material from recent years. The reasons for doing so are locally specific.
From one industrial city in Southern Siberia comes a wide range of noise experiments, informed by their social surroundings. Clamor fades into calm.
Toying with the basic structures of techno or glo-fi, four new recordings from Siberian artists consider a different kind of escapism. Psychology slowly takes the place of dance-floor frippery.
Krasnoyarsk's Klammklang label has become the region's primary outlet for tape music. What, however, is the rationale or philosophy behind such an outmoded format in 2016?
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?