Placed end to end, four new electronic recordings from Russia and Belarus advocate a retreat into silence. Nothingness holds more appeal than specificity.
Four new albums from Lithuanian and Russian performers lead to different interpretations of an LP - and why that format even matters any more. The answers, it transpires, depend on location and genre.
The new Mumiy Troll album is entitled "Pirate Copies." Although a clear reference to copyright abuse, that same phrase becomes a talking point for several recent publications and their collective view of the past.
The Subwise label in Saint Petersburg remains as busy as ever. We have chosen seven new releases from Russian and Ukrainian artists, as proof that a common worldview is developing among them all.
The physical destruction in Donetsk is only one form of material failure encountered by Slavic musicians today. Together they head for digital realms instead.
Four Russian rock publications play upon aspects of a psychedelic heritage. They either draw directly from Western traditions or extend the meaning of psychedelia from its roots in the Soviet '70s.
Empty realms, such as the forests of Karelia, have differing meanings for these artists. Nonetheless, a shared conviction transpires that movement into nothingness at least symbolizes potential.
Against the backdrop of recent geopolitical events, one might understand why minorism would have a marked appeal. Four collectives from Russia, Ukraine, and Estonia place smallness front and center.
A couple of northern projects look with fondness at Soviet culture, given the failings of the present day. More powerful than childhood retrospection, however, is the invocation of an ancient tradition.
A few days ago, the Belarusian magazine Experty.BY announced a series of awards, dedicated to the best domestic music of last year. A wide range of prizes were involved, defined in terms of format or genre.