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.
Two new releases from FFM originate in distant places: Novosibirsk and the Kola Peninsula, above the Arctic Circle. In both cases, the musicians' address brings more benefit than inconvenience.
Two recurring reference points in Slavic electronica are childhood and the open landscapes that symbolize an early liberty. Four new releases interweave these motifs, whilst mourning the clamor of modernity.
Four new publications, stretching from provincial Belarus to Vladivostok, look askance at social existence. The more crudity and/or banality it manifests, the more self-reliance comes to the fore.
Two new releases from FFM originate in Moscow and Kiev. A couple of solo performers travel parallel trajectories from self-doubt to a less disconcerting state, somewhere on the edge of aspiration.
As the socioeconomic situation worsens in Russia, so do attitudes towards society. Civic activity promises less and less. Consequently, several artists speak in support of minimal interaction.
Moscow's Anton Maskeliade has published recordings of his "Street Studio," in which passers-by are invited to perform whatever they want. These levels of social optimism are not widely shared.
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
A couple of Saint Petersburg projects find common philosophical ground in two areas. Both are saddened by the woeful potential of actuality - and then turn to their hometown for some time-honored forms of reverie.
New dancefloor offerings from Russia and Estonia struggle with viable forms of optimism. "Escapism" becomes less a matter of hedonism and more a conscious response to unsatisfying actuality.