Four dance floor publications from Moscow, Krasnodar, Tula and––eventually––Syktyvkar are dedicated to difference. They consider the risks inherent in novelty.
Using either canonical or peripheral dance-floor sounds, four publications from Russia and Ukraine consider the growing "pressure" of stately intent upon private whim.
Amid four Russian and Ukrainian projects there emerges a telling view of lyricism in modern pop music. A three-minute, micro social narrative is more satisfying than society itself.
All the way from Moscow to the villages of Siberia, a common idea finds voice in a handful of dance floor publications. In four of these releases, the romance of nostalgia and happy stasis proves most persistent.
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.
Moscow's Highway Records is publishing a collection of deep- and tech-house tracks from around Russia. One commonality between the participants is an endorsement of self-education and diligence.
In Moscow, St. Petersburg, Perm, and Krasnodar a range of programmatic statements emerge from disparate musicians with new work. They all champion the creative process over any crude, material consequence thereof.
Sergey Shyam runs a Moscow label called "Simple Things." Its core beliefs in collegiality and understatement are mirrored in other house and tech-house cuts this month, all published very far away.
The career of Andrey Timonin moves from a southern industrial port to Moscow, London, and then beyond. His resulting trust in hard work is tempered elsewhere - both by doubt and a faltering faith.
When the Sochi Winter Music Conference clashed with the Winter Olympics, scheduling problems arose. The worldview of a house label associated with the SWMC is proposing a solution.