The very British wordplay behind "Ponty Mython" belongs, in fact, to St. Petersburg native Aleksandr Pletnev, who now lives in the Lithuanian capital, Vilnius. His newest house release, "The Tropic of Capricorn EP," emerges this month on the heels of a tellingly brief interview for Test Press. Diligence takes the place of any wordy self-congratulation. A few pithy examples will prove the point.
The theme of time is foregrounded by several new publications, but their authors remain unsure of an ideal outlook: forwards to the future––or back to a superior past?
A series of new publications from St. Petersburg, Moscow, and provincial Belarus all give thought to the slimmest of differences between matters "cosmic and comic."
Using either canonical or peripheral dance-floor sounds, four publications from Russia and Ukraine consider the growing "pressure" of stately intent upon private whim.
Four recent publications from solo artists in both Russian jazz and pop music are dedicated to themes of individual effort––and the related risks thereof.
Four dancefloor recordings, from very different locations in Russia and Lithuania, are linked by a sense of troubling, yet productive worry.
Two rock bands from Samara join philosophical forces with new recordings from Moscow and Nizhny Novgorod. Taken together, these four outfits fashion a worldview to counter cocky "progression."
As a number of Russian, Belarusian, and Ukrainian artists consider their future plans, it transpires that the most hopeful songs grow from the greatest failures. Frustrations breed aspirations.
Faith is an integral part of Moscow's Gayana project, whose members are both grateful and committed to God. Other beliefs, however, transpire in releases from Ukrainian and Latvian musicians this week.
Several beatmakers in and around the Moscow DOPE90 collective are working hard to resurrect the sound of 90s' boom bap. The main reason they sample old US instrumentals is found at home.