Grounded in 1990s' shoegaze, new recording rock from Moscow, Saint Petersburg, and Tallinn have difficulty any finding similar inspiration in 2017. An argument ensues.
As FFM reconsiders some of the Russian and Belarusian rock recordings of winter 2016, a common theme emerges of self-deprecation. Albeit with strange benefits.
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.
Our interlocking and semi-improvised recordings from Moscow's underground rock scene still give voice––in 2016––to some very old dilemmas indeed.
As socioeconomic realia impinge more and more upon private experience, the call for both difference and dignified dreaming sounds louder.
The Belarusian magazine Experty.By has compiled a series of Top Ten lists, cataloging the best bands and recordings of last year.
As various bands perform in distant places, travel the globe, or simply dream, a common desire emerges: the possibility of erasing geography altogether.
The current economic difficulties in Russia and surrounding nations lead to greater levels of reverie. Dreams seem better than reality, yet stargazing is rarely easy.
From snowy Siberia to the medieval towns of Belarus, a range of new recordings are directly informed by their melancholy setting. A folk ensemble from Saint Petersburg pushes back––with a smile.
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."