From Siberia to Moscow - and even Kiev - a series of new releases admit openly to the influence of Western music from prior decades. A dissatisfaction with the here and now prompts lasting retrospection.
The Moscow band called Motherfathers have long been associated with the capital's noise and experimental rock scenes. Now, however, they are publishing a drone EP designed overtly as sonic therapy.
Surrounded by a series of failing support systems, be they social or financial, four Russian ensembles turn to themes of family. In difficult times, thoughts of friends and colleagues grow more important.
Through their use of other languages, employment overseas, and various forms of Wanderlust, these four bands work hard to ignore domestic culture. Anywhere - and anything - looks better than home.
Four new releases by baroque- and/or chamber pop outfits ponder a common theme of self-determination. To what degree do these youngsters feel any control over their increasingly social lives?
All the way from Tallinn to Kazan, a selection of new recordings consider the value of escapism and/or imagination. A growing disappointment with the here and now only makes fantasy work harder.
uSSSy is/are an instrumental duo from Moscow: Artem Galkin (guitar) and Pavel Eremeev (drums). As Galkin calmly announces his departure from the band, a central theme of absence reappears.
From Rostov-na-Donu comes psychedelic noise-rock that looks back with fondness to the earliest days of the Space Race. Heavy industry suddenly started to throw off the shackles of gravity.
Who exactly is Ned Hoper? There's no such person in real life, even though the band members keep insisting upon the Australian roots of their legendary frontman. Their explanation is full of imagination and far from fact.
A couple of rock bands far from Moscow ponder the benefits of avoiding its cutthroat industry. No matter how that might sound like consolation for a failed career, other ensembles tend to agree.