Several new Russian and Ukrainian recordings are framed by talk of professional difficulties. Failings in the outside world are countered with calm acceptance and an emphasis on introspection.
The St. Petersburg community known as "We Are Russians" is busy gathering electronic projects with a special fondness for the 1980s. The soundtrack to perestroika continues to have great relevance.
Several new jazz and instrumental releases find good reason to celebrate complexity or surprise. They all share a desire to avoid the predictable crudity of commerce, mass media, and modern politics.
Romantic metaphors inform these new recordings, all borrowed from discussions of open forests, boundless oceans, and "schizoid" thought. Daily life, however, stubbornly refuses to cooperate.
Interviews surrounding several new dancefloor publications focus on the creation of local scenes. It slowly becomes evident that the role of friendship and collaboration is key in nurturing regional optimism.
As performers make plans for the future, a tension arises between subjective desire and public crudity. The best way to foster hope (again) is to leave those heartless civic realms behind.
A new compilation of dour electronica appears from the Full of Nothing label near Petrozavodsk. Amid all the stereotypical assumptions of northern misery, an optimistic worldview takes shape.
As Yungchen Lhamo and Anton Batagov promote a collaboration grounded in Tibetan prayers, other Russian artists have a different view of distant places. Hope and horror begin to alternate.
Mira Iskhome in Krasnodar releases some new recordings that are tied to Russia's southern electronic scene. For three other dancefloor publications this week, location is equally important.
Overcamps are a young Moscow duo who declare their membership "within the capital's underground scene." For various reasons, that sense of dignified retreat proves widely appealing.