Against a backdrop of civic unrest, several Russian and Ukrainian performers opt for a more restrained or "estranged" aesthetic. They begin with the cool, mechanical operations of an old Roland 303.
Two new releases from FFM. One is Ukrainian, the other is Russian - and both are instrumental. The difference between them, genres aside, is in their attitude to the weight of the surrounding world.
One might think that a challenging social environment would lessen the appeal of romantic wistfulness among young artists. A hard life might breed resignation or greater pragmatism. Nothing of the sort.
New recordings from Yuzhno-Sakhalinsk, Seversk, Saint Petersburg, Petrozavodsk, and Moscow all turn their attention to the passage of time. In a realm of gaudy materialism and crude pragmatism, time promises more than effort.
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.
Four new LPs from the wonderful Fuselab label compare two different experiences. They evaluate social potentials in 2014 relative to both nostalgic memories of the 1970s and the peacefulness of a non-urban address.
TosyaChai is the stage-name of Tosilya Chaikina from Saint Petersburg. Until recently she performed as one half of More Oblakov. A debut solo album is now published through FFM.
Four new dance releases from around the Russian capital seek an escape from the daily grind. Increasingly, however, a pessimistic view of the future makes prior decades an attractive reference point.
A few weeks ago in May, the Siberian city of Omsk hosted a festival of street art entitled "Spaces of Multiplicity" A regional sound artist quickly planned a celebration of noise in a pedestrian underpass.
For Western observers, many locations across a Russian map - with unpronounceable names and windswept railway stations - can appear unimaginably distant. In one of those lonely places we find SV Hutor.