One of the most enduring reference points for Russian musicians over the last two decades has been outer space. The approaching New Year does little to encourage hope - and so distant planets still appeal.
Against the backdrop of a Russian tradition of politicized rock songs, four collectives in 2014 look for alternative values. They tend to be immaterial, in the best - and most romantic - sense of the word.
As musicians from Murmansk and Moscow online encounter rudeness, disdain, or indifference, an alternative is needed to actuality. A reconsideration of '70s psychedelia does the job very nicely.
As the lineups of various bands change over time, so does their connection to any one place. Eventually, the very idea of a fixed location or timeline, even, gives way to much wider networks.
Four young guitar bands - all the way from Kiev to Vladivostok - speak about the energy levels needed in their craft. As job pressures - and cynical audiences - take their toll, staying "vigorous" can be a challenge.
These four new net-singles from Moscow, Rostov-na-Donu, Dnipropetrovsk, and Komsomolsk-na-Amure differ greatly in style. When it comes any audible worldview, however, a large overlap is evident.
These three ensembles, from St Petersburg, Samara, and Kazan, form a telling snapshot of rock's significance in Russia. Not as a tool of adult protest, but as an opportunity to celebrate the present - before actuality sets in
Punk TV, in speaking of their new album, evince some of the problems caused by the death of hard media in Russia. Younger bands sense that demise even more, either in Siberia or St Petersburg
Recent recordings from NRKTK and Tiptoptellix swing to a couple of extremes: breakneck hedonism and an equally dramatic insistence on detachment. Both hope to sideline actuality
The Postman of Nobel and Arrok Cherez Okean are two seemingly unrelated ensembles - and yet they are linked by a common dissatisfaction with the cliches of rock performance