New electronic and electroacoustic recordings from Russia and Belarus speak in doubting terms about the near future. Should one turn to faith––or good deeds?
New instrumental or hypnagogic recordings from Naberezhnye Chelny, Ulan-Ude, Moscow, and Dnipropetrovsk are all dedicated to silence. Dreamers need peace and quiet.
Although none of these recordings are dance music in the strictest, most canonical sense, their dalliance with rhythmic escapism and abandon is crucial.
A collection of ambient and drone recordings from Yekaterinburg, Sevastopol, and Kiev share a common desire. They all express a sage preference for solitude over city life. Silence often heals.
The new LP from Sal Solaris is dedicated to transgression, both in sound and society. Other electronic releases from various Russian cities ponder similar themes.
A modest experiment on Moscow's music scene has spawned a great deal of attention. "Science and Art" (NII) has also fueled a couple of vital labels.
Four dancefloor recordings, from very different locations in Russia and Lithuania, are linked by a sense of troubling, yet productive worry.
Improvisation plays a key role in a range of new electronic publications. All of them invite listeners to look beyond convention––and therefore far beyond nameable experiential states.
Retrospection is a common theme in Russian and Ukrainian electronica. In some new recordings, it takes on a very different significance altogether.
The St. Petersburg label Microcosmos has published three chillout recordings, examining alternative views of actuality. Alexander Saykov extends them––to Moscow.