Four recent publications from solo artists in both Russian jazz and pop music are dedicated to themes of individual effort––and the related risks thereof.
As a series of new recordings take inspiration from the melancholy romance of Soviet pop music, the question arises: what about tomorrow?
The future can be unpredictable in Eastern Europe. Four new recordings visualize tomorrow as a road movie, a winding or rocky passage, and a dead end. Hope is needed.
The two newest FFM releases have direct connections to the Russian capital. One has slowly moved towards Moscow; the other hopes somehow to escape.
Amid four Russian and Ukrainian projects there emerges a telling view of lyricism in modern pop music. A three-minute, micro social narrative is more satisfying than society itself.
From snowy Siberia to the medieval towns of Belarus, a range of new recordings are directly informed by their melancholy setting. A folk ensemble from Saint Petersburg pushes back––with a smile.
Criticism of professional options in Russia and Ukraine is countered with a series of alternatives: psychedelia, fantasy, emigration––and virtual reality.
Three new recordings make direct reference to Japanese history and habits. A distant nation fuels dreams of some alternative to local reality. The more actuality disappoints, the further desire travels from home.
As a number of Russian, Belarusian, and Ukrainian artists consider their future plans, it transpires that the most hopeful songs grow from the greatest failures. Frustrations breed aspirations.
The Belarusian label Ezhevika has just published a compilation album, "I MIRACLE." It gathers nineteen recordings from towns both near and far; together the tracks create a workplace philosophy.