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.
Faith is an integral part of Moscow's Gayana project, whose members are both grateful and committed to God. Other beliefs, however, transpire in releases from Ukrainian and Latvian musicians this week.
For reasons both social and philosophical, four Russian projects release new recordings with zero promotion. The logic of material wellbeing is sidelined in favor of a quieter worldview, hinted at in quotations.
Faith in social spheres is a theme discussed in new material from Moscow, Kiev, and a range of Estonian towns. Not everybody shares an optimistic view of audiences and other noisy collectives.
Several beatmakers in and around the Moscow DOPE90 collective are working hard to resurrect the sound of 90s' boom bap. The main reason they sample old US instrumentals is found at home.