Recent industrial publications from Kiev (via Vienna) and Moscow (via Omsk) juxtapose a factory-floor aesthetic with regional, chronically ailing networks
Grounded in 1990s' shoegaze, new recording rock from Moscow, Saint Petersburg, and Tallinn have difficulty any finding similar inspiration in 2017. An argument ensues.
UCLA will bring together popular and classical music artists, film, cuisine and graphic art from Russia, the Ukraine and the Baltics for “Far From Moscow.”
Either through the traditions of shoegaze or the older conventions of nocturnal and stellar imagery, four recordings look back towards a purportedly "Eurasian" form of solitude.
Russian social networks are home both to shyness and subversion. Some artists seek nameless refuge, while others plan loud protest––from nowhere.
Four new recordings from Siberia, Karelia and Saint Petersburg try to contradict actuality with unique daydreams and fantasies. Not all of them work.
Our interlocking and semi-improvised recordings from Moscow's underground rock scene still give voice––in 2016––to some very old dilemmas indeed.
Having grown up with the deeply negative traditions of black metal, these bands realize that a nihilist rejection of everything can have positive results.
Toying with the basic structures of techno or glo-fi, four new recordings from Siberian artists consider a different kind of escapism. Psychology slowly takes the place of dance-floor frippery.
The recordings under consideration all speak in favor of humility and various forms of dialog. Current actuality, however, tends to prefer a strident monolog.