Vmgnovenijah are a trio: Sasha Stroganov (guitar/vocals), Svyatoslav Vershinin (drums/percussion), and Pavel Klushnik (bass). Their ornate, almost unpronounceable stage-name is actually a deliberately odd combination of two words in Russian, which - when placed equally close in English - might read "Inmoments."
Having grown up with the deeply negative traditions of black metal, these bands realize that a nihilist rejection of everything can have positive results.
As socioeconomic realia impinge more and more upon private experience, the call for both difference and dignified dreaming sounds louder.
New garage, stoner, and doom rock recordings express a growing tension between dreams and actuality. The responses range from desperation to indifference.
Several new rock recordings, all the way from Saint Petersburg to Simferopol, express doubts about grand spectacle. Better, smaller forms of interaction are found both in memories and on stage.
In the wake of a garage and punk festival in Moscow, the question has arisen of protest songs. Is that style, volume level, and its violence synonymous with hopes of civic change? The answer is surprising.
Disenchanted with their hometown experience, a number of rock outfits prefer imagination to actuality. Inspiration is found in bedroom solitude, post-Soviet gangster bravado, and even some Buddhist tenets.
As the socioeconomic and political situations grow more challenging in Russia and Ukraine, new rock recordings turn away from civic actuality - towards introspection and psychedelia.
The new Mumiy Troll album is entitled "Pirate Copies." Although a clear reference to copyright abuse, that same phrase becomes a talking point for several recent publications and their collective view of the past.
Four Russian rock publications play upon aspects of a psychedelic heritage. They either draw directly from Western traditions or extend the meaning of psychedelia from its roots in the Soviet '70s.