Several new jazz and instrumental releases find good reason to celebrate complexity or surprise. They all share a desire to avoid the predictable crudity of commerce, mass media, and modern politics.
As performers make plans for the future, a tension arises between subjective desire and public crudity. The best way to foster hope (again) is to leave those heartless civic realms behind.
As Yungchen Lhamo and Anton Batagov promote a collaboration grounded in Tibetan prayers, other Russian artists have a different view of distant places. Hope and horror begin to alternate.
Four women from Moscow, Yekaterinburg, and Saratov offer new narratives on the ongoing struggle for self-determination. Those tales of increasing dignity stretch all the way to Los Angeles.
Moscow's Anise Project is fronted by Anna Volkova. She speaks of how adult experience tempers youthful fantasy. Some causes of that local fatalism are sought by other collectives in folklore.
Originating in Minsk, Saint Petersburg, Yekaterinburg, and Moscow, four new publications discuss the strange benefits of faltering and failure. In a mundane world, mistakes are a sign of uniqueness.
Four very different recordings - spun from a lo-fi lyricism, '80s synth-pop and abstract beats - all look askance at the future. Various kinds of reflection and retrospection seem increasingly appealing.
Talaka.by is a Belarusian web portal: "We run a noncommercial platform that's designed to help people realize their socially useful projects - together." Those projects include music.
Discussions transpire this week regarding the ways in which electronic music lacks an evident center online. Over time, however, the strange benefits of decentered enterprise become clear.
St. Petersburg ensemble Iamthemorning have announced a new EP that builds upon some Ophelian motifs from prior recordings. The same symbolism of wistful demise appears in other towns, also.