A well-established Moscow hardcore outfit insists that now is the time to sing in Russian. Local political problems require a local response and register. Not everybody agrees, however.
In June a music event called "Pain Fest" will celebrate rock music from Serbia, Belarus, and - most importantly - Siberia. The bands from that part of Russia cultivate a link to the punk traditions of their home.
Four new albums from Lithuanian and Russian performers lead to different interpretations of an LP - and why that format even matters any more. The answers, it transpires, depend on location and genre.
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.
One of the biggest - and most basic - choices faced by a Slavic band today is that of language. The same choice is often dictated by assumptions of better job options, either abroad or at home.
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.
A few days ago, the Belarusian magazine Experty.BY announced a series of awards, dedicated to the best domestic music of last year. A wide range of prizes were involved, defined in terms of format or genre.
Various inevitabilities gather strength around three releases from Moscow, St. Petersburg, and Minsk. In the face of diminishing liberties, a certain presentism emerges, celebrating the here and now.
A new Moscow EP brings together four ensembles all fronted by women - in order to celebrate March 8th. More important than either love or romance, it seems, are a range of related social issues.
Two releases from Yekaterinburg and Petrozavodsk operate in different realms, yet find common inspiration. The silence of the night sky is peopled with cosmonauts and medieval angels.