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.
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.
Two new releases, both connected to Moscow life, declare the appeal of a slacker's worldview. A couple more, from Kiev and Saint Petersburg, have greater faith in the importance of hard work and daydreams.
One of the most enduring reference points for Russian musicians over the last two decades has been outer space. The approaching New Year does little to encourage hope - and so distant planets still appeal.
As we conclude a third and final overview, the "NG 15" album appears in Moscow. Twenty-six performers are gathered together in order both to consider the meaning of New Year and help a children's charity.
Against the backdrop of a Russian tradition of politicized rock songs, four collectives in 2014 look for alternative values. They tend to be immaterial, in the best - and most romantic - sense of the word.
From Siberia to Moscow - and even Kiev - a series of new releases admit openly to the influence of Western music from prior decades. A dissatisfaction with the here and now prompts lasting retrospection.
Through their use of other languages, employment overseas, and various forms of Wanderlust, these four bands work hard to ignore domestic culture. Anywhere - and anything - looks better than home.
All the way from Tallinn to Kazan, a selection of new recordings consider the value of escapism and/or imagination. A growing disappointment with the here and now only makes fantasy work harder.
The Russian music festival Stereoleto is about to start in Saint Petersburg. We examine some ideas behind the event's success and endurance. A link between diligence and dreams quickly emerges.