Various forms of escapism are encountered in modern Russian music, all the way from storied space rock to garage hedonism and masochistic decadence. Examples of them all transpire this week.
Rock recordings from St. Petersburg and beyond fall to a growing sense of fatalism. Destiny seems to accompany the gradual, grim transition from hope into hopelessness.
The Saint Petersburg duo VEiiLA uses some mythical figures to explain the power of sound over ostensible reality. Any ability of music to counter local misery, however, depends very much on one's location.
Various dissatisfactions emerge in new recordings from Tallinn, St. Petersburg, Kazan, and Nizhny Novgorod. They all lead to a yearning for better values - represented by distant places or prior experience.
New rock recordings from disparate towns together suggest a philosophical shift - away from the classic songs of late-Soviet protest towards tales of consolation and empathy.
Faith in social spheres is a theme discussed in new material from Moscow, Kiev, and a range of Estonian towns. Not everybody shares an optimistic view of audiences and other noisy collectives.
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.