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."
Either through the traditions of shoegaze or the older conventions of nocturnal and stellar imagery, four recordings look back towards a purportedly "Eurasian" form of solitude.
Our interlocking and semi-improvised recordings from Moscow's underground rock scene still give voice––in 2016––to some very old dilemmas indeed.
Various recordings this week explore the traditional nature of lyricism in Russian songwriting. History has never made self-realization an easy issue.
The recordings under consideration all speak in favor of humility and various forms of dialog. Current actuality, however, tends to prefer a strident monolog.
The theme of time is foregrounded by several new publications, but their authors remain unsure of an ideal outlook: forwards to the future––or back to a superior past?
As Russia struggles with economic disarray, four rock recordings across the country ponder the role of songwriting as an alternative expression of "law and order."
As socioeconomic realia impinge more and more upon private experience, the call for both difference and dignified dreaming sounds louder.
The traditions of Slavic rock are––even today––likely to be associated with wordy, political agendas. Four new recordings, however, pay more attention to silence.
The Belarusian magazine Experty.By has compiled a series of Top Ten lists, cataloging the best bands and recordings of last year.