Fantasy and the imagination are key aspects of these new recordings from Russia, Ukraine, and Belarus. Their joint celebration of oddity simply highlights an ongoing disappointment with normality.
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.
In a world of bewildering media and deafening jingoism, the appeal of noiselessness can be considerable. Just as attractive - in the face of fiscal or civic pragmatism - is the meaning of nothing at all.
As the socioeconomic and political situations grow more challenging in Russia and Ukraine, new rock recordings turn away from civic actuality - towards introspection and psychedelia.
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.
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.
A couple of Saint Petersburg projects find common philosophical ground in two areas. Both are saddened by the woeful potential of actuality - and then turn to their hometown for some time-honored forms of reverie.