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.
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 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.
New garage, stoner, and doom rock recordings express a growing tension between dreams and actuality. The responses range from desperation to indifference.
The current economic difficulties in Russia and surrounding nations lead to greater levels of reverie. Dreams seem better than reality, yet stargazing is rarely easy.
Two rock bands from Samara join philosophical forces with new recordings from Moscow and Nizhny Novgorod. Taken together, these four outfits fashion a worldview to counter cocky "progression."
Several new rock recordings, all the way from Saint Petersburg to Simferopol, express doubts about grand spectacle. Better, smaller forms of interaction are found both in memories and on stage.
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.