Grounded in 1990s' shoegaze, new recording rock from Moscow, Saint Petersburg, and Tallinn have difficulty any finding similar inspiration in 2017. An argument ensues.
As FFM reconsiders some of the Russian and Belarusian rock recordings of winter 2016, a common theme emerges of self-deprecation. Albeit with strange benefits.
Having grown up with the deeply negative traditions of black metal, these bands realize that a nihilist rejection of everything can have positive results.
New garage, stoner, and doom rock recordings express a growing tension between dreams and actuality. The responses range from desperation to indifference.
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."
In the wake of a garage and punk festival in Moscow, the question has arisen of protest songs. Is that style, volume level, and its violence synonymous with hopes of civic change? The answer is surprising.
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.
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.