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.
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.
Having grown up with the deeply negative traditions of black metal, these bands realize that a nihilist rejection of everything can have positive results.
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.
Four rock bands consider their professional success––and the sacrifice it demands. Various alternatives are pondered to linear notions of progress.
As various bands perform in distant places, travel the globe, or simply dream, a common desire emerges: the possibility of erasing geography altogether.
New garage, stoner, and doom rock recordings express a growing tension between dreams and actuality. The responses range from desperation to indifference.