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.
Four December rock recordings from St. Petersburg and Izhvesk ponder some markers of adult success, such as generic clarity and domestic success. With questionable romance, all are dismissed.
Four young bands embody a spirit of protest, yet they're unnerved by the feeling that rebellion rarely changes anything. That combination of outrage and anxiety leads to a healthy self-irony.
From the outskirts of two capitals - Moscow and Minsk - come some songs designed to inspire. They discern a certain civic or ideological "emptiness" and hope to offer a consoling alternative.
Four Russian bands champion their chosen styles, from "garage revival" to "quarter-tone rock," based upon Middle Eastern traditions. Across them all, diligence hopes to drown out reality.
These five collectives have various ways of interpreting the future. It is viewed in terms of patience or a distant horizon. Others, less hopeful, prefer retrospection, psychedelia, and total despair.
The noisy garage rock of two young Russian bands is, unexpectedly, a reaction their anxieties. Some grand alternatives to despair - fantasy and boundless optimism - also run into various problems.
Four new rock releases from Belarus and Russia express forms of protest against typicality. Social failings give rise to a contrary mood: not everybody, however, shares the same level of self-confidence.
The universal difficulties facing a Russian or Ukrainian collective today lead to a couple of logical conclusions. Bands either fall apart under the pressure or - oddly - become very close friends indeed.
The phenomenon of Tumblr-wave has often been discussed in western webzines. In a Russian context, however, it adopts a very unnerving meaning.