Two releases from Yekaterinburg and Petrozavodsk operate in different realms, yet find common inspiration. The silence of the night sky is peopled with cosmonauts and medieval angels.
Afisha and Colta are arguably Moscow's two most influential music publications when it comes to finding or fostering new talent. As December begins, they both consider the musical year ahead - with some anxiety.
Cooper Phillip, as readers of FFM know, is a Los Angeles-based singer of Slavic roots. According to some well-worn stereotypes, Russian pessimism falls away once her career blossoms on a distant shore.
Aleksandra Obraztsova's intriguing stage-name is a play upon the title of Jean-Pierre Jeunet's 2001 feature "Amelie." Obraztsova authors her hushed, pensive songs using the alter ego of "Ameli na Meli."
One of the more enduring assumptions or stereotypes regarding Slavic songwriting would be that of sadness, if not misery. When melancholy does indeed make an appearance, what form does it take?
The Estonian label Ounaviks continues to produce a wide and wonderful range of folk reinterpretations for a new generation. From within that antique heritage comes a reconsidered worldview.
From St. Petersburg to Vladivostok, four lyrical songwriters consider the benefits of stagecraft over actuality. Imagination enjoys more freedom behind a writing desk or beneath limelight.
Four projects from three cities (Minsk, Moscow, and St. Petersburg) have new material to offer. In each case, a quiet register is the result of considerable humility before the past and/or inspiration itself.
A recording from Leonid Fedorov and Vladimir Volkov examines how St. Petersburg's cityscape changes over time. The baroque trajectories of music outdo the linear passage of urban "progress."
Three inherently acoustic traditions are subjected to a process of change. The more those variations come to light, the more they aid self-expression. The broader one's vista, the more subjectivity benefits.