Grounded in 1990s' shoegaze, new recording rock from Moscow, Saint Petersburg, and Tallinn have difficulty any finding similar inspiration in 2017. An argument ensues.
In a range of new recordings from Moscow, Yekaterinburg, and Chelyabinsk, aimlessness comes to the fore. These young musicians have scant faith in social progress: "uselessness" becomes their goal.
As a couple of Slavic rock bands admit a fondness for Bristolian trip-hop, the value of introspection is discussed elsewhere. It transpires that the same hushed lyricism - made public - still matters.
Two bands from Minsk and two from St. Petersburg give collective thought to issues of self-determination. In all four cases, there's an awareness that freedom and fate are tightly bound.
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 Schilling Music Festival in Estonia likes to advertise itself in terms of a quiet retreat from showbiz. Nonetheless, several of the local bands embody a spirit of professional persistence.
Some musicians from Russia and Ukraine speak of how they have formed new ensembles. Easy-going collaborations become an appealing alternative to various social pressures.
Two new recordings from St. Petersburg and Moscow reconsider Russian culture of the 1980s, plus a resulting fatalism. Two other releases take a different approach: they use noisy zeal in order to shun the weight of history.
Four bands from Russian and Belarusian cities offer new recordings that ponder levels of self-determination. Various social and physical pressures tend all of these ensembles towards a kind of noisy acquiescence.
The ensembles Leningrad and Vintazh represent two ends of mainstream pop and its promise of liberty. The former is overtly sexual and designed for visual display; the latter is grounded in freedom of verbal expression - and less hopeful.