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Whatever Comes Out: Kruzhok, Kusto, Siberian Tsars, and Pia Fraus
Grounded in 1990s' shoegaze, new recording rock from Moscow, Saint Petersburg, and Tallinn have difficulty any finding similar inspiration in 2017. An argument ensues.
Yielding: Glintshake, Okudjav, Commercial Marines, and Universe Inside
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.
Beyond Bristol: Cats Park, Sweet & Sour, YesYes! and Atomic Simao
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.
Polar Opposites: Harotnica, Electroforez, Obshezhitie, and Railkid Station
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.
Fate vs Faith: CBiHCiTY, Fairy Meds, Motherfathers, and Hospital
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.
Six Examples of Perseverance: Estonia's Schilling Music Festival 2013
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.
Liberty: Tram Drivers, Shortparis, Bicycles For Afghanistan, and Dancing Epileptic
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.
Energy Levels: Еlectroforez, The Bezzoommies, Wham Bam, and Kobyla
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.
Loud Truths: Pogi Namp, Kick the Wife, Warnerd Brothers, and the Post-Materialists
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.
Complementary Views of Liberty: Leningrad and Vintazh
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.
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