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 magazines and festivals seek to promote young musicians, they speak of great promise and flourishing local scenes. The performers themselves are less sure.
January LPs from Moscow, Saint Petersburg, and Yekaterinburg show some general tendencies in how Russian rock sees itself today. Grand civic themes of prior decades are now absent.
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.
A handful of new lo-fi or DIY recordings leads to a discussion of "peripheral" enterprise, far from any center of national media. For all the problems that causes, there are also discernible benefits.
Despite assumptions that Russian noise- and garage rock might might be interested in a range of social agendas, some new recordings suggest that an apolitical stance means more.
Ranging from lo-fi wistfulness to noise-rock, these four collectives all look askance at social life. The only way for them to make sense of the outside world is through recourse to senselessness.
Four bands from Tashkent, Vladivostok, St. Petersburg, and Samara ponder the meaning of subversion. What defines a "rebellious" spirit and should it be directed against social failings?
Some new recordings from Belarus and Russia endorse a practice of impromptu creativity. Various things, however, stand in the way of any such freedoms: the allure of profit, habit, alcohol... and fate itself.
These Russian collectives all invoke the theme of emptiness in their newest recordings. Beyond the limits of dull actuality lie other towns, countries, and even planets. They are all frustratingly absent.