Fading faith in modern life or politics leads these ensembles to look elsewhere for superior values. Better ideas are found in shamanistic culture, experimental drugs, and other distant realms.
From Siberia to Moscow - and even Kiev - a series of new releases admit openly to the influence of Western music from prior decades. A dissatisfaction with the here and now prompts lasting retrospection.
uSSSy is/are an instrumental duo from Moscow: Artem Galkin (guitar) and Pavel Eremeev (drums). As Galkin calmly announces his departure from the band, a central theme of absence reappears.
From Rostov-na-Donu comes psychedelic noise-rock that looks back with fondness to the earliest days of the Space Race. Heavy industry suddenly started to throw off the shackles of gravity.
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.