Olga Glazova is from St. Petersburg and a professional gusli player of growing repute. Her chosen instrument, responsible for a quintessentially Russian and supposedly pre-urban sound, is a plucked-string harp. The gusli's roots stretch back to the lyre of ancient Greece...
Recent industrial publications from Kiev (via Vienna) and Moscow (via Omsk) juxtapose a factory-floor aesthetic with regional, chronically ailing networks
New publications from Anton Maskeliade and Valotihkuu have a pedagogical intent. The former artist is actually a teacher; the latter hopes to champion the importance of noiseless humility.
A range of new electronic recordings from Russia and Lithuania find increasing appeal in solitude. Belief and ideals both need seclusion.
Four days after teachers in Dagestan were told their job has no inherent worth, various new recordings investigate fantasy and (absolutely) nothing.
Four new recordings from Siberia, Karelia and Saint Petersburg try to contradict actuality with unique daydreams and fantasies. Not all of them work.
Toying with the basic structures of techno or glo-fi, four new recordings from Siberian artists consider a different kind of escapism. Psychology slowly takes the place of dance-floor frippery.
Krasnoyarsk's Klammklang label has become the region's primary outlet for tape music. What, however, is the rationale or philosophy behind such an outmoded format in 2016?
New electronic and electroacoustic recordings from Russia and Belarus speak in doubting terms about the near future. Should one turn to faith––or good deeds?
Four recent publications from solo artists in both Russian jazz and pop music are dedicated to themes of individual effort––and the related risks thereof.