Various professional challenges emerge in these Russian recordings; most of them have connections to outside, social realia. It's only beyond the border––in Estonia––that civic pressures ease.
In the wake of a garage and punk festival in Moscow, the question has arisen of protest songs. Is that style, volume level, and its violence synonymous with hopes of civic change? The answer is surprising.
Various forms of escapism are encountered in modern Russian music, all the way from storied space rock to garage hedonism and masochistic decadence. Examples of them all transpire this week.
Rock recordings from St. Petersburg and beyond fall to a growing sense of fatalism. Destiny seems to accompany the gradual, grim transition from hope into hopelessness.
Fantasy and the imagination are key aspects of these new recordings from Russia, Ukraine, and Belarus. Their joint celebration of oddity simply highlights an ongoing disappointment with normality.
As the socioeconomic and political situations grow more challenging in Russia and Ukraine, new rock recordings turn away from civic actuality - towards introspection and psychedelia.
Four Russian rock publications play upon aspects of a psychedelic heritage. They either draw directly from Western traditions or extend the meaning of psychedelia from its roots in the Soviet '70s.
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.
Against the backdrop of a Russian tradition of politicized rock songs, four collectives in 2014 look for alternative values. They tend to be immaterial, in the best - and most romantic - sense of the word.
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.