In the city of Samara is a female choir led by Dmitrii Kolevatykh: Roundelay. This substantial, shifting lineup of young women creates a sound unique within modern Russian music.
Amid discussions of a museum celebrating the Leningrad Rock Club, four young rock bands from Russia and Ukraine publish new material that doubts those early, social goals. Civic plans are now private.
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.
Several new Russian and Ukrainian recordings are framed by talk of professional difficulties. Failings in the outside world are countered with calm acceptance and an emphasis on introspection.
A number of publications this week display an interesting tension between grand romance and self-deprecation. By understating their heartfelt values, these artists stress a stubborn fidelity to a fading cause.
Several new jazz and instrumental releases find good reason to celebrate complexity or surprise. They all share a desire to avoid the predictable crudity of commerce, mass media, and modern politics.
The professional or profitable options available to today's musicians are small in number. And yet the amount of music moving online increases. The rationale behind that creativity is not logical.
Talaka.by is a Belarusian web portal: "We run a noncommercial platform that's designed to help people realize their socially useful projects - together." Those projects include music.
As mainstream media offers young Russian bands little support, a couple of responses emerge among amateur ensembles. Romantic views of both solitude and friendship transpire.
Several rock publications this week come from Moscow and its environs. Nonetheless, for all that potential, these bands toy with themes of decadence, paranoia, and even the apocalypse.