The Ezhevika label in Minsk, Belarus has published a new compilation of regional music. The contributors consider their bonds both to colleagues and predecessors.
As FFM reconsiders some of the Russian and Belarusian rock recordings of winter 2016, a common theme emerges of self-deprecation. Albeit with strange benefits.
A series of new publications from St. Petersburg, Moscow, and provincial Belarus all give thought to the slimmest of differences between matters "cosmic and comic."
The traditions of Slavic rock are––even today––likely to be associated with wordy, political agendas. Four new recordings, however, pay more attention to silence.
The Belarusian magazine Experty.By has compiled a series of Top Ten lists, cataloging the best bands and recordings of last year.
Against the backdrop of East European political and economic challenges, four recordings ponder the appeal of deconstructive gestures––rather than stately pomp.
In four new recordings from Russia and Belarus, thoughts of the future predominate. As tomorrow looks unpredictable, childhood and adolescence gain a special importance.
The Belarusian label Ezhevika has just published a compilation album, "I MIRACLE." It gathers nineteen recordings from towns both near and far; together the tracks create a workplace philosophy.
As a British newspaper suggests that nostalgia in Russian popular music is inherently political, an alternative viewpoint arises. Many young artists fondly recall a time, rather than an ideology.
New electronic recordings from Belarus, Russia, and Ukraine - via Berlin - question the liberties of commercial and noncommercial enterprise. The same questions are framed ecologically.