CXEMA (The Scheme) is an underground techno community in Kiev. Four new podcasts, each showcasing an electronic artist, are unavoidably framed by recent events.
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.
Beginning with an improvised recording from London, these new publications all share a conviction that telling patterns exist in natural disorder. What's needed to discern them is dedication and hard work.
The Odessa artiste Nastia Vacuum documents two opposing influences: her hometown and the fact that desire strives elsewhere. A project from distant Syktyvkar feels precisely the same.
A selection of lo-fi or garage recordings this week in Russia and Ukraine suggests a common worldview. Various social, economic, and even spiritual injustices lead to loud, amateurish discord.
Drawing upon the traditions of Detroit techno and Ibiza's Balearic house, some Russian and Ukrainian artists imagine distant objects of desire. They include Spanish beaches and faraway planets.
Not surprisingly, some of the language used to praise US styles within Slavic music borrows from American slang. Talk of anything "cosmically" impressive, however, goes way beyond cliche. A wide range of related imagery opens up.
Four releases from Moscow, Krasnoyarsk, and Odessa cast doubts upon the material aspect of language. These artists both list and lambaste various social pressures associated with speech
Operating in between Moscow, St Petersburg, and Odessa, these young collectives paint a telling portrait of the effort needed to endure as a musician. More important than inspiration, it seems, is dogged persistence
"Amurekimuri" are from the Ukrainian port of Odessa; "Palms on Fire" reside in the city of Izhevsk. Both use Scottish pop traditions in ways that shed light upon some very local experiences