Recent industrial publications from Kiev (via Vienna) and Moscow (via Omsk) juxtapose a factory-floor aesthetic with regional, chronically ailing networks
Four days after teachers in Dagestan were told their job has no inherent worth, various new recordings investigate fantasy and (absolutely) nothing.
From one industrial city in Southern Siberia comes a wide range of noise experiments, informed by their social surroundings. Clamor fades into calm.
As Russia struggles with economic disarray, four rock recordings across the country ponder the role of songwriting as an alternative expression of "law and order."
This week a handful of recordings in Lviv, Novosibirsk, and Omsk all struggle to remain optimistic. A number of material obstacles stand between a sunny view of the future and its realization in actuality.
Two new releases, both connected to Moscow life, declare the appeal of a slacker's worldview. A couple more, from Kiev and Saint Petersburg, have greater faith in the importance of hard work and daydreams.
Four new releases by baroque- and/or chamber pop outfits ponder a common theme of self-determination. To what degree do these youngsters feel any control over their increasingly social lives?
A few weeks ago in May, the Siberian city of Omsk hosted a festival of street art entitled "Spaces of Multiplicity" A regional sound artist quickly planned a celebration of noise in a pedestrian underpass.
The MNMN label from Kostroma does much to promote the philosophically anxious end of Russian electronica. These four projects yearn for silence and solitude, but "fate" has other plans.
As the lineups of various bands change over time, so does their connection to any one place. Eventually, the very idea of a fixed location or timeline, even, gives way to much wider networks.