Either through the traditions of shoegaze or the older conventions of nocturnal and stellar imagery, four recordings look back towards a purportedly "Eurasian" form of solitude.
As socioeconomic realia impinge more and more upon private experience, the call for both difference and dignified dreaming sounds louder.
Two rock bands from Samara join philosophical forces with new recordings from Moscow and Nizhny Novgorod. Taken together, these four outfits fashion a worldview to counter cocky "progression."
Empty realms, such as the forests of Karelia, have differing meanings for these artists. Nonetheless, a shared conviction transpires that movement into nothingness at least symbolizes potential.
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.
As these performers list the professional or political obstacles facing their work, a nostalgia develops for intuitive, pre-adult experience. Those earliest years harbored some nameless values.
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.
Electronic and electroacoustic releases from Moscow, Samara, and Minsk pay attention to a range of hidden significances. Some lie within tiny objects, others lurk on the edge of burial sites.
Four young bands embody a spirit of protest, yet they're unnerved by the feeling that rebellion rarely changes anything. That combination of outrage and anxiety leads to a healthy self-irony.
Four recordings from Kiev, Grodno, Moscow, and Samara speak with fondness about life's simple joys. Divorcing "immaterial" happiness from daily hassles, though, proves to be a considerable challenge.