Surname Arina soloist size project. History of creation and composition

Project size :: Victor Bondaryuk

1.
I arrived in St. Petersburg in 1990 with two of my friends, Sasha Knauer and Sasha Moser. We came to “conquer” Peter we had a whole album, 10 songs (most of which I wrote in the army) and the name “Captain Cooper”. We went with this material for about half a year. And without having found the "rich producer", they gave the album for distribution to one small firm. The money that we had quickly ran out and we went down to the underpass. The idea was simple. We sang songs posing as wandering musicians who came to St. Petersburg from Odessa (where we lived half a year before) and collect money for the “desalination” of the Black Sea. I played a tambourine and sang all the main songs, Knauer rattled on a guitar, Moser on an accordion.

And Pavel Kashin became the Fourth, he blew into the saxophone and was a sentimental part of the collective. The financial situation improved dramatically and I began to fly home on a “visit” every month. And on my next visit, I met Dima (KAPU, as we all called him, his nickname was fixed to him, as I will call him below) with whom he played in different groups in Kustanai and who by that time had turned into a seasoned " farceman ", a seller of jeans" Pyramid ". I told Kape about how I live in St. Petersburg and suggested that he also move to the northern capital. Six months passed and on one frosty morning I met Dima in Pulkovo. Of course he had nowhere to live and I sheltered him. It should be noted that at that time I lived with my wife and her parents in a one-room "Khrushchev".

A month later, my wife prayed, and Kapa and I began looking for a room for him. By that time, two Sasha left for permanent residence in Germany and our creative union with them broke up for a while. Since it was necessary to look for a way to earn money, I began to sell all kinds of souvenirs for foreign tourists at the Peter and Paul Fortress. I must say that in those years it was a very "bread" place and it was impossible to get there from the "street", but it helped me here that I had been playing jazz for "business people" all summer, and knew some who could help me.

All this was a temporary consolation and it was necessary to undertake something more interesting than souvenirs. It should be noted that Kapa flew to St. Petersburg not with empty hands; he had three or four songs. Three of which “That's all”, “Sorry”, “Sorry”, I arranged only in 2003 and they came out on the album “Rising Air Streams.” Since I had already lived in St. Petersburg for 2.5 years, I had some -What experience in the "promotion" of the material. We needed a studio, money, and most importantly, the name of the group. The studio was found quickly; it was Lennauchfilm, by the way, there we met our first director, Sergei Chernykh. I pretty much reworked one of Kapin’s songs and instead of an incendiary "hit" about America, I got a song that gave the name to the first record - "S-A-U". Why S-A-U? Yes, simply because they could not come up with a normal text for the refrain. The most difficult thing was to come up with a name for the group. We thought for a long time, wrote out dozens of different names on a piece of paper, we didn’t like anything. And on one of the visits to Kustanay, my stepfather, seeing my suffering on this occasion, suggested: "And name your ensemble" Berendey. "

And then it dawned on me, I called Kapa And shouted: “The group needs to be called“ Russian size. ”He asked me what this strange phrase means. Well, and I answered him:“ Dude, I don’t know, but it somehow sounds very unusual and pathos. "So in distant Kazakhstan this name sounded for the first time, which is now known to almost everyone who speaks Russian. They wrote the first songs on credit. But we had to look for money, and since Kapa was much less eloquent, and those days simply showed miracles of "talkativeness." I screwed up the phone he called stupidly to various commercial firms and banks, talking about a “young, promising and very talented group.” Looking ahead, I want to say that nothing came of this “commercial” idea. As Capa flew to St. Petersburg it’s easy, he had nothing to wear for rare “significant” meetings and I always gave him something to vilify and generally threw money and fed him periodically. Just, by that time, my wife got a big shit to work for the ANNA KARENINA ferry who went to Germany. And against the backdrop of a general deficit, we lived relatively well. One fine day, a miracle happened and an old friend from Kustanai came to St. Petersburg - Sergey Kuzmich (Such a strange surname for a guy). Yes, and he arrived not just like that, but with a huge pile of money. Where did he get them? This has remained a mystery to me. He said that it was some kind of loan. But who knows. Nevertheless, he decided to become our producer. And at the suggestion of our then director Sergey Chernykh, a huge concert was organized. It was pathetic and on March 13-14, 1993 concerts took place. For that time, the composition was starry: Ukupnik, Lada-dance, Ovsienko, Na-Na, Gulkina, Kazachenko, Roma Zhukov, who incidentally introduced us to Vadim Volodin, the then sound producer of many stars, including the Karmen group . Perhaps this is why the first album of "Russian Size" was so similar to "Kar-man". They decided to stand out with their image. Was invented "chip" fiction 30-40 years. They decided to take the film "Aelita" as a sample. They themselves painted costumes (mainly Capa did it). They rehearsed enthusiastically with the dance. a group called SOS. We were moting to write songs to Vadik Volodin in Moscow (there, at Vadik, I began to acquire the skills of a profession called the mysterious word arranger). And of course they drank a lot. Naturally, the script for the first video was invented by ourselves, but in 1995 Boris Dedenyov saw everything in his own way, and nobody really started to argue with him. The day of filming at a terribly noisy thermal power plant and the clip is ready. Then there were various TV programs, including the central channels: Russia, Channel One, etc. In the winter of the same year, at one of the concerts in the Oktyabrsky concert hall, we get acquainted with Lesha Lebedinsky. He accidentally ended up with us in the same dressing room. Lesha came with Vitya Saltykov. Acquaintance was stormy. It continued after the concert at Lesha’s house. Lyokha turned out to be a cheerful and companionable person. He showed several of his songs that he had already recorded: "The Boatman", "Salted Cucumber", etc., then he copied them to everyone who would not ask. And as it happens with all creative people who have sympathy for each other, I wanted to do something together. One fine evening, the idea suddenly struck me: “Why not redo some old songs. It should be noted that at that time TECHNO was just becoming fashionable and it seemed to me then that it would be interesting enough. I jumped into the car, drove in after Kapa we went to Lebedinsky. I began to tell everyone in paints what an interesting project might turn out to be. On that they decided. They wrote on a piece of paper who remembered which songs and divided them, which is called into three. Each had to arrange by song. home studios it was difficult to record the material, but even then Lebedinsky had a more or less decent studio, especially since by that time he had already worked as a sound engineer in the studio, as well as a musician for Leonidov and Boyarsky. The next morning I arrived to Leshka already alone to show him a sketch of the song "Run of the Year". To my surprise, Lebedinsky almost recorded the song "LA-LA-FA" overnight. " this song was not at all planned for a remake, but he managed to convey her mood so coolly that I was delighted. I literally changed the drums a bit, screamed a few parts. And the song was ready. At this time, I didn’t have my own housing, and I rented an apartment in Vesyoloye Poselok. It so happened that just a few days after we met, my landlady offered me to vacate the apartment in three days. I shared this problem with Lebedinsky and he nearly forced me, my wife and dog, to cross over to him. It was a historic move for all of us. Lyoshka and I borrowed money and bought our first sampler, Ensoniq ASR-10, for money that was inconceivable for us. The work began to boil. But somehow it turned out that Capa was practically left overboard of this project. Why did this happen? one can only guess, and offer a thousand versions, but it turned out that way. In almost one month, Lyokha and I recorded almost all the songs with which we worked for the next couple of years. That's just RMX on Tanya Bulanova "Sleep my little boy" I did later. Around the same time, in one of the St. Petersburg clubs called “Rendezvous” we met Dima Nagiyev, his wife Alisa SHER. The very next day, after meeting, Nagiyev and Alisa come to visit us and we naturally put new songs to them. Dima takes with him two songs “Boatman” and “LA-LA-FA.” The next day we woke up famous. Dima and Alice played these two songs a hundred times a day, and Radio Modern was then the most-rated station in St. Petersburg. With a light hand, we worked together for several years. Thus, in early 1995, the album "Yu-A-Yu." And by the end of the year, almost all the material was recorded on the album "Come on, come on." True, he came out only the next 1996. I want to note that our first soloist Angela left Size in 1995. The reason was the desire of Angela to engage in a solo project. As far as I know, nothing came of this venture.

Significant 1996-1997. I spent almost all my free time at Clubs and parties, and as a result the 1996 album "Meow". By that time, I realized that as a musician I needed my own studio. And I began to collect it. The first thing I did was buy ASR 10, I had an ATARI computer by that time. And I began to comprehend the basics of studio work at home at Lebedinsky's, at his homestudio. Thus, by 1997, we were at the first peak of our popularity. And such projects as Hands Up already had in their repertoire the song Student, Ivanushki international, then performing one of their first hits, Clouds, and Otponye Scammers. All these respected groups "warmed us up" at all joint concerts. Then, at all concerts, I conducted all our programs i.e. was an entertainer. Capa, in turn, was quite indifferent and did not participate in the project. This does not mean that he did not go on tour, no. Where he should have received his money, he was always and immediately. But in the further creation of the material, he took almost no part. Perhaps he was crippled by the fact that in the joint project he received the least. But that was fair. After all, almost all the studio and creative work lay on me. And Lyokha with his “Boatman” was a strong engine. At one time, Lebedinsky persistently suggested that I exclude Kapa from the joint project altogether, but then I flatly refused to do this (I don’t know now if I did the right thing?). I even think that if I had not stood up for Kapa and Lyokha would have survived him then no one would even notice any substitution. Along with popularity came money. And behind them, relations within the team began to deteriorate. In the end, I realized that the project with Lebedinsky is doomed. At that time, the new director Alexander Levin worked with us. He came to a joint project from the very beginning. I think that thanks to him, the Russian Size project and Professor Lebedinsky stayed on the market for an extra six months.

When I realized that our tandem was about to fall apart, I decided to start writing new songs for "Size". So the first recorded song was the track "Like this." But there was another problem with the soloist. So, in the winter of 1997, we were on tour in Novosibirsk and after a concert we arrived at one of the nightclubs. In the midst of fun, a couple jumped out onto the dance floor and began spinning in some kind of fantastic dance. The girl was wearing a “crazy” green wig (for some reason I decided that it was her hair, and most likely she personally bought me that). After their performance, I went backstage and found the guys. I told the girl that if she was in St. Petersburg, let her call me, maybe we could work together. The girl was our second soloist, Julia Kosheleva, and her partner, the future soloist of the HI-FI group, is Mitya. 1998 all over again. The video for the song "Like this." The song "Fly" on the radio "Europa +" in a hot rotation. But then all of us were associated only with Lebedinsky and at concerts from the audience they constantly shouted: “Where is the professor?” And I said: “I don’t know.” In the same year the album "Dancing?" Was released. This was the first product recorded at my personal studio. I bought all the instruments for the money I earned from concerts. True, two years ago, rumors began to reach me that Kapa calls this studio half his own, but this is not true. I bought everything until the last screw for the money I earned from concerts. I called her studio "LOTOS" and since then everything that I did solo without Capa I called the LOTOS product. If you look at the group’s copyright catalogs, then any observant person will notice a strange thing. Almost all songs: author of music: Bondaryuk, author of words: Kopotilov. The explanation for this phenomenon is the following, almost always the data on the songs in the copyright societies were given by me, and it was embarrassing for me to take the authorship completely for myself. The fact is that 95 percent of the music in the project was mine. And the lyrics with Kapa we almost always wrote. But so that he did not feel “deprived” I said in the author’s: “Write” Bondaryuk’s Music, Kopotilov’s words. ”In those songs where I am the author of the text, it means that Kapa did nothing in this work. it became more difficult to “invite” Kapu to the studio and as a result other people, other co-authors “came in.” The logical question arises, why couldn’t I work all alone? I just thought then that creativity, if you are a “group”, is a collective issue. I just then needed the shoulder of a friend, well, or colleagues. Yes, I did not demand anything special. I had a sofa in the studio and almost the only thing I needed was some kind of reaction. Here is our approximate dialogue of that time: “Normal?”, Capa: “Normal.” Why did this happen? Maybe my hyperactivity is to blame. And Capa just did not have time. Perhaps that is so. But I sincerely believed then, and now I think so that any minute spent in the studio will benefit both the entire project and you personally. I guess I then demanded too much from Capa, but you know how: "I called myself a load, climb into the back."

The next was the album "650". In my opinion, the most commercially successful product. It is followed by "650.2", just a reissue, plus a couple of new songs. Further more. I start to do projects without Capa at all. The first such project "MATRiX" 10 songs together with Rodion Chistyakov and Pavel Yesenin. I work closely with Volodin and his project "Not Toys" 14 songs. Tanya Bulanova album "Golden time" 10 songs. Albert Assadulin, Zhanna Aguzarova, Alla Dovlatova. In addition, the album for "Russian Size" "OUT". Made in collaboration with Rodion Chistyakov. The album "GDP" is almost entirely co-authored with Denis Afanasyev. Kopotilov practically did not participate in the creation of the TsUZAMEN project. The apogee of my work over the past few years, I consider the anniversary of the group 13 years. I was the producer and organizer of the whole concert. The concert was attended by Dima Nagiev, Professor Lebedinsky, Sveta, Guests from the Future, CHIZH, Yulia Savicheva, Irakli, Tanya Bulanova, etc. The entire concert was filmed by director Sasha Igudin. I want to note that all the artists performed for free. Only perhaps Dima asked me: “How much will we get?” I then answered in my hearts that the only one who would receive the money would be “Size”. But I repent did not keep my promise. There was simply nothing to pay. I myself have not received a penny, but I think it is unlikely they then believed me (but this is their right). So, imagine my surprise when somewhere around 3 months ago, they called me and said: "And Kapa is in Moscow and is selling the film from your 13th birthday." Well, what can I say, GOOD Fellow. Even so I participated. Who would like to mention more? Well, of course ELA. All the same Lebedinsky introduced me to Elya. He had known her for a long time. She kind of somehow sang in his studio. So, when I "made" the song "Man is a friend of the dog," Elya came to visit Lyokha and I asked her to sing in this song. She did a good job then. I even remember offering her to work for Razmer even then, but she refused, said she was leaving for Japan for a year or something. Well, when the next "member" of the group left us with a scandal. Again, the question arose of a new singer. I have some acquaintances Diana and Vadik, good guys, but it's not about them. And about the fact that on the birthday of their daughter Bella, I again met who do you think? ELU. Well, of course, remembering our long-standing, and good cooperation naturally offered her a job. Elya said she would think. Well, after a couple of days I agreed. I can’t say that it was simple. We were just recording the Booms Booms record. By the way, the name of the record is also mine, as well as of all the previous ones (it just happened historically that I came up with the name of the group, almost all the songs and albums (do not count it as bragging). So, imagine Elu: a man who worked in a musical school for a long time who worked in Japan, ie, performed exclusively songs “close” to the folk, suddenly falls into the techno-band. Have you presented? Now. And, if you listen to the first record recorded with Elya, the aforementioned “Booms-Booms” already, then obviously all this hear. to work on Elya as a singer. Personally, I think that Elya "found herself" only in the 2002 album, "Sausage Me."

But then the moment came when I realized that I needed to do something. "Size", in my opinion, began to "bend". Not seeing an adequate attitude towards me from Capa, I began to share my feelings with Elya. And he received from her, as it seemed to me then, one hundred percent support. I talked about the need to fundamentally change something, that there are no more groups and that I can’t work with people who come in my direction with an acute hatred bordering on hatred. And that instead of friendly (yes, it was enough for me and just companionship) only consumer was left: “DAY-DAY.” I told Elea that I want to end my creative relationship with Kapa.

I told her that it was necessary to go to Moscow, because there, in my opinion, the efficiency of work would be many times higher. Elya answered me that she was considering leaving the group for personal reasons. She asked if I intend to continue to cooperate with her. I confirmed my desire to continue working with her (Actually, which I did). Let me remind you that in April 2005 (that is, when I hadn’t been working with Kapa for 4 months), I and Lebedinsky performed on the “Bomb of the Year” in Olympic ale and it was all called “Russian Size” and Professor Lebedinsky. True, then, after the concert, there was an epoch-making conversation between Elya, Lyokha and me. Talk about how much all the same El will receive in case of working with me and Lyokha. I will not retell all blah blah blah, but we did not agree financially on a permanent job (in my opinion, we offered Elea enough, at least more than she received in the "old" Size "), but agreed to continue to work in session and stay friends. How it ended you know without me. I finished these lines and thought, but I had no one left, almost everyone with whom I had relations for the last 10 years was "leaked" to me. You know, it’s hard, but probably, how awful it is, it’s useful. No one was left out. Almost everyone with whom I was friends, and just talked one way or another showed themselves. Maybe it’s necessary to arrange periodically an “audit”. Then you will know exactly who is who. I “lost” a few people, but found much more. And thank you all for all your words are evil and good, but this means that not only do I care about the fate of the case, to which I gave almost my whole life. RESULTS: Capa and Elya are scratching the country, singing under plywood which is not only what I did, but I also wrote and recorded. By the way, the conversation that Kapa allegedly quailed all the songs is complete nonsense. Here is the logical layout. Firstly, I talked with him and in the summer he threatened to send me these songs, didn’t send anything, and secondly, to sing songs, you must either have a “minus” song, some of which I gave him at his request a couple of years ago. He asked me to post them on the Internet. Or an arrangement of a song, I have them all (arrangements), but Kapa? And thirdly, why do this? It’s so easy to fool you. How many of you will understand at the concert that this is plywood is units, and the rest will say so: “Here it is old“ Size ”, everything is as before.” But turn on your head, you are being fooled. I saw the filming of their performances. I want to say: "Guys, I'm sorry for you." It’s a pity for this poor boy from the fan club who is trying to parody me, sorry for Elya who probably doesn’t sleep at night with shame (I hope), it’s a pity for Kapu, who thinks he is fighting with me, but actually fighting with himself. And of course, poor Borisov, who came under the distribution simply because all the time we worked with him, was a reliable concert sound.

P.S. That is what is surprising. Recently, retelling to someone I knew the whole story of "Size" suddenly realized that I myself am the creator of my "happiness". I brought Kopotilov to St. Petersburg, I came up with the name of the group, everything was recorded in my studio. For 13 years I was the frontman of the group. I sang all the tonal male parts in the group, I brought Markov into the group, almost all the musical creativity in my group, I offered Kopotilov his girlfriend Yastrebova for the role of concert director. When I finished listing all this, I understood the meaning of the proverb: "The road to hell is paved with good intentions." P. P .S. I tried, as far as possible, to summarize the whole history of the group. Could mess up something in the details, but basically it was.

Vitya Bondaryuk

***
Project size :: Arina

2.
The young dancer Arina approached the "SIZE". In the composition of the legendary group "Russian Size" again there were changes. Having lived through the “division of property” several years ago with his former colleagues, the author of the music and texts of the whole “PP” Victor Bondaryuk created a new team called “SIZE” _project. And not so long ago, a young soloist Arina joined her composition. With her arrival, the group received the name ARINA and "SIZE" _project.

The acquaintance of Victor and Arina took place at a large national concert in the "Olympic", where Russian Size performed. A friend invited Arina to work as a dancer at the event. Then the girl never heard of any "Size". But her experience in dancing was huge by that time. From the age of 6, Arina danced in all kinds of studios and schools in her hometown. The girl managed to combine dancing classes with climbing fences with neighboring boys. None of the teachers and acquaintances of the parents could have imagined that the angular Arina, whose name constantly surfaced at parental meetings exclusively in a negative context, would turn into a sexy young lady. And once Arina beat off a classmate's briefcase. Moreover, she did it in the heat of an intellectual debate about what is cooler - a moped or a motorcycle. In general, in the eyes of those around Arina was worse than Tatar. But for her passion for dancing, mom turned a blind eye to all of her non-childish pranks. At 17, Arina realized that further development is possible only in Moscow, so she dropped out of her College of Culture and Arts and went to the capital.

After a long time working for 3 kopecks - a stage that everyone who comes to Moscow to get his dream goes through, Arina began dancing in the best Moscow clubs. In parallel, she took part in various beauty contests and shows, which, with a height of 1m 68 cm, was really a great success. In general, by the time she met with musicians of the Russian Size, she felt quite well in the capital, although her model career did not work out. But the meeting in the dressing room "Olympic" has become crucial. Victor, along with the musicians, slowly, drove up to the Olympic, while Arina was already warming up and singing (!) Before the performance.

The habit of humming, as if accompanying herself in the dance, remained with Arina from College. In the evenings, at home in her room, she repeated the material she had gone through, and it was impossible to turn on the music because of the late time. At that moment Victor entered the dressing room. He heard Arina singing from the corridor and at first thought that they would have to share the room with some girl group. And, in general, not particularly upset. But in the dressing room I saw only Arina - the other dancers ran to watch the concert from behind the curtains. So the acquaintance of future colleagues in the group took place. Of course, Arina had to find a vocal teacher to teach some secrets of mastery. But Victor admits that the soloist was not even better in the "golden" composition of the Russian Size.

According to Arina, a run helps her to relax from the stress of touring life ... running! Every day she runs about 10 km, which, with her love of sweets, is a great salvation. Food is pleasure, says Arina. But it’s even more fun to see your kilograms melt on the treadmill. Another way of relaxation for Arina, by her own admission, is shopping. “I’m a terrible stuffmaker,” says Arina, “I spend a lot of time hiking in Moscow boutiques. I’ll leave most of my fees there! ”Arina, by the way, besides an extensive wardrobe, has a huge collection of underwear, thanks to her touching female affection for beautiful expensive items.

In August 2007, a video was shot for the song “Me and You”, written by Victor based on the title track of the youth series “Helen and the Guys”.

The clip was rotated on RTR, Muz-TV, the Capital and RU.TV.

Now the musicians are working on a new album. In November 2009, an updated team shot a video for the song "Orange Juice".

The young dancer Arina approached the "SIZE". In the composition of the legendary group "Russian Size" again there were changes. Having lived through the “division of property” several years ago with his former colleagues, the author of the music and texts of the entire “PP” Victor Bondaryuk created a new team called “SIZE project”. And not so long ago, a young soloist Arina joined her composition. With her arrival, the group got the name ARINA and “SIZE project”.

The acquaintance of Victor and Arina took place at a large national concert in the "Olympic", where Russian Size performed. A friend invited Arina to work as a dancer at the event. Then the girl never heard of any "Size". But her experience in dancing was huge by that time. From the age of 6, Arina danced in all kinds of studios and schools in her hometown. The girl managed to combine dancing classes with climbing fences with neighboring boys. None of the teachers and acquaintances of the parents could have imagined that the angular Arina, whose name constantly surfaced at parental meetings exclusively in a negative context, would turn into a sexy young lady. And once Arina beat off a classmate's briefcase. Moreover, she did it in the heat of an intellectual debate about what is cooler - a moped or a motorcycle. In general, in the eyes of those around Arina was worse than Tatar. But for her passion for dancing, mom turned a blind eye to all of her non-childish pranks. At 17, Arina realized that further development is possible only in Moscow, so she dropped out of her College of Culture and Arts and went to the capital.

After a long time working for 3 kopecks - a stage that everyone who comes to Moscow to get his dream goes through, Arina began dancing in the best Moscow clubs. In parallel, she took part in various beauty contests and shows, which, with a height of 1m 68 cm, was really a great success. In general, by the time she met with musicians of the Russian Size, she felt quite well in the capital, although her model career did not work out. But the meeting in the dressing room "Olympic" has become crucial. Victor, along with the musicians, slowly, drove up to the Olympic, while Arina was already warming up and singing (!) Before the performance.

The habit of humming, as if accompanying herself in the dance, remained with Arina from College. In the evenings, at home in her room, she repeated the material she had gone through, and it was impossible to turn on the music because of the late time. At that moment Victor entered the dressing room. He heard Arina singing from the corridor and at first thought that they would have to share the room with some girl group. And, in general, not particularly upset. But in the dressing room I saw only Arina - the other dancers ran to watch the concert from behind the curtains. So the acquaintance of future colleagues in the group took place. Of course, Arina had to find a vocal teacher to teach some secrets of mastery. But Victor admits that the soloist was not even better in the "golden" composition of the Russian Size.

According to Arina, a run helps her to relax from the stress of touring life ... running! Every day she runs about 10 km, which, with her love of sweets, is a great salvation. Food is pleasure, says Arina. But it’s even more fun to see your kilograms melt on the treadmill. Another way of relaxation for Arina, by her own admission, is shopping. “I’m a terrible stuffmaker,” says Arina, “I spend a lot of time hiking in Moscow boutiques. I’ll leave most of my fees there! ”Arina, by the way, besides an extensive wardrobe, has a huge collection of underwear, thanks to her touching female affection for beautiful expensive items.

In August 2007, a video was shot for the song “Me and You”, written by Victor based on the title track of the youth series “Helen and the Guys”.

The clip was rotated on RTR, Muz-TV, the Capital and RU.TV.

In 2008, the musicians released the album “Volume Limit” and the charts for hit parades were replenished with the songs “Don’t drop” and “Closer”. In November 2009, an updated team shot a video for the song “Orange Juice”.

Russian Size is a collective of the Russian pop scene performing electronic dance music. The group is considered one of the pioneers of the club party.

History of creation and composition

When the biography of “Russian Size” has precisely begun, even its participants cannot answer. The founders of the group, friends from Kostanay, Viktor Bondaryuk and Dmitry Kopotilov, started back in the mid-80s - mastered musical instruments, tried to write songs. The guys played in various teams - “Captain Cooper”, “Oracle”. When in 1988 he joined the musicians, who later became a fairly well-known performer, they called the “Pathological Department”.

Under the name "Russian Size", the group began performing since 1991, after Dmitry and Victor moved to St. Petersburg. A year later, their songs “A Star Is Melting Over the City”, “I Call You Joy”, “Batman” were heard at all dance floors. The author of the music and texts of the initial period of the group was Kopotilov.

The composition of the collective also underwent changes: keyboardist Dmitry Khil and guitarist Alexander Tyurin joined, for a short time he left for Germany, but Bondaryuk returned. The “Russian Size” appeared also with dance accompaniment, which, however, was soon abandoned, but only one girl remained - Angela Kuznetsova. So the sound of male voices diluted female vocals. Later she was replaced by Svetlana Kunitsyna.

In a nightclub in Novosibirsk, the performers met Julia Kosheleva. The girl put choreographic links between the numbers for the group and soon became the face of "Russian Size". According to rumors, Julia left, offended by the director Alexander Levin, who did not allow her to take her groom to concerts with her.

In the 2000s, the group continued to perform, but the differences between the founders did their job. As a result, Kopotilov and Bondaryuk unleashed the struggle for copyright. Dmitry condemned the right to perform under the name "Russian Size" in tandem with the new musician Igor Lutsenko.

In 1995, it was the turn of the first magneto album called "Yu-A-Yu." The clip for the title track “Batman” was shot by Boris Dedenev, the author of the clips “Wind” of the group, “Wings”.

With Professor Lebedinsky, “Russian Size” released a couple of albums with comic remakes of old Soviet and foreign hits, such as “Blue-Blue Frost”, “Souvenir”, “Last Time”.

Compositions for the Meow album, as the performers say, were composed and recorded at night. The record was released by a division of the Soyuz Studio concern, one of the largest and oldest Russian labels.

The song "Satellite and Computers" was inspired by the legendary film "Solaris", "Friendship" was originally called "Love", and supposedly at the studio it is unknown why the frightened producers renamed the track. The musicians recorded the composition “And in the sky Pokryshkin” on May 9 and dedicated it to the pilot-ace of World War II Alexander Pokryshkin.

After the release of the “Dance?” Album, Russian-speaking residents of Europe, Israel and the United States found out about the group “Russian Size”. As music sites write, given the lack of the Internet in the post-Soviet space, the group’s creative work “was delivered directly on cassettes” to foreign fans. Alexander Solokha worked on the video “Like This”, filming a video for,.

The Vykhod album was recorded in collaboration with Black and White duet member Rodion Chistyakov, Uplifting Airflows with guitarist Denis Afanasyev, nicknamed Bucks, a member of the Kostanay rock band Orphan. The album “Next” includes covers of soundtracks for popular Soviet films “Once Again About Love”, “June 31”, “Princess of the Circus”.

Over the years, the sound of the "Russian Size" has changed, adapting to fashion trends. In songs and instrumental compositions, trance, house and downtempo are heard, as in the album “Exit”, “Sausage Me” is performed in the style of a tribal house. In early interviews, Dmitry and Victor said that they like to be “synthetic, electronic, reasonably pop,” but they considered it a fool to follow one genre., And DJ Aleksey Tsvetkov (DJ TsvetkoFF) and who performed under the pseudonym Light. Some of the fruits of co-creation are included in the album “Tsyzamen”.

In 2010, the most voluminous and so far the last album of "Russian Size" was released - "Listen!" To attract the attention of fans, the musicians held a contest of remixes for the track "Records". The compositions of the two winners are included in the official release of the album.

Russian Size Group Now

The Russian Size Group is a welcome guest at events of various sizes with the prefix “retro”, held both in Russia and abroad. Reports on social networks testify to the intense touring schedule of the team from the 90s