Regarding Dmitri’s CD I should have written sooner. We took it to the States with us a month ago and listened to it over and over again. We loved it from every aspect of musicality, composition, orchestration with all sorts of detail in percussion, instrumental embellishments… music that knows no boundaries and may be identifiable to one ethnic genre . It is modern, yet classical a well. Each title so well represented the music and vise versa. I feel your CD is a #1 hit. We are proud to know you as a musician of very high caliber.

Review (www.earbuzz.com) Two things struck as as we began listening to Dmitri Kubyshkin's CD, "Playback Time". One - that drum machines don't really cut it - two, that the music Kubyshkin has composed and performed is rich in harmony and compositional depth. The two diametrically opposed impressions create what could eventually be a cult following by musicians and music lovers who appreciate musical intelligence married with nearly casio keyboard sounds. Once you get past the mixed back drum machine and thin-toothed patches, the rest of the music takes over. He reaches brilliance sans said drum machine with the 4th track, "Marina's Minuet". Kubyshkin performs the main theme on harpsichord and marries the lines with keyboard trumpet and english horn. The entire movement is a chamber orchestra piece and brilliant. The entire package is worthy of definition. Kubyshkin is Russian born and musically trained - he now resides in Canada, where he recorded the album - an instrumental 15-tune collection completely performed on keyboard. It touches jazz, classical, fusion, rock, and adult contemporary moods with modes and scales that have a traditional Russian flavor. Kubyshkin scores another well-done compelling piece in track 7's, "Flutepipe". He plays with 8th note bass support while flute spells out a melody that loops and infects. The piece is in and out in a couple of minutes - but has a lasting effect as a mood minor piece. Track 9, "Land of Fools", utilizes a saw tooth synthesizer for the melody and once again Kubyshkin establishes himself as a wonderful composer with interesting harmonic layers, choices, and instrumental performance. A device he uses a few times in the record is a chromatic modulating progression - as he does with track 10, "Malvina". The simple melody moves into a repeated figure that provides tension to the listener. Flute stabs in the left channel announcing the tune, and ultimately announcing the end of the song. Track 12, "Monaco", similarly uses the modulating chromatic path in a classical key form. The final track, "Lullaby", is a medium groover in a major key that sets a tone of simplicity and yet the dynamic break and associated changes work. The entire work from Kubyshkin will most likely draw polar contrasts and comments. He recored and performed the entire work himself and the resulting album is a potential lightning rod for a musical cult following - he combines Russian modes with easy listening yet challenging compositions that clearly were created by a trained musician. Some indie movie producer should pick this up as a soundtrack to a quirky yet heartfelt story - just as Kubyshkin has provided the heartfelt quirk on the CD. We look forward to more.