“Concerto Grosso # 1” and “Concerto Grosso # 2” “Space Music”, this music really lies in between Schulze or early “Tangerine Dream” and the more “Classical Electronic” realms of Morton Subotnik or the non-melodic early works of Wendy Carlos. Chekalin’s “Concertos” are mostly real instruments (well, samples of them plaaayed via a keyboard) and voices, with heavy processing to distort and warp the sounds into alternate sonic dimensions. The quality of the music varies from dreamy an spacey to harsh and abasive, and wanders back and forth from vaguely musical sections to totally non-melodic sound collage. Chekalin prefers analog tape recorders and playing the compositions by hand rather than using computer technology to sequence and record. "The first word I would use to describe these compositions would have to be “intellectual”, the second would be “avant-garde’. “Progressive” or “Space Music” would be down the list a ways.Excellent stuff. Personally, one of my favorite types of music is this intellectual, not very melodic electronic style, so I think Chekalin is amazing. But I would have a hard time recommending it to any but the most “hard core’ of electronic avant-garde music fans."Fred Trafton / New Gibraltar Encyclopedia of Progressive Rock CE-CM. Updated 7/12/02

"In the annals of Soviet electronic music, one of the underground pioneers (unofficial artists), was Mikhail Chekalin. From 1979-1999 he produced a series of albums that are extraordinary to say the least. In 1991 he had released a 12 LP series by the Russian Melodiya label. Concerto Grosso # 1 & # 2 are literally stunning works of darkly textured ambient electronic soundscapes, mixed with dynamic symphonic rock-influenced tone poems that echo old European classicism. Chekalin’s fusion of earlier styles and new musical tendencies has to be heard to be appreciated. People who are tired of redundant cliches and want to discover something truly unique and special musically must give a listen.A. PATTERSON / Eurock, 2001

Records International September 2002 Catalogue"Space-age batchelor-pad music of the New Millennium."

Ultima Tulle catalogoe"Challenging innovative floating, really unusual (but quite accessible) instrumental fusion. Most fascinating."

Stephanie Sollow / ProgressiveWorld.net / January 2003"This is progressive in the truest sense, in that it is expanding the definition of music, pushing, prodding and poking the envelope."