On her anniversary, Tatyana Bulanova surprised with a bold album

The singer does not want to restrain herself

On her 55th birthday, Tatyana Bulanova released her twenty-fourth album. A very impressive statistic, primarily because among the artists of her generation, Bulanova is almost the only one who regularly releases full-fledged releases. And in this case, an ardent interest in music clearly takes precedence over mercantile considerations.

Large albums can be called an expensive and not very practical toy for artists who are accustomed to this format and can afford not to worry about the new rules of the industry. If we are talking about Bulanova and those who are close to her in age and experience, then fresh music from a business point of view is no longer a priority for them. There are enough hits, the public loves and does not forget, so one or two singles a year is quite enough.

There are sixteen songs in “Cameo,” the new album by Tatyana Bulanova, and that’s a lot even by the standards of the nineties. Between the titular “Cameo”, which opens the album, and the point in the form of “Final”, it’s not that some incredible passions are raging, which build into an exciting plot, where each song is conceptually important. The album can be cut without much damage, but the singer, in the fourth decade of her career, clearly does not want to restrain herself.

It would be correct to note that during the time she spent on stage and in the studios, Bulanova did not really hold on to a certain image or style in music. In the nineties, the singer was called the crying soul of the people for her hyper-sentimental ballads, which also had a therapeutic effect for many single mothers. An enviable niche, but Tatyana quickly exchanged heartbreaking songs for dance action films, embarked on an affair with alternative rock under the pseudonym “TaBu”, and then returned to the dance floors.

Such a range of interests clearly does not frighten the singer even now. Most recently, she recorded tracks with blogger and music producer Alexander Ganapolsky that sounded risky, to put it mildly, but such a change of scenery did not look like a desperate attempt to become fashionable. Instead of despair, self-irony was proposed.

In “Cameo”, despite the abundance of songs, the singer clearly does not sway from the frying pan into the fire. Yuri Drozdov, who wrote all the music, came up with very suitable melodies for retro disco at the turn of the eighties and nineties. Poets Vitaly Prigornitsky, Andrey Maksimov and Maria Tarasenko added adult lyrics to the melodies, the arrangements combined a nostalgic vibe with technology, and as a result, the sound acquired a gloss uncharacteristic of the last century.

Bulanova’s last year’s album “Tanya, Breathe!” was compiled according to a similar scheme, but “Cameo” has more candidates for hits. In the best songs, Tatyana is somewhat reminiscent of Eva Polna, in the remaining tracks she interprets herself as her beloved and she is quite comfortable in her own musical garden. “The song “Touching”, released as a separate single, takes Tatyana’s fans back to the times of ballads. Perhaps the rhythm here interferes a little with sentimentality, the old sobbing intonations are clearly in the past and now Bulanova sings with the voice of a woman who confidently holds her life in her hands, but her soul has not hardened and can be ready for passionate feelings.

“Writing love is not possible if the ink has dried for a long time,” Tatyana says at the end of the album, although with her enthusiasm in her musical biography one can safely put commas for now. And plan releases of the most adventurous timing.