“I prefer when I’m left to work in peace,” SarKeys shares with a laugh, hinting at the independent streak that has driven his career. Known offstage as Arkady Sarkisyan, the Armenian-born composer, arranger, and music producer was one of the pioneers of electronic music in the region, starting out with whatever resources he had and eventually collaborating with icons like A-Studio, Sirusho and Marcia Barrett of Boney M.
Now a composer and music producer at ISINA.com, SarKeys reflects on how his early passion for electronic music evolved despite challenges, his collaborations that spanned cultures, and his ongoing projects that merge traditional instruments with modern deep house.
— You were a refugee in the early ’90s. How did those experiences impact your life and career?
— Well, to be honest, I was still pretty young back then, so maybe that helped me get through it all a bit easier. I always wanted to do music, and even before those events, I had already started attending music school. I was on that path from the beginning, regardless of what was happening around me. So, I’d say it wasn’t directly connected to those circumstances.
I started studying music in Sumgait, Azerbaijan, but then things took a turn. Armenians had to flee. We moved to Artsakh, which was the closest place we could go, even though the conflict was ongoing. We fled there, but later I was taken to Moscow, where I continued my music education. It wasn’t long before I formed my first band, then came military service. After that, I began to take more serious steps in my music career.
— You’re known as one of the pioneers of electronic music in the post-Soviet space with your group, T.S. Technology. How did you get into this style?
— It just sort of happened naturally. I really loved that kind of music. Of course, back then, the resources were limited.
We did sign a contract—with the label Soyuz. They had an electronic sub-label called Electric Records. That’s where we recorded The Best Of House From T.S.Technology. But things didn’t quite work out due to financial issues, and the contract was terminated. However, we managed to release the album through Soyuz, and among those who were into that type of music at the time, it even gained some recognition. One track, “London 2000,” became a hit and was featured in the rotation of Russia’s only dance radio station.
— Who are your main musical inspirations?— Rodney Jerkins, or Darkchild, has been a huge influence on me. As a longtime listener of Michael Jackson’s music, it’s no surprise that I admire Darkchild. You could say he had a major impact on me. When it comes to dance music, there weren’t any specific artists—I liked a lot of them. Back then, we just listened to whatever came to the market and enjoyed it. But if we’re talking about American music, it’s definitely Rodney Jerkins, Quincy Jones, and really, anything connected to Michael Jackson.
— Your body of work is impressive. Is there a project that stands out as your favorite or one that surprised you the most?
— There was one with Polina Griffith, who was the lead singer of A-Studio, the iconic and influential pop group from Kazakhstan, at the time. I produced a track for her called ‘SOS’. It turned out to be quite successful and made waves in Europe, getting into dance charts. Later, well-known producers created numerous remixes of it.
Another interesting project was with Marcia Barrett from Boney M. That was more of an experiment; I didn’t aim for commercial success. It was just something I tried, and it turned out to be quite successful as well.
— How did you meet Marcia?
— It was pretty straightforward. I wrote her a letter, and she actually replied, sending over her vocal tracks. I went through them and started working on the music. At the time, I was living in the Moscow region, so I set up a concert there. They performed, and it gave us the chance to finally meet in person and chat. Before that, all our communication had been through email. It was great to finally talk face-to-face, and we ended up becoming friends.
— What was it like meeting her in person for the first time?
— Oh, it was joyful, what else could it be? I mean, when I was a kid, I listened to Boney M., so having one of their lead singers come all the way here—it was quite something. It felt unique and, let’s say, a bit surreal.
— How did your connection with ISINA begin, and what does your mentorship there involve?
— Before joining ISINA, I was already familiar with producer Oleg Shmelev. We worked on some projects together back then. After that, there was quite a long break, but then we reconnected, and by that time, he was already part of ISINA.
One of the projects we worked on together was the track “The Usual” with Shelton Taylor and Shannon Jae Prior. Now, there’s a new track on the way called “So Yummy.” This release features popular influencers Kika Kim and Wenzl. It’s set to come out on November 8th.
— Do you notice any differences in your approach when working with local versus international artists, and if so, what are they?
—These are different markets, so naturally, the approaches differ. For instance, if I were to create something here the way I do for the American market, it wouldn’t sound as commercial. It really comes down to style. And, of course, the way work is structured is different. For example, with foreign artists, especially in Europe and America, people stick to their own roles and don’t interfere with others’ work—that’s the norm. But here, artists often try to be everything at once.
— And which approach do you prefer?
— I prefer when I’m left to work in peace [laughs]. When I can sit down and create without interference. But overall, a lot depends on human relationships. If you have a good connection with someone, then it doesn’t really matter where you’re working.
I work quite closely with the Armenian market as well. They have a completely different mentality, you know? Their approach is unique too. For example, they often insist on incorporating traditional instruments into their music.
— How do you feel about blending traditional themes with modern music?
— Even though I’m Armenian, I hadn’t really used traditional Armenian instruments. I was used to making modern music. But there’s this amazing singer, Sirusho, I started working with her, and we made it work. The song with Sirusho turned out to be very successful. It’s called ‘PreGomesh’, and it even became a clothing brand named after the song. So, it all worked out quite well.
I’m also working on an album with Jivan Gasparyan, who lives in Los Angeles. He’s the grandson of the famous Jivan Gasparyan, who played the duduk and passed away a few years ago. It’s interesting because he’s continuing his grandfather’s legacy. We’re working on an instrumental album that blends deep house with the duduk. It’s an exciting project, and I hope we finish it soon and get it released.
— What does the ideal balance in collaboration with an artist look like to you?
— The most important thing is that your tastes align with those of the artist you’re working with. When that happens, you can adjust to their preferences so that everyone feels satisfied.
Nowadays, it’s simple: you create a set of pieces, show them to the artist, and they can immediately say whether it’s the right direction. It’s a creative and flexible process. Everyone is different, so each artist requires a unique approach. The longer you work with someone, the better you understand them and can predict, “Oh, they definitely won’t like this,” and you adapt accordingly.
— What do you think about the commercialization of music? Is it harmful to true talent or beneficial?
— I think it’s 50-50. It’s great to have different kinds of music—both commercial and more complex. I enjoy creating a variety of music, both commercial and non-commercial. I even like making underground music that’s far from commercial. I believe it all matters.
— What’s your opinion on the growth of streaming services and their impact on music?
— Are streaming services still considered new? [laughs] I’m not sure—they’ve been around long enough that I feel everyone has adapted by now.
But it is what it is now. Who’s going out to buy records these days? Almost no one. Although, I did read some statistics showing that vinyl sales have been growing for some reason.
— That’s true. People still like to own something tangible.
— Exactly, there’s something satisfying about it. When you buy a record, it feels like you’ve actually gotten something. But with streaming, it’s like you’re just given something to listen to, and then that’s it. You listen and move on—it doesn’t feel the same as owning it. That’s just how I see it. But what can you do? Times have changed.
— What kind of relationships do you build with artists, and how do you keep those collaborations going for years?
— Creative partnerships often burn out quickly or fall apart. But with A-Studio, we had a lot of joint projects and a partnership that lasted for many years. I think it works out when everyone is satisfied with the arrangement.
Shared tastes and a similar approach to music play a big role. I enjoyed working with A-Studio—they were high-level musicians, and that made it interesting. I think it just naturally falls into place when it’s right. Sometimes, you make one song, have a disagreement, and then don’t want to continue. But with A-Studio, we worked together for a long time. I don’t even remember exactly how many years, probably since around the 2000s, but definitely for about 10 years.
— What fuels your creativity beyond music?
— I feel like I’m always working, so work and hobbies blend into one. For example, once I finish work and this conversation, my day will be over. Then I wake up, turn on my computer, and spend the entire day working with different programs. It’s like living in a Groundhog Day loop, you know?
I’m a pretty introverted person. I do keep up with new releases in pop music. I’m more interested in the technical side of things, because after so many years, it’s impossible to listen to music as a casual listener. I dissect it, thinking, “This part is interesting, that part is interesting,” and I’m constantly analyzing everything. So, I live and breathe music around the clock.
— Who stood out to you in the latest music you listened to?
— I really like what Billie Eilish does, though she’s not exactly brand new anymore. I love how her music sounds from a technical standpoint. I also like The Weeknd. There’s a lot I enjoy, but those are just the first names that came to mind.
— What do you think about the concept of ISINA and the support it offers to emerging artists?
— I think it’s an amazing idea. How can you not support talent? That’s the whole point, in my opinion. As for wishes, I hope it continues to grow and expand, discovering more and more new names. Sometimes there’s a lack of fresh voices—it would be great if there was always something new. It often feels like the same things are cycling through, just with different faces. But with ISINA, there’s a real opportunity to uncover someone truly new. I believe there are so many talented individuals out there who are undeservedly unknown. This gives them a bridge to reach an audience.
