Russian troops and Chechen citizens alike. On June 25, 1995, DDT performed a 15th anniversary concert in Petrovsky stadium, attracting an audience of tens of thousands of fans. Afterwards, the group toured with its newest programme, Ot i do (From and to). At the end of the winter of 1995–1996, the group spent time working in a recording studio in the United States. In February–March 1996, DDT recorded a new album, Lyubov (Love), at Long View Farm in Massachusetts with two new musicians: bassist I. Tikhomirov (from the group Kino) and keyboard player D. Galitsky. In the summer of 1996, upon their return from the United States, the group headlined several festivals, including VladiROCKstok, the first large-scale international music festival in the formerly closed city of Vladivostok on the Sea of Japan. 1998-2004 In May 1998, the band released a new album titled Mir nomer nol' (World number zero) - a concept album which contained influences from industrial music and relied heavily on electronic, computer-generated music. With this program DDT lost some of their old fans but found a huge success among younger listeners - which Shevchuk and DDT were very pleased by. The "Mir nomer nol'" tour included about 70 cities in Russia and overseas. A new album, Metel' avgusta (Snowstorm of August), contained mostly outtakes from Mir nomer nol as well as more lyrical songs. Since then, the band has won a number of Russian music awards and been awarded humanitarian citations for their creative and charitable work. Shevchuk and his group also regularly travel throughout the C.I.S. and other former Soviet republics giving benefit concerts: in the spring and summer of 2002, 10 out of 11 concerts the band played were benefits for various social and cultural organizations. The band has transcended Russia, reaching an ever-growing audience in the U.S. and Europe, and for the past 20 years have traveled frequently throughout the world, playing concerts and gaining new fans with their unique sound. Shevchuk's music and lyrics are not only influenced by traditional "western" rock music, but also by the entire scope of Russian folk, classical, and religious music. In many respects, Shevchuk's initial years of struggle as an underground musicians shaped his and, by extension, the band's philosophy toward their art. The question of the music's marketability was never part of the song writing process as there was no "market" in which to compete but