Heinali presents Iridescent [mix]

This “iridescent” mix comes to us courtesy of Oleg Shpudeiko aka Heinali. In honor of his latest album, recently released on Injazero Records, the Ukrainian ambient electronic wizard Heinali presents a deep mix through musical influential music he was listening to during the creation of that album, Iridescent. (Listen or purchase here) That album is culled from modular synth improvisations, and the tracks he selected for this mix share a sense of depth, movement, and texture.

This will be our final mix of 2018, as we will be giving the site over to our traditional End of Year features.  We’ll be back in 2019 with even more mixes, new installments of Inverted Microphones, and the debut of our new bi-weekly podcast. Until then, thanks for listening. (Joseph Sannicandro)

Stream/download at SoundCloud

MINI-INTERVIEW

Please introduce yourself.

Hi! I’m Oleg and I’ve been making music under Heinali moniker for the last 15 years. I work in the fields of electronic and electroacoustic music with a special interest in modular synthesis.

I work as a music composer, some of my works are a score for Bound PS4 video-game by Plastic/Sony Santa Monica, A Thread choreography by Jean Abreu Dance and SynthTap modular synth + tap dance performance.

I also have an ongoing collaboration with Alexey Shmurak, a classically trained music composer, we did a lot of interdisciplinary projects and performances with poets, artists, VJs since 2013.

Where are you based? Tell us a bit about what makes your local scene special.

I’m based in Kyiv, Ukraine. Kyiv is currently undergoing a quite spectacular transformation initiated after Maidan revolution. While still being a post-Soviet city with tremendous amounts of corruption and ugliness, at the same time it’s becoming a fertile ground for both various underground cultural initiatives and small businesses. I think Kyiv’s raves are already pretty well known thanks to Vice News, but it’s not just raves, a lot of happening in electronic, experimental and modern classical music scenes. What makes it interesting is, first of all, a lack of conventional institutional support and at the same time huge amounts of enthusiasm that sometimes result in projects/performances, not compromised by the restrictions that institutional money usually bring. Some of them can feel really fresh and raw.

Tell us about the mix.

It’s just the music I’ve been listening to lately, especially during the time I worked on Iridescent LP. I don’t listen to a lot of music actually, I find that I’m listening less and less with each year, and now especially, when it became a bit difficult for me to listen in headphones due to health issues. So it’s just a DAW mix of music I enjoyed lately.

What’s coming up on the horizon you’re excited about, anything you want to plug, etc.

My new LP Iridescent has been released just a month ago on Injazero. And as for now I’m currently working on a new album with Matt Finney. We released our previous LP on The Flenser last year, after a long hiatus. I hope the new one will be finished next year.

TRACKLIST

Maalem Mahmoud Gania – Sadati Houma El Bouhala
Keith Fullerton Whitman – Generator 1
Shara Worden – From the Invisible to The Visible
Terry Riley – G Song (Kronos Quartet)
Laurie Spiegel – Patchwork
Poly Chain – Acid Bubble Gum
Kelly Moran – Optimist
Caterina Barbieri – SOTRS

About thenewobjective

writer | traveler | sound organizer | contrarian | concerned citizen

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