Heinali airs his ambient mood classics. Oleg Shpudeiko (the man behind Heinali) creates a gloomy atmospheric environment with the piano, strings, ambient / glitch structures. "Air" is his 6 song album.
Heinali from Kiev, Ukraine started composing music in 2003. His sound is generally eclectic, though often described as atmospheric and emotional. In 2009 he joined the Soloma art group and composed music for media art performances “Traces on the Snow”, premiered at “I Love Kiev” contemporary art festival (Kiev, Ukraine, 2009) and “Aero”, premiered at “Gogol Fest” contemporary art festival (Kiev, Ukraine, 2010). His music was featured in ‘Ni Ogros Ni Princesas’ Provizional Danza choreography directed by Carmen Werner (Madrid, Spain, 2011). Collaborated with Maria Navrotskaya, Pleq, Merzbow, Aiode, Anton Baibakov, Orchestra Eclettica e Sincretista, Matt Finney. Collaboration with American poet Matt Finney became a separate heavier and darker sounding project. In 2011 they wrote music for the opening of Olya Pischanskaya’s photo exhibition, which took place at Korobchinsky Art Centre (Odessa, Ukraine, 2011).
Heinali joined Fluttery Records family in 2012. "We signed international music project Draff Krimmy" says Taner Torun, the label owner. "Jan Hammer recommended us Jun Minowa and his projects Gargle and Yawning. Heinali was introduced to us by Jun Minowa. It seems that artist we work with are so happy that they are recommending us to their friends and our family is growing that way."
When we return to Heinali's latest "Air" we find cinematic sad music, strings moving around the central piano motifs which are minimalistic. Power of light touches, the ambience, the echo and the sense.
Altsounds / Jeremy Daniel
The build up of emotion can be subtle enough you nearly miss it but it's there; lurking just behind the ominous clouds overhead, and off in the distance, a cello calls out like a beacon through the fog. Four minutes into the song and another crescendo, from behind the foggy bank of emotion that's slowly rolling in are the clear chimes of a xylophone, weathering the heavy storm. Not an unusual instrument to be placing in such a composition but what's particularly striking is the almost child-like innocence it exudes. It bravely soldiers on, like a tiny beam of sun breaking through the clouds, determined to shed a fragment of hope on an otherwise emotionally crippling situation. Shpudeiko's notes become darker and deeper until they gradually fade off as the song comes to a close.
There's a near two minute gap where just the gentle sobbing of the strings and the naive, good natured xylophone are all that's hanging in the air until Shpudeiko completely kills it off in the most cruel fashions: hitting that bellowing low note on the piano that in an instant, snuffs any of the glimmer of hope or good nature out. Musically, it's a reminder that, unlike in flashy Hollywood movies, life doesn't always yeild a happy ending to an unpleasant situation and sometimes, all you're left with is grief, broken dreams and unanswered questions. And even at that, he still manages to slide a feint hint of beauty into that ending, so maybe if this were a soundtrack, the film it accompanies may be more ambigious than what the silver screen has to offer.
Oh my; to mention all the musical influences heard on this new release by Shpudeiko Oleg of Kiev is impossible. Perhaps you could describe his music with a formula for 'excellent taste in music:' he is evidently open to many things, especially many good things. Hip-hop, rock, jazz, classical, post-punk, and everything else that comes with power - nothing seems strange to him. He presents his latest works under the banner, 'HEINALI,' demonstrating a definite flair for writing emotional music.
'Air' features a series of attractive elements, and is easily accessible. On the other hand, by its depth, you can slide down into the shallow (water), as a listener. A beautiful album for this time of year when the view out the window is either lonely clouds on blue sky, or raindrops on the windshield.
Heinali is calm, calculated modern classical music. Max Richter would be one comparison. Rachel’s, that rock turned classical band from Louisville KY, would be yet another. ‘Air’ builds up its pieces gradually. Electronic touches are present throughout the album. These are used sparingly. Generally the flourishes are related to the low end, to emphasize and elongate the size and scope of the sound. It is patient. And Heinali seems to succeed best with the longer pieces, which allow a great ability to stretch out the sound.
‘Leaves’ sets the mood. This is one of the more active pieces. Max Richter’s influence is heavily felt on this piece, which consists of repetition and slow builds. Other pieces take a near-silent approach. ‘Seagull’ with its blending of the composed and field recordings, is a particularly memorable piece. Near silence from the field recording gives it a greater impact. Heinali almost appears to melt away in this track, allowing the field recording quite a bit of room in creating this wistful feeling. ‘Air’ the title track has quite a bit of electronic effects to create a constantly following sky of sound. ‘Bells’ the epic closer (which at ten minutes takes up a third of the whole album) is gorgeous. The drone sounds beautiful as crystal clear piano and bells are heard rising above, out of the constant low end. Here is where Heinali best succeeds with its mixture of classical and electronic.
This is a muted disc. At no point do things get particularly loud. Heinali does work in a rather crowded field as modern classical music becomes more and more popular. Yet Heinali is able to rise above.
Caleidoscoop / Jan Willem Broek
Fluttery is one of the most exciting international labels. From the world they pick up the cherry in terms of experimental music, post-rock and neoclassical music. They now add Ukraine to their long list where their artist come from with self-taught musician and multi-instrumentalist Oleg Shpudeiko. Very apposite in view of the European Football Championship currently being played there and in Poland. But let me, before I get cranky, just limit myself to the music. Under his alias Heinali, the man from Kiev makes usually minimal work full pianoriedels, strings and electronics, which he crossed several genres. After many digital releases, EPs and CD-Rs he finally came with the debut CD 67 Breaths. He brings a thrilling beautiful mix of neoclassical, post-rock, jazz, ambient and film music. In addition, he has two more obscure works with the American poet Matt Finney and he worked with Mary Navrotskaya, Pleq, Merzbow, Aiode, Anton Baibakov and Orchestra E Eclettica Sincretista. He continues his idiosyncratic musical path now with his second solo CD Air, 6 pieces in which he presents them together half an hour. The music here is well in line with its aforementioned debut, although it is classical and more melancholic. You get in constantly changing formations delicious melancholy string music, field recordings gritty, desolate piano parts and all kinds of electronics. It's more music for the fall, take a track like "October" alone, but no complaints from my side. The music is somewhere between neoclassical, (dark) ambient, post-rock and film music. It evokes the music of Deaf Center, Worry Train, Bersarin Quartett, Dustin O'Halloran, Jóhann Jóhannsson, Max Richter and Goldmund. Superb outlined darkness and desolation in a breathtaking setting. An intimate, melancholy and above all, a great gem.