Madrigals

By Heinali

“Oleg Shudeiko pairs software re-creations of medieval harmonies with human free improvisation and the results are transporting.” – The Guardian, Contemporary Album of the Month

“Immersive… like re-entering the womb” – Uncut

“An immaculate sense of intrigue, nostalgia and wonder” – Fact

“Full of ethereal beauty…emotive…haunting” – XLR8R

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Ukranian composer and sound-artist Heinali returns with beautiful, mesmerizing new album ‘Madrigals’, inspired by Renaissance/late Medieval polyphony and created with generative modular synthesis and historial instrumentation.

‘Madrigals’ is the result of a two-year-long exploration into generative counterpoint in modular synthesis. Inspired by Heinali’s love of the polyphonic compositional style of the late Middle Ages and Renaissance, the album employs historical acoustic instruments such as the theorbo lute and the baroque alto viola alongside Heinali’s mastery of notoriously complex generative synth systems.

Heinali (Kyiv-based Oleg Shpudeiko) points out that late Medieval and early modern music – like his own studious approach to synthesis – is often inherently mathematical. Both are as much musical expressions as deeply cerebral studies. In modular synthesis, theory guides the musician’s reading of the sequence of logical operations, knowing the system well enough to anticipate its sound simply by reading the matrix of algorithms at its heart. In the case of early music, polyphony was achieved by acute study of interrelationship between notes and intervals. In both cases, harmonic layers are acquired in theory before practice, almost always by a single composer working alone.

Heinali writes of the surprising joy of writing generative patches that bloom with their own unpredictable life: “after two years of working on the patch and then several months of recordings, I discovered in awe that some of the voices acquired a kind of subjectivity. They were now framed by their stories — sets of relations that had been established over several years of practice. There was, for example, a high bird voice that loved ostinato and sometimes, under certain circumstances, went into deep bass. The interaction of these voices, as a result, gave rise to some kind of narrative”.

In ‘Madrigals’, music moves gradually. It is a garden of many intricate textures; its flora abundant, its seeds sprouting with colour and surprise. Heinali’s astute references to Medieval music were informed in part by the advice of Julia Vash, formerly of the University of Music and Theatre ‘Felix Mendelssohn Bartholdy’ Leipzig.

The ascent in opening track ‘Rondine’ feels physical, with high peaks and thin air. In ‘Beatrice’ (a piece beautifully elevated by Igor Zavgorodni’s brilliantly intuitive, poignant viola) a Millefleurs tapestry depicts pastoral bliss with a thunderstorm threatening to burst over the horizon. ‘Giardino’ is a tender, dusklit garden of diverging trails. Closer ‘Vita Nova’ lives up to its name, bursting with electric life.

Released on November 13th, 2020
Mastered by Taylor Deupree at 12k Mastering
Cover art by Nastia Lopatiuk

Rondine
Igor Zavgorodnii: baroque viola, violin.
Oleg Shpudeiko: modular synthesizer, mixing.
Recorded by Vadyk Lazariev at LipkyZvukoZapys in Kyiv

Beatrice
Igor Zavgorodnii: baroque viola, violin.
Oleg Shpudeiko: modular synthesizer, mixing.
Recorded by Vadyk Lazariev at LipkyZvukoZapys in Kyiv

Giardino
Andrew Maginley: theorbo.
Maxim Kolomiiets: baroque oboe.
Igor Zavgorodnii: baroque viola, violin.
Oleg Shpudeiko: modular synthesizer, mixing.
Recorded by Vadyk Lazariev at LipkyZvukoZapys in Kyiv
Additional recording by Sine Buyuka in London

Vita Nova
Oleg Shpudeiko: modular synthesizer, mixing.
Recorded by Oleg Shpudeiko at home studio (HHS) in Kyiv