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Olegh Kolyada Interview; Cadaver City
Friday, February 15 2008 @ 01:00 AM PST
Contributed by: Hoerikwaggo

Olegh Kolyada Interview

Heathen Harvest:  You had to have had emotions but you could set them to music only when you had got over them…

Oda Relicta: a bombastic tapestry of marches and classical pomp and grandeur.

First Human Ferro: a descent into a feedback laden dissonance, whose sole link to   musicality lies within heavily manipulated snatches of classical.

Two projects located at opposite ends of the post-industrial spectrum, but not devoid of commonalities; both display a love and appreciation of classical music. More surprisingly, both are the work of just one man, Mr Olegh Kolyada and we are delighted to present the interview below, to discover more about what makes this particular soul tick.  Both seem to be rather unusual names; Oda Relicta sounds vaguely Latinate but its meaning is unclear, as is even the more nebulous title.

Olegh Kolyada:  Oda Relicta stands for an ode to the departed socio-cultural relics we worship and desperately eager to preserve inside despite present overwhelming nihilism. First Human Ferro is an oxymoron: person who is made of steel is alive and he suffers since even a steel heart can be broken. Well, that’s the story behind the titles that are but words are of no importance after all.

HH:  I gained the impression that Oda Relicta was more personal, especially given the nostalgic confessional in the liner notes. But this is a charge that Olegh rejects.  I have to admit that FHF [First Human Ferro] nevertheless is more personal than OR [Oda Relicta] to me. On the one hand, the latter involves many session musicians or artists who share the same beliefs and musical introspectives. Hence, the conception and sound of the project is pre-determined from the very beginning and varies from martial to neo-folk, from classical to liturgical; its basis will remain one and the same for good. On the other hand, in FHF the private input is much deeper, the sound is more unpredictable, a swing in-between realistic matters and nostalgic blackouts is more perceptible. OR is universal, FHF is personal.

This erroneous perception could have formed as Olegh displays a clear affection for classical forms of music, even roping in famed Ukrainian composer Mykhayil Shukh to collaborate on FHF's "Adamnation". I thought such a collaboration was little more than FHF sampling Shukh's works, but Olegh reveals a greater depth to both their relationship and collaboration.

OK:  MA Shukh took part in FHF’s recent Adamnation and OR’s "Czarstvo dukha" records. The collaboration turned out to be real first after virtual and then personal acquaintance and dramatic coincidence on several musical aspects. When I heard his Mass for Sopranos first I was speechless – so groundbreaking the effect was; the idea of implementing his classical grandeur into industrial textures sounded pretty inspiring since I could hardly recollect something well up to par in this particular genre. The final result of his contributions into both projects surpassed all my expectations. He monitored my manipulations of his parts first and then added live sessions, which were processed by me at the end again.

It is clear that Olegh deeply respects Shukh and was humbled by the experience.

OK:  Here I lift my hat in honor and gratitude to Mr Shukh for his agreement to create something together even if only re-working his earlier brilliant works.

HH:  A collaboration with a classical composer on an industrial sojourn, and a heavy sampling of classical on another project - it seems that Olegh is very much enamored with classical music.

OK:  Classical music is a shrine where real music dwells, on the heights reachable to few mortals. Music nowadays is popular and devaluated via radio and TV, but the real spirit of music ever revives into classics only – since it speaks directly to your inner self, it awakes your intelligence, not your instincts. Martial and liturgical music are parts of classics too in my opinion, which stimulate your consciousness either to express your civil position in public or root your moral law in private. If music helps to reinforce such integrity creating has an imperishable power.

HH:  A number of traditional and classical works were sampled on Oda Relicata's "The Ploughman and the King". Rachmaninov and Prokofiev are classical composers renowned across the world, but the same cannot be said of Chernezkiy, one of the most heavily sampled composers on "The Ploughman and the King".

OK:  What attracts me in SA Chernezkiy’s marches the most is a precise rhythm and an adjust tempo. One can almost physically perceive the procession of the troops or glorious celebrating of victories when indulge oneself into martial music written by such a genius. Likewise a synchronous parade of hundreds of people or a funeral train accompanied by a march strikes you every time you watch them, alike impresses you human ability to organize that very procession under musical banner to follow. Chernezkiy held that banner in the times when spiritual upheaval was in need the most; he composed marches in the hardest historic periods for ex-USSR, periods of revolutions and wars when a march could change the outcome of a battle, the whole history…

HH:  For all the tribulations to his ancestral heritage, Olegh does not align himself with any pagan belief, reconstructed or otherwise:

OK:  True, I’m not related to any of pagan beliefs and consider them retrograde, though such archaism is a part of Slavonic soul, hence I respect my ancestors` creeds even if do not preach them myself. 

HH:  Neighbouring Russia has a number of post-industrial artists but I am unaware of a Ukrainian scene.

OK:  I’m not sure there is a scene. I’m aware only of Zhytomyr-based projects:  FHF, Oda Relicta, In Meditarium and Filivs Macrocosmi. In fact post-industrial in Ukraine started with us (sorry for being so self-confident here) back in 1997-98. Since then nothing else more or less comprehensible in this sub-culture has appeared in my motherland. Pity.

It is customary at this time of year to look back at what was accomplished in 2007, but Olegh is looking forward and will certainly be busy in 2008.

OK:  First off Oda Relicta "Czarstvo dukha" is out on Neuropa this December, so you are welcome to enter our world again - the liturgical realm this time.  Next is Energia compilation I have compiled and executed with the Ukrainian Dark Syndicate as a tribute to the centenary of the world’s practical astronautics founder – S.P.Korolyov (1907-1966), born in Zhytomyr too. [This is] an exclusive compilation which ranges from multi-faceted deep dark ambient to electroacoustics-related, featuring Atomine Elektrine, Autopisa, Cisfinitum, Deutsch Nepal, Filivs Macrocosmi, First Human Ferro, Isomer, Kryptogen Rundfunk, Nocturnal Emissions, Polygobn, Satori, Tholen, Vestigial and Visions.    Finally, the new FHF Prosa Profana nostalghic recording (the follow-up to the 2003 Guernica Macrocosmica) has been finished and finallized; it is featured by Davide Borghi/Albireon as a vocalist. This one will see the light of day next year.


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What's Related
  • Oda Relicta
  • First Human Ferro
  • Mykhayil Shukh
  • Rachmaninov
  • Prokofiev
  • In Meditarium
  • Filivs Macrocosmi
  • Neuropa
  • Atomine Elektrine
  • Autopisa
  • Cisfinitum
  • Deutsch Nepal
  • Isomer
  • Kryptogen Rundfunk
  • Nocturnal Emissions
  • Visions
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