Over the last five years, Andrei Olenev AKA Heyoka, has been bringing a unique twist on glitch hop and psychedelic bass music, emerging as a staple producer and performer throughout the west coast electronic music scene and burning man community, as well as branching into the international glitch hop and bass music movements. Heyoka has brought his signature sound to festivals such as: Symbiosis, Sonic Bloom, Raindance, Lightning in a bottle, Big Bounce, Alchemeyez, and large sound camps of Burning Man such as Nexus, El circo, Temple of Boom, Entheon Village, Roots Society and Fractal Nation. He has also brought his music to several International Festivals such as Shambhala (Canada), Boom (Portugal), Erthfreq and Winter solstice (Australia), and Luminate (New Zealand). Heyoka has a hectic touring schedule throughout North America, regularly visiting clubs, warehouses and festivals of various underground music scenes.
Heyoka’s sound blends elements of many musical styles into something that is mind bending and indefinable. While listening to his music, you are taken on a journey through fractal soundscapes and alien dimensions, while riding a wave of fat glitch beats and sub bass. In his live sets, Heyoka chops up and remixes his own original music, always keeping it fresh and hot on the dancefloor. Heyoka’s sound evolves album to album, frequently being reinvented while maintaining a unique flavor that is unmistakably “Heyoka”. He releases his music mainly on San Francisco’s Muti Music, a leader in the glitch hop and bass music scene.
The response to his emergence so far has been overwhelming as Heyoka manages to stand out amongst bass music producers with an almost cult like following due to his unique take on all things ‘Glitch’ and ‘Bass’ centric. So, for a sonic journey through fractalized auditory realms, keep your ear to the ground for Heyoka playing a city or festival near you.
On Intergalactic Carnival, Heyoka explores sixties garage, seventies funk, and carousel & circus tunes from the late 1800’s and takes them to a futuristic Star Wars colony psychedelic funk bar for martians and other intergalactic bass funk explorers.
Andrei Olenev, also known as Heyoka manages to stand out amongst bass music producers with a cult like following due to his unique take on all things ‘Glitch’ and ‘Bass’ centric. In the past few years Heyoka has been taking elements of Glitch Hop, Grime, Drum & Bass, Dubstep, Blues and Jazz and turned them on their heads repeatedly and emerging at times like the audio version of synthesized dimethyltryptamine and other times creating walls of sound that provide a full body massage and relieve pressure on the extremities.
One undeniably consistent element that is heard from anywhere he has toured or been submitted for review, is that the Heyoka experience is a bass music lovers delight. Artwork and animated fractal videos are also done by Andrei Olenev.
Heyoka manages to stand out amongst bass music producers with a cult like following due to his unique take on all things ‘Glitch’ and ‘Bass’ centric. In the past few years Heyoka has been taking elements of Glitch Hop, Grime, Drum & Bass, Dubstep, and now Blues and Jazz and turned them on their heads repeatedly and emerging at times like the audio version of synthesized dimethyltryptamine and other times creating walls of sound that provide a full body massage and relieve pressure on the extremities.
One undeniably consistent element that is heard from anywhere he has toured or been submitted for review, is that the Heyoka experience is a bass lovers delight.
Mandelbass is named in respect to mathematician and ‘creator’ of fractals Benoit B. Mandelbrot and also delves deeply into blues and 1960’s garage influences, all the while maintaining Heyoka’s dynamic use of Glitch plugins and edits. So get ready for a ‘glitched out session of low down bass grooves and some honky tonk thrown in for good measure.
Heyoka ‘Mandelbass’ Tour
Feb 10, 2011 Diehard, NSW Australia Wytaliba Community Hall
Feb 11, 2011 Melbourne, No State Australia Mercat Cross Hotel
Feb 13, 2011 Brisbane, Queensland, Australia Landcruiser Park
Feb 25, 2011 Durango, CO United States Abbey Theatre
Feb 26, 2011 Denver, CO United States Cervantes Ballroom
Mar 4, 2011 Bozeman, MT United States Filling Station
Mar 5, 2011 Missoula, MT United States Top Hat
Mar 10, 2011 Indianapolis, IN United States The Mousetrap
Mar 11, 2011 Minneapolis, MN United States EPIC
Mar 12, 2011 Portland, OR United States Refuge
Mar 22, 2011 Allston, MA United States Wonder Bar
Mar 25, 2011 Richmond, VA United States The Canal Club
Mar 31, 2011 Blacksburg, VA United States Awful Arthur’s
Apr 1, 2011 Asheville, NC United States Garage at Biltmore
Apr 5, 2011 Fayetteville, AR United States George’s Majestic
Apr 6, 2011 Oxford, MS United States Proud Larrys
Apr 7, 2011 New Orleans, LA United States The Hookah
Apr 8, 2011 Dallas, TX United States 2826 Arnetic
Apr 9, 2011 Austin, TX United States The Parish
Apr 22, 2011 Milwaukee, WI United States Miramar Theatre
May 14, 2011 Waikoloa, HI United States Hilton Waikoloa Village
In the past three years Heyoka has been taking elements of Glitch Hop, Grime, Drum & Bass and Dubstep and turned them on their heads repeatedly and emerging at times like the audio conversion of synthesized dimethyltryptamine and other times creating walls of sound that provide a full body massage and relieve pressure on the extremities. One undeniably consistent element that is heard from anywhere he has toured or been submitted for review, is that the Heyoka experience is a bass lovers delight.
His albums tend to be evolutions of certain parameters on self created sound pallets and genre experimentations. On ‘Cosmic Boogie’ he carries on where he left off delving into Halfstep and some Drum & Bass on ‘Marklar’. This time he also embraces old-skool beats like the ‘amen’ loop while staying true to style, he edits the hell out of them and adds his own distinctive flavor.
Heyoka has been on the road steadily and his growth as a performer is evident in his ability to reinterpret his music to various dancefloors and circumstances.
Morpheus Music pretty much summed him up when reviewing Marklar:
“Maklar has an unrelenting dynamism about it - compulsive rhythms of an almost primal nature defying even the uninitiated to remain unmoved. Once the d’n’b rhythms kick in there is an almost chemical elegance that arises - nimble geometric arrangements among the peripheral ephemera and frenetic marginal detail that call to mind the structured chaos of nature. The use of so much imaginative sound manipulation and sonic mangling gives Marklar a distinct flavour; Sonic effects for Heyoka being not so much embellishments as central elements to the music.”
Heyoka’s signature sounds of dubbed out, glitchy bass tracks and instrumental Hip Hop are ever present on ‘Marklar’ only this time they’re accented with crunchy dance beats and even venture into Drum & Bass and Electro Bass arenas. Heyoka made his brand international this year playing festivals in Australia, Canada and being ever present at US club nights & festivals. His early influences in Downtempo, Dub and IDM combined with more recent mid-tempo dancefloor genres have helped create a very unique sound that combines relentless basslines, hip hop and dub rhythms with a lot of musicality and melody. The continual evolution of Heyoka’s productions and his ability to continue to sound uniquely ‘Heyoka’ is evidence that the road for this young producer is going to be a long and prosperous one.
One of our hottest new artists of 2008 has been Heyoka with his three releases, Space Case, Pineal Dub and Whomp Gland, the last two had such a hot response that we’ve gone and made a CD of Whomp Gland and Pineal Dub together in a 6 panel CD cover featuring the prior cover art and some brand new images from Victor Olenev.
Symbiosis Gathering in it’s 5th year has become a unique festival in Yosemite California featuring leading artists in a broad range of music styles including House, Electro, Dubstep, Breakbeat to Jamtronica and performance art groups like The Yard Dogs, artist Andrew Jones visual art project called, Phadroid and live painting by Alex Grey.
This year they contacted Muti Music to help put together a compilation featuring some of the stars and rising stars of the 2009 gathering and the result is nothing short of spectacular, Muti staples like An-ten-nae, Heyoka and Knowa Knowone are featured along with the likes of Eskmo, Beats Antique, Worthy and Goddess Alchemy Project, the compilation also features the debut release from Mimosa’s one side project with Sleepytime called, SexyTime. Pop it on and get ready for a diverse journey into festival style electronica.
We are honored to have such a quality group of established and emerging artists providing their own take on ‘Irma Vep’, the styles range from Glitch Hop, to deep Dubstep and a few other polyrhythmic versions in between, some feature the vocal and others chose the instrumental route, whatever your preference there should be a version for you.
In the past year, ill.gates (also known as The Phat Conductor), has remixed Si Begg on Noodles, Eprom on Addictech Recordings, Sub Swara on Low Motion Recordings co-produced and remixed DJ Dan with Robb G and released a highly acclaimed artist album ‘Autopirate’.
Meesha was first featured on ‘Autopirate’ and has since made a mark for himself in dubstep, one of his tracks was recently included on Starkey’s mix album, Starkbass, out on the Lo Dubs label.
Masia One is one of the most dynamic women in Hip Hop today, fostering a community of B-Girls and promoting independent Hip Hop in Toronto and abroad, you will be hearing a lot more from her on Muti Music.
Following up on past successes, we got some remixes done by some of the most dynamic emerging talent from Canada and USA in the dubstep and ‘glitch-hop’ scenes providing a good variety of vocal and instrumental mixes, many of which are already seeing huge support. This EP is being released along with a great new video of the original tune.
Special thanks to the video production team and artists at Tokyo based www.lightrhythmvisuals.com
One of Muti Music hottest new artists makes his mark again after a very successful debut year in 2008, this time with an album of his signature sounds of dubbed out, glitchy bass tracks and instrumental Hip Hop.
Mostly composed while on a trip to Uruguay in Jan 2009 Heyoka has delivered a trippy , dubbed out sets of tracks that show homage to oldschool dub while playing with modern glitch effects and instrumental hip hop, the result is a listen that could find your mind drifting into unfamiliar spaces that may surprise many.
Heyoka became one of the west coasts most sought after artists last year, which has led to more international engagements in 2009, with festival bookings in Australia and Canada in addition to maintaining a hectic US touring schedule. His early influences in Downtempo, Dub and IDM combined with more recent mid-tempo dancefloor genres have helped create a very unique sound that combines relentless basslines, hip hop and dub rhythms with a lot of musicality and melody.
The continual evolution of Heyoka’s productions and his ability to continue to sound uniquely ‘Heyoka’ is evidence that the road for this young producer is going to be a long and prosperous one.
Heyokas’ earlier works were identifiable by their crushing basslines and ‘spacey’ blips and glitches, ‘Whomp Gland’ extends Heyoka’s range from mellow dubs and glitchy bass tracks to a newer dubbed out version of instrumental Hip Hop. He is fast becoming one of San Francisco’s hottest new producer / performers on the scene.
His early influences in Downtempo, Dub and IDM combined with more recent midtempo dancefloor genres from the likes of Bassnectar, Glitch Mob, ill.gates and An-ten-nae have helped create a very unique sound that combines relentless basslines, hip hop and dub rhythms with a lot of musicality and melody.
” Spacious melodic dub electronica. Heyoka has a deeply psychedelic sound full of squelches, blips, sonic flickers and all manner of effected sine waves, corrosive synthetics and acidic programming. Driven by huge, lumbering bass lines and gritty programmed drumtracks Pineal Dub draws on elements of IDM, glitch, downtempo and displaced hip hop binding them up into a consistent dub framework, with a very low centre of gravity. The overall sound is uncluttered, with repeating phrases and tuneful snatches cycling, alternating and cross layering. Naturally the keyboard stabs and echoed percussion that mark the genre are present, but Heyoka brings something of a dancefloor approach to the mix, promotional material suggesting that the disc be filed under ‘Downtempo, Dub, Breakbeat, Grime and Dubstep’.” read more of this review here.”
Kemek The Dope Computer Review: “So, do you really need an artist’s response to know that this is brilliant stuff? Really, by now you should know that if it’s on Muti, it deserves your dollars. You don’t even need to listen to it first. But if you really must know, “Pineal Dub” finds Heyoka achieving true greatness. Psychedelic, deep, dubby, foamy… this is what your washing machine dreams of when you accidentally leave a sheet of blotter in your jeans pocket and run them through the wash.”
