Following the release of her second album last week on Scissor & Thread, Berlin-based producer Elina Shorokhova aka Soela, steps up to deliver the 386th edition of the IA MIX Series, interweaving a pensive mix exploring ambient, deep house and melancholic classical music.
Having released music through notable imprints including Detroit Underground, E-Beamz, Lost Palms, Kompakt, Nerang Recordings, Cin Cin and Dial, Soela now joins the ranks of Francis Harris’ consistently on-point label Scissor & Thread with the release of her second album.
Consisting of nine heartfelt tracks, ‘Dark Portrait‘ is a deeply atmospheric body of music brimming with emotion, soundscapes, sultry vocals and lose-yourself dancefloor moments. To mark the occasion we caught up with Soela to discuss the makings of the album and her perspective on the current state of the electronic music industry.
Interview by Tom Durston
"When I create mixes, I’m always trying to tell a story, and I think this mix describes me as a person who is deeply into melancholic music that sounds like the soundtrack to an abstract movie"
Hello Elina thank you for taking the time to record this mix and answer these questions. First up please tell us about the podcast you have recorded for us, how it was recorded and where, your decisions regarding the track list and finally what type of atmosphere did you set out to capture?
Hey Tom! Thank you so much for having me. I appreciate it as a big fan of Inverted Audio. You are doing a great job.
This mix was inspired by the music I have been listening to for the last 4 years. I was digging through my collection of Ambient, House and Electronica to compile some subtle and touching tracks in one mix. I wanted to create a story about how unstable and unpredictable life is when the flow in the mix changes, the dynamics go up and suddenly drop in one moment. When I create mixes, I’m always trying to tell a story, and I think this mix describes me as a person who is deeply into melancholic music that sounds like the soundtrack to an abstract movie.
What styles of music and artists soundtracked your teenage years? How has your sound developed over the years?
At the age of 12, I was facing the typical manifestations of a teenage crisis: I remember it vaguely, but that’s when I started listening to music more consciously. I was into Emocore and Screamo, and one of my favourite bands was The Used.
After three years a completely different period started – I got tired of extreme vocals and the sound of guitars. I immediately disliked all the music I used to listen to. My taste in music was very much influenced by a site called Music Not For Everyone. Almost everything posted there was very inspiring to me – that’s how I learned about Plastic City (I still love their early releases), fell in love with John Tejada‘s music.
I would also say that Kompakt compilations, minimalist music with vocals by Sascha Funke, The Timewriter, whose album “Diary Of A Lonely Sailor” influenced my taste a lot. My taste changed slightly but I always stuck to the minimalist and melancholic sound. You can clearly hear that in my mixes in productions. I still listen to the music I liked during my teenage years.
We’re here to celebrate the release of your second album ‘Dark Portrait’ on Scissor & Thread. Tell us about your concept for the album and what you set out to explore?
When I started producing the album, I had a concept in mind – I had been dreaming of making an ambient/neoclassical album for years, but I was afraid of losing some fans who knew me from my earlier works. I had some lyrics waiting for the right moment to be turned into songs, I had a beautiful instrument that allowed me to record the whole orchestra in my bedroom studio. But I was also stuck after the release of my first album ‘Genuine Silk‘. I thought I could hardly put out something that good, and I was really afraid of failing.
It was hard for me to just start producing a new album and I had to go through a very massive internal growth to start making new music. In some words, “Dark Portrait” is about self-acceptance, about being a dreamer, about seeing your negative qualities as part of your identity.
You released your debut album on Dial, your sophomore now lands on Francis Harris’s New York-based imprint Scissor & Thread – how did the album come to fruition on S&T and what does it mean to you to release on this label?
First of all, I would like to say that I loved working with Dial, and when I was looking for a place to release my second album, the first thing I thought about was working with nice and reliable people, because I was already spoiled in that sense.
When I sent the playlist to Francis, the album wasn’t finished. It was more like a bunch of demos and I asked him for his opinion, I was ready for some criticism. I also asked Francis if he wanted to record a collaborative track for the album while it was in progress. He listened to the album and suddenly said that we should set up a call and discuss the album.
For me, releasing on this label means that I’m surrounded by nice and very professional people. Also, I have never heard a bad Scissor and Thread release, I like them all. That rarely happens, right?
The album is named ‘Dark Portrait’ – what is the significance and meaning behind the name – and how does the music relate to the title?
There is no perfect music. All music is imperfect because it is created by human beings. And despite my perfectionism, I have chosen to accept my music as it is. I’m not perfect, I can make mistakes, I’m not the best singer or pianist, but I create my art, and it’s so good to have this opportunity… to listen, to imagine, and to create. As I said before, the album is about self-acceptance, and when I say those words, I mean not only the good qualities, but also the darker shades of the inner. I call that part of myself Dark Portrait.
""Dark Portrait" is about self-acceptance, about being a dreamer, about seeing your negative qualities as part of your identity"
How do you feel this album compares to your debut? What has evolved in terms of your sound, abilities and ability to produce music?
I don’t want to compare them. They are different. For me it’s like comparing two children, I don’t want to do that.
The album features contributions from Lawrence, Philipp Priebe and Francis Harris. How did the collaboration with Phillip Priebe and Francis Harris take place, considering Philipp is based in Berlin and Francis in New York?
It was an unexpected collaboration! We didn’t plan it. Philipp came to my studio to make a track for an album together, we made a demo that sounded quite interesting but something was missing. After Francis listened to it, he said he had some ideas about the track. I sent him the stems and he worked his magic, adding some of his signature harmonies and sounds.
Your voice features prominently on the album – I’d love to learn more about your past as a pianist and vocalist and how you have kept your voice trained for this album.
I used to practice a lot when I was a kid, but I stopped taking voice lessons years ago. I’m about to start again because I can still sing, but I used to do it better. My voice is not my strongest side right now and I don’t feel bad about it. Same with the piano, since I don’t play other people’s songs and mostly play my own music and improvise, I don’t feel the need to take piano lessons anymore. I had enough of that when I was in music school.
Upon reflection on the release of your album, how does it feel for it to be out in the world and what feedback have you received so far from your followers and fans?
It feels like a relief. I’ve been anxious about my second album for a long time and I really wanted it to see the light of day. I wanted to release it like a bird. I thought too much about “what if people hate it”. Now I feel great. And you know what? People didn’t hate it. You can’t imagine how much I love overthinking!
Also, I don’t think I deserve my fans. Sometimes I cry when I read their messages. They are such kind, sensitive, subtle and pure people. I love them. They write such nice messages to me, sometimes they come to the parties where I play to give me some gifts. I will cry if I continue, let’s go to another question.
Social media has become a necessary (evil) component of the music industry. What’s your relationship with it and how do you navigate the pros and cons of various platforms?
I have a love-hate relationship with social media. On the one hand, I don’t think I would be able to accomplish all the things I have without social media. On the other hand, I would probably be happier and healthier without social media, even if I didn’t accomplish anything.
Anyway, I’m pretty good with social media, I try to make nice content, even if it takes way too much time sometimes… The thing I hate the most is a very short attention span.
Some time ago I recorded a trip-hop cover of Peggy Gou’s “it goes like nanana” and I spent a good working day producing music, recording vocals and creating a video. When I checked the statistics, I saw that people only watched it for 7 seconds. Can you imagine that? 7 seconds. How can you understand anything in 7 seconds?
"There is no perfect music. All music is imperfect because it is created by human beings. And despite my perfectionism, I have chosen to accept my music as it is. I'm not perfect, I can make mistakes, I'm not the best singer or pianist, but I create my art, and it's so good to have this opportunity... to listen, to imagine, and to create"
The many adventures in sound and otherwise require considerable time and effort. How do you balance health, time, inspiration and motivation?
I mean, I just… don’t? I prefer to struggle. I’m not even kidding, all my best music was produced when I was struggling with depression. It’s not a very healthy approach, but I think if you’re completely happy, you have nothing to produce your music about. I’d love it if someone could change my mind.
We’d love to learn about your studio setup for writing this album? What are your favourite pieces of gear? How has the studio evolved since you started producing music?
When I produced ‘Genuine Silk‘ I had a Korg ARP Odyssey, some VSTs and a cheap microphone. Now it’s still a cheap microphone, but also a Jomox Alpha Base drum machine, Nord Electro 6D and Prophet 08. I think it’s more than enough to make nice music.
Let’s discuss the album artwork, two swings, one a toddler style swing, the other a plank of wood – what’s the story behind the symbolism of the photograph?
So first of all I want to say that this photo was taken by a very talented guy that I have known for years. His name is Viktor Kostylev, he lives in South America, and I think he has this special vision for things that photographers don’t usually see. Please check out his Instagram – I’m sure you’ll enjoy his art. About the symbolism… There is no symbolism here. I just saw a picture and gasped. I had a long look at that picture and thought: this will be my album cover.
What are your perspectives about the current state of the electronic music industry, specifically the deep house scene and how it will progress in the near future?
It doesn’t look too bright to me. I have some friends who were (and still are) very successful as DJs/live acts. They tour a lot, play in the best clubs and travel to different countries and continents, and that’s what young and developing artists dream of, right? But these people have to find stable jobs to make ends meet. Even though they are brilliant, talented, hard-working musicians who have been doing their craft for decades.
Deep house music isn’t that popular anymore. People want something faster and harder, even something familiar from the 2000s. Sometimes I wonder what these people will be nostalgic about in 10 years when they are listening to the same stuff now but remixed or covered in a different way? I could talk about this topic for hours, we would probably need a whole new interview to put it together, haha.
We’d love to know what music you are enjoying at present, what artists and record labels do you think require attention?
Oh man, I love John Roberts‘ music. I can’t stop talking about it. Everyone should lie down in a bed and listen to ‘Like Death‘ at least once. And here are some other artists I discovered recently: Flaurese, SAULT, Cousin.
Finally, what’s next for Soela?
Talking about my career, the next one is going to be a remix release. We have such amazing musicians doing remixes for the album. I’m trying to be patient because I’m really excited to hear them. Talking about me as a person, I’m hoping to be gentler with myself and other people. This is my next small goal.
‘Dark Portrait’ is scheduled for release on 6 September via Scissor & Thread. Buy a vinyl copy from Inverted Audio Record Store.
TRACKLIST
1. Soela — Sirènes — Orion (unreleased)
2. Loscil — Fromme [Kranky]
3. Thet Liturgiske Owäsendet — Utbrott [Opal Tapes]
4. HIA & Biosphere — White Lightning [Biophon]
5. Soela — Drowning (feat. Module One) [Scissor & Thread]
6. OZY — Sequential Dub [Thule]
7. Pheek — Lonely Wolf [The Untold Stories]
8. Even Tuell & Midnightopera — Untitled B2 [Workshop]
9. Konduku — Yol [Nous’klaer Audio]
10. Cousin — A Message From Q [Moonshoe Records]
11. Philipp Priebe – Porcelain (Soela’s Dream Remix) [Stólar]
12. John Roberts — Like Death [Brunette Editions]
13. Brian Eno — Lantern Marsh [Editions EG]
14. Hania Rani — Ombelico [Gondwana Records]
15. Jóhann Jóhannsson — Credits [Deutsche Grammophon]
16. Soela — Through The Windows (feat. Philipp Priebe, Francis Harris) [Scissor & Thread]
