Heir of All Inner Night

Heir of All Inner Night album artwork
Heir of All

Inner
Night

Ned Quintana
Heir of All Inner Night four vinyl collection
AlbumNed QuintanaThe Hain Label

There is a night that begins after the lights go out — and another that was already inside us.

Tracklist

Disc 1

01Hain3:27
02Ali4:44
03The First Love Theory3:13
04Xian3:34
05What!3:09
06La Agonía De No-Ser5:05
07609 (The Day When I Met You)3:43
08Taquión3:57
09Resonance Curve4:24
10El Loco3:14
11Musca5:04
12Neumántica2:43
13Redemption13:40

Disc 2

14Den4:18
15144:01
16Pneuma3:37
17The Silent Bifurcation Theorem3:43
18Fernanda5:11
19Eres El CulpableCover of “Eres el Culpable” by Constanza Piccoli · Written by Gonzalo Yáñez4:43

Disc 3

20Red Lightswith Dominik · Cover of Selena Gomez & The Scene’s “Red Light”3:39
21Mister Ruttan3:39
22Christmas Song12:23
23VioletaCover of “Gracias a la Vida” by Violeta Parra5:02
24MargaritasInterpolates “Mira Niñita” by Los Jaivas1:24
Canal abierto // You are visible here

Open Channel Canal abierto

Este es un espacio para contar esas experiencias que a veces cuesta decir en voz alta: cuando sentiste que te estabas volviendo loco, cuando pensaste que ibas a morir, cuando te disociaste, cuando lloraste, bailaste, amaste o simplemente intentaste atravesar el día.

Puedes venir, escuchar la música y contar tu historia. Si estás pasando por una disociación, no tienes que fingir aquí que la experiencia no existe. Podemos ponerle palabras, escuchar, respirar, bailar a veces, llorar otras y volver a encontrarnos con lo que está alrededor.

Yo sigo acá: normal, común, no tan loco ni tan cuerdo. Sigo acá. Y espero que tú también puedas seguir acá.

Este espacio es para todos. Acá tú sí eres visible. A mí sí me interesa lo que piensas.

Tell your story // Cuenta tu historia

Usa los comentarios de esta página para dejar tu experiencia. Puedes escribir mucho, poco, una sola frase o simplemente aquello que nunca habías podido decir.

Listen · Write · Cry · Dance · Stay
Write with the record // Escribe con el disco

Build your song

Escribe cada parte una sola vez. Después arma abajo la estructura que quieras: puedes repetir un verso, un precoro o un coro todas las veces que necesites. Al terminar, la página ordenará tu letra como una canción lista para leer mientras escuchas la música.
Song structure // Estructura

Escoge una sección y agrégala. Agrégala otra vez si quieres repetirla.

Your song

Sing your night // Canta tu noche

Your voice finishes the song.

También hice estas canciones sin voz para ustedes. No para que las canten “bien”, sino para que las hagan suyas. Canten encima de ellas como quieran: desafinados, afinados, perfectos, imperfectos; con voces finas, graves, rotas, suaves o fuertes. Todas las voces caben aquí.

Si hay algo que no puedes explicar hablando, cántalo. Si tienes rabia, grítalo. Si necesitas llorar mientras cantas, llora. No tienes que demostrarle nada a nadie. Cántala a todo pulmón y, aunque sea durante esos minutos, olvídate de eso.

Después, si quieres, vuelve y cuéntame qué sentiste. Yo hice la música; tu voz termina la canción.

No audition · No perfect pitch · No permission needed

This album began during a period when love, fear, dissociation, memory and mortality were all occupying the same space. One of the people connected to its beginning was Omar. I met him while he was deeply in love with someone else. Our encounter still gave me something beautiful: for a moment I felt attractive again; I felt affection again. But I also understood that his love belonged to him. I could not decide whom he should love, and I did not need to accept a kind of love that was not right for me in order to respect his humanity.

There were things I spoke about then that were difficult for other people to hear — death, madness, dissociation, everything that was happening inside my life. But silence does not make those things disappear. Sometimes the safest thing a person can be given is a place where difficult thoughts can be spoken without being punished for having them.

“If you need to talk about death, talk about it here with me. If you need to talk about madness, talk about it. There has to be somewhere the darkness can be spoken.”Heir of All Inner Night // Open Channel
Archive // Interview transmission // Canada

Interview
Moment

Ned Quintana on Heir of All Inner Night

There is a peculiar story behind Heir of All Inner Night. The record exists, in part, because another album never did. Ned Quintana traces its beginning through disappointment, curiosity, a piano inside Soundtrap, and the moment he realized he could produce music himself.

Interviewer // Is this your first album?
In many ways, yes. It is the first studio album I really worked on here in Canada. There had been music before it, and a compilation project before this, but this is where I feel my albums in Canada actually begin. Before this I had composed a few things. I made Invierno, but even then I had help. I had never sat down and produced an entire album. I hadn’t even produced a complete song entirely by myself.
“This is where I learned that I could do it.”
Interviewer // But the story actually begins with another album.
Yes. I had paid someone to develop a completely different project. It had its own aesthetic — rock, but intimate, almost bar-room rock. The kind of music where you sit down close to the people playing and listen to the songs. At first everything moved incredibly fast. Then came hesitation and disagreement, and eventually the project collapsed. I lost money, but what was sadder was losing the album I thought I was making. I trusted the process and it didn’t become what had been promised.
Interviewer // How did that turn into Heir of All Inner Night?
One day I opened Soundtrap and started looking at the piano. I began touching things and noticing how the notes related to one another. I realized the notes belonging to the scale were marked visually. Suddenly I thought: wait — if I move here, then here, if I jump over this note, I can make the melody more harmonic without leaving the scale. I just kept playing. That was the moment the whole thing opened up for me.
Interviewer // And Hain came from that?
Hain was the first piece I made completely by myself. I didn’t give everything lyrics because I wanted some songs to simply be melodies. I love the melodies that came out of this album. I discovered that a piece doesn’t always need words to carry something.
Interviewer // A lot of the record seems to contain people and ideas.
Almost every song carries someone or something. La Agonía de No-Ser is a complete paradox — something that is almost going to be born but never is, because it is what must not be born for everything else to keep functioning. Den, for me, is a particle: the particularity of love, of giving. 14 is almost ridiculous because it is tender and simple — why didn’t you see me when I was right there with you? Fernanda is for my best friend. The First Love Theory comes from Omar. Redemption is for Thabo, a friend from South Africa. There are people in these songs whom I remember differently now, but they are still part of the history that produced the record.
Interviewer // The covers also became part of learning production.
Eres el Culpable, associated with Constanza Piccoli and written by Gonzalo Yáñez, was the first song by another artist that I produced completely through my own process. Then came Red Lights, my first self-produced exploration of that song associated with Selena Gomez & The Scene, with Dominik. And Violeta brought me to Gracias a la Vida and to Violeta Parra. Discovering her was a real “wow” moment for me.
Interviewer // And your mother closes the album.
Yes. Margaritas is there at the end, with my mother. I like that she is there. The record is full of people who were with me in one way or another.
Interviewer // Where does Justin enter the record?
Justin Ruttan is my partner, and Christmas Song came from one of those completely ordinary moments. He was having a sad day and washing the dishes. Apparently that’s how songs happen around me: if I’m not crying in a supermarket creating something, I’m finding a song while somebody is washing dishes.
Interviewer // Why does this album begin the charitable records in Canada?
Because being able to make it felt like a gift — from the Lord, from heaven, however you understand that. I had never been able to produce an album before. Then suddenly I could. So this became the beginning of the albums I make here with the intention of giving back. The proceeds I receive from this project are intended to support Omani Neûmen Vitae Chora Centre.
“It wasn’t the album I paid someone else to make. It was the album that taught me I could make one.”
End transmission // Heir of All Inner Night
Heir of All Inner Night · Ned Quintana

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