Melbourne born, Swedish based electro artist Ninoosh has released her ethereal soundscape of an album with Floodgates. As well as creating experimental and ever-changing music, Ninoosh is the founder of Synth babe records, which is all about inspiring and empowering women and non-binary to get into electronic music. We chat with Ninoosh (aka Anya Trebala) following the release!
Congrats on your first full-length album Floodgates. Can you tell us a bit about the process of pulling this together?
Aw thank you so much. Well, this album has grown from experimentations in Ableton I found on my hard drive through to full-blown songs that have evolved quite organically. I worked with a number of talented artists to help me record and mix the album including Aphir, Ok Sure, Sod Off and Mila Dietrich. I am still not 100 percent confident with my production skills, but working on this in the new year with more training! I also loved what the artists brought to the songs. A local trumpet player Unni Zimmerdahl and the Vindla String Quartet here in Malmö added their magic as well. I love how classical instruments blend with electronica – it gives the sound far more depth and feeling. I envy the way Unni plays the trumpet – I played as a kid and feel I could have been awesome if I had just stuck with it! I also was blessed to have a studio inside a silo factory with views of the Baltic Sea, so that really inspired my sound – nature and water through to harsh industrial sounds. I love carving the sound.
What has been the greatest challenge in putting out your first full-length?
I think to make something that is cohesive and flows well. My songs are fairly diverse and go from mellow ambience through to harsh sounding industrial pieces so it was a bit tricky to make the songs flow! I also think there is so much energy poured into making a full-length piece that when you finally get it out there it makes one feel a bit flat. But playing live helps get fresh feels with the songs.
Which bands have influenced your sound?
Definitely Fever Ray, The Knife, Gotye and in my early years Pink Floyd. Although I do still love Pink Floyd! They have such a timeless sound.
We understand you’re based in Sweden. What influence has this had on your music?
The winters are LONG and so dark (sunsets at 4pm!) so it gives the chance to cosy up in the studio. I also lived in the countryside for a few months, which gave me the chance to breathe and create. Malmö is a vibrant little town and I have gotten some sweet opportunities, like supporting Zola Jesus and being sent to Iceland for a festival, so I’ve had the chance to develop as an artist and my sound.
Do you plan on coming back to Aus any time soon?
Yes! In the summer for a few months. I’m doing a residency last MESS in January, which is like a synth library in Melbourne, which should be a dream – all those awesome synths to play around with will be great. I’ll be working on the next few releases while in Aus!
Let’s talk about the Ableton Live self-confessed obsession. What do you enjoy most about using this?
It’s the software that keeps on giving really. I find it incredibly therapeutic to just dive in and make new things. My Push 2 is also my main instrument when I play live, along with my vocal pedal and synths. It’s kind of like an intimate relationship!
If you were to recommend one song that sums you up, what would it be?
‘When I Grow Up’ – Fever Ray because I feel as I get older I still have the mindset of a kid at times!
Release: Floodgates is out now via Synth Babes.
Photo by Tanya Borodina
