Artist Journey: NOIA


Eduardo Noya, also known as NOIA, draws and blurs sound from an early age. Noya specializes in unconventional approaches to composition, through textured and evocative synthesizers.

As a film composer, Noya has collaborated twice with award-winning Quebec filmmaker Xavier Dolan, on the films “Laurence Anyways” and “Mommy”. taking viewers deep into the characters’ subconscious,

He also participated in Netflix’s period drama “Versailles,” bringing the perfect complement to the intrigue, tension and glory of the plot.

What’s your connection with nature?

My connection with nature is essential in my life. I grew up in front of the ocean and close to the mountains. I have been surfing and mountain biking since I was young. Both of those activities served as a gate to find inspiration to create music and to reflect on life and escape the urban realm in my life. The only way I can be sane in the city is to have from time to time a vital dose of nature.

How does your music connect with nature?
As a sound designer, sounds of nature, especially animals, have been included in my works. I normally tweak them and treat them as musical instruments rather than music backgrounds.
Which is the most powerful sound have you ever heard in nature?
Thunder stands as the most powerful sound I have heard so far in nature.

A final sentence about the project, inspirational words or something that you want to share?

In the summer of 2020 right in the middle of the pandemic a 2 year old humpback whale swam upstream the St Lawrence river and stayed around the Montreal old port river area. You could see it regularly for a while from the place where I river surf. This was an anomaly and for the brief time she was there she became a joyful omen for locals in the middle of the pandemic. It chimed with the dolphins reappearing in the Venice canals around the same time, and to me it felt like a beacon of hope and a reminder that nature always goes on. The whale attempted to swim back to the ocean but unfortunately didn’t make it as it collided with a boat in the night. This project appeared a few months later and I thought a lot about her while making the track.

What has been your approach when preparing the theme?
My approach was to first find certain patterns from any sounds in the library. The ones that served more as melody were inevitably the Humpbacks, which I tweaked in variations to make a longer melody. That one clearly became the main Motif of the song. The dolphins served as textures and high frequency percussion (like hi hats) and the Ice breaking as downbeats and kick drums. The melodies from the Humpback whales revealed all the chords and melodies that needed to be there without me even having to compose the musical context by myself.

What sounds  caught your attention the most? Why?
All the sounds were fascinating to me but the Humpback whale chants were the ones that struck me the most.
How do you imagine the Polar soundscape?
I imagine the Polar Soundscape as an enigmatic and vivid environment pretty far from being close to any meaning  of “cold”
Have you discovered something that caught your attention in this process? What has been the most difficult thing for you?
I had such a direct connection to all the Polar sounds that the inspiration for the track happened in a very organic way right after giving the sounds a first listen. Though it was really hard to pick only a few sounds from such a vast palette full of effervessence and musicality.