Salt chats to rising music star Nina Kohout

Slovak-born singer, composer, and multi-instrumentalist Nina Kohout has made waves with her hauntingly beautiful blend of folklore, classical music, and dark electronica. A graduate of the prestigious BRIT School and a rising star on the European music scene, Nina’s artistry transcends boundaries, delivering a unique sound that is both timeless and modern.

With the release of her highly anticipated debut album, Nina invites listeners into a world of raw emotion and cinematic soundscapes. From exploring the delicate threads of motherhood to delving into the interplay between purity and darkness, her music is a bold, unfiltered reflection of the human experience. In this exclusive interview, Nina shares the creative process behind her album, the influences that shaped her sound, and her vision for the future of her music.

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Congratulations on your debut album release! Can you share the inspiration and themes that shaped this project?

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Thank you! I feel that each song stands completely on its own, so the themes are quite varied. For example, in ‘Little Butterfly’, there’s an underlying focus on the importance of understanding rejection; ‘Rhythm of Sirens’ captures the fear of losing a loved one — arguably the greatest fear of all. On the other hand, songs like ‘Pebble Dance’ and ‘A Child’ reflect and analyse different aspects of my life that have had a profound impact on me, and which I’ve finally managed to face. Overall, I’d say that the sense of inner peace and safety I feel in my life right now enabled me to undertake such an honest, raw self-examination — looking both inwards and outwards with total openness.

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Your music blends elements of ancient Slovak folklore, classical music, and dark electronica. How do these diverse influences come together in your compositions?

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Honestly, I’m not entirely sure! None of those influences are something I consciously embed in my music, and I often don’t even realise they’re there until someone else points them out. That said, it does make sense when you consider my background — I spent years in a Slovak folklore group, in a choir, and was also a vocalist in the electronic band Autumnist. All of these experiences have naturally filtered into my music in ways I didn’t necessarily plan for.

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'Little Butterfly' debuted on BBC Radio 6 Music. How has the reception of this single influenced your approach to the album?

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I wouldn’t say it influenced the process of making the album, but it was certainly a special moment. Hearing ‘Little Butterfly’ — a song that contains so much of raw me — on a radio station that I used to listen to during lonely days in London, shortly after moving to the UK, was truly big for me. It’s one of the heavier tracks on the album, born out of pure anger, and if anyone heard it and felt understood in any way, then I’ve done my job.

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You've described your music as a conversation between invasive horror and fragile purity. Could you elaborate on how this duality manifests in your album?

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I’ve always been drawn to contrasts. I’m not particularly attracted to the middle ground. Interestingly, I’m starting to realise that as I grow older, peace and simplicity are beginning to sound just fine. That said, I still love bold sonic statements, colourful tracks that surprise and even shock me. I think this is something I try to explore in my music — the dynamic tension between these extremes.

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Having studied at The BRIT School and performed across Europe, how have these experiences influenced your artistic development and the creation of this album?

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Those experiences really helped me understand how deep I can go with my musical expression. I was introduced to a wide range of music, both inspiring and less so, which helped me shape my sense of what I want to say. You also meet incredible people along the way, both on stage and behind the scenes, which adds another dimension to the whole experience of being an artist. For me, people are such an integral part of music.

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Your debut EP, 'Pandemonium,' received critical acclaim. How does your new album build upon or diverge from the themes and sounds explored in that EP?

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When I finished Pandemonium, I thought it was the most colourful musically and the rawest lyrically that I was capable of. I see that was not the case, since with Gentle Autopsy, every element of the songs has been even more amplified and deepened. I believe that’s exactly how it should be — and I hope to experience another kind of awakening with my next album.

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Tracks like 'Song of an Unborn Mother' explore profound themes such as motherhood. What personal experiences or reflections inspired this song?

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‘Song of an Unborn Mother’ came at a time when I was grappling with the possibility of not having my own child, which was a big thing for me. I’ve thought about having a baby for as long as I can remember. The song explores the idea that if a woman chooses not to become a mother, it doesn’t mean her gentleness, love, and care are lost. In a sense, all women are mothers, whether they have children or not — some just remain "unborn". 

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The album features intricate arrangements and vocal techniques. Can you discuss your creative process in developing these complex soundscapes?

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Throughout the process, my main goal was to listen as attentively as possible to each song — to understand what it needed to feel complete and true. That is how all of those arrangements and vocal delivery found its way into the album. When something felt right in the moment, I trusted it. I felt incredibly free in my self-expression on this album, which I think is reflected also in the vocal delivery that is far broader than in my previous music. I gave myself a completely free hand to do whatever I wanted. 

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As a Slovak-born artist now based in the UK, how do your cultural roots and current environment influence your music?

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Whether we realise it or not, the music, culture, and people around us inevitably shape our art — and I think that’s a beautiful thing. Personally, I don’t consciously feel the Slovak influence in my music, but I’ve been told, by British audiences mainly, that there’s a certain exoticism to my sound, which I believe comes from my cultural background. I love that. I think just these specific influences can function as a special ingredient in one’s art. 

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Looking ahead, what are your aspirations for your music career, and how do you envision your sound evolving in future projects?

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I’ve never been one to focus on long-term aspirations or goals in terms of my career. I’ve always taken a step-by-step approach, and that’s how I plan to continue. At the moment, I’m working on a few new projects, including music for film, which is a new and exciting direction for me. We’ve just finished a big autumn tour with 18 stops, and we’ve got three more shows in Prague and Brighton to go. After that, I plan to take some time to get inspired and figure out what it is that I want to say next. 

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For event dates and to listen to her latest tracks and videos visit www.ninakohout.com 

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