Lullatone

(Grooves Magazine, Issue 14)

The 2003 Lullatone release Computer Recital shows Shawn James Seymour playing a child’s colourful glockenspiel, an apt visual analogue to his innocent, child-like music. Created entirely using gentle sine waves, its simple music box melodies and lullabies distinguished the recording from others dotting the electronica landscape. His latest Little Songs About Raindrops is no less bucolic but its instrumental palette is richer, the sine tones having expanded to a tiny orchestra of toy instruments. On the eve of its release, the 22-year-old agreed to discuss the new recording, his musical background, and what it’s like to be a permanent resident of Nagoya, Japan.

Having grown up in Louisville, Kentucky, last year’s move to Japan might seem surprising but Shawn’s account of his background makes it seem natural. He explains that a lack of formal musical education didn’t discourage his youthful exploration of experimental methods. “I used to make a lot of songs with toy keyboards using two cassette decks, and, following high school, I bought a used 8-track cassette recorder and started experimenting by flipping tapes to make backwards melodies and putting microphones on things to see how they sounded if I tapped them. During this time I bought a bunch of toy instruments from thrift stores. (My favorite keyboard for a long time now has been my Casio SK1.) I started making more and more music and playing solo at art gallery openings when I was about 17 or 18. The style I’d developed was pretty similar to Lullatone because it was mellow and slow and instrumental. When I turned 20, I moved to Osaka to go to school for a year, and, as I couldn’t take all of my toy instruments with me, I took one SK1. So, as a matter of necessity, my music became less complicated (and better) and, when I realized this, I started using sine waves because they’re so basic—hence the formation of the original Lullatone-sound. I met my girlfriend Yoshimi / Sookmi (she has two different names) when she was studying in America but when she had to return to Japan, she said I should come with her. So I said OK and got accepted to a school here. I realized then how much I liked Japan and so came back as soon as I finished university.”

When the topic of influences arises (Erik Satie and Steve Reich are often cited), Shawn replies, “I think my biggest influence is my girlfriend because most of the Lullatone songs I’ve released started out as little lullabies I made for her. I would always work on music after she went to sleep so, naturally, I tried to make something quiet and pleasant for her to sleep to. But, at the same time, I was always waking her up in the middle of the night to say “Hey, check out this new song I made for you to sleep to!””
Queried about his affiliation with Nobukazu Takemura (Seymour released My Petit Melodies in 2003 on Takemura’s Childisc Recordings label), Seymour replies, “Takemura-san and I don’t get to meet very often because we live in different cities and he is a very busy person. He invited me to play last year at an event he organized called Childisc Funfair. Of all the Childisc artists, I meet with Yabemilk and Aki Tsuyuko the most. I listen to Aki-san’s music as well as releases on Miroque’s wonderful Cachamai label, and I really like Yuichiro Fujimoto. He just released a CD on smalltown supersound from Norway and makes incredibly beautiful sparse music. Other than that I like Asuna, an organ player from Tokyo, and Asana, a post-rock band from Nagoya that uses a lot of ethnic instruments like gamelans and a Chinese version of a koto.”

Our talk turns to the new record and Shawn describes its instrumental approach. “There are many more instruments, the most important being my music box,” he says, “It’s a little difficult to explain, but basically I punch holes in a strip of paper with a staff printed on it, and feed that through the box and it plays my composition. I also used a tiny toy metalophone, accordion, toy piano, cymbals, a toy cassette tape recorder, and some sine tones. I recorded all of Little Songs About Raindrops in my tiny one-room apartment.” Not only has the Lullatone sound changed but Seymour’s also joined by numerous guests. Ryan Stearman and Yusuke Asano play ukuleles, Nick Cox plays viola, and Keiichi Sugimoto adds guitar harmonics. (Sugimoto is a member of the bands Fonica and Minamo and also runs the Japan label Cubic Music.) Having previously appeared on Computer Recital’s “Tracing,” Yoshimi (Tomida) adds vocals to four songs, and also sings and plays accordion at live Lullatone performances.

When asked about future plans, he admits that he’s taking a bit of a break after having released three albums in one year and so has no plans to tour at the moment. For now, Shawn’s content with things just as they are. “Simplicity is really appreciated in Japan and as far as I’m concerned I’m in the center of the world. Plus Nagoya is a great place to live when it comes to playing shows because it’s in between Tokyo and Osaka.”
-Ron Schepper

interview: Loop.cl (Chile)
Text Guillermo Escudero

Your music is playful and evokes innocence, childhood and simplicity... How did you come out with this music?
"I have always liked really simple things, like minimalist graphic design and music. Usually when people think of minimalism they think of things being modern and cold. But I think minimalism can be really cute because simple things are cuter than complex things. I think the music I make comes across as being playful because of the approach I take to making music. Making songs is like playing for me. I think playing is something we all do our whole life long, but typically we only think about children as "playing" and adults as "having hobbies". Making songs is fun, so it is playing as far as I am concerned. As for innocence, I think the fact that I never studied any instrument or composition or anything like has a big impact on the songs I make because it dictates the way I go about making them. Earlier this week I was watching my 5 year old cousin, so we played with all of my little instruments, and I was really happy to see that the way she went about making sounds was pretty close to the same way I do. We were both just kind of wandering through notes".

As you live part time in Japan, I guess Japanese music has influenced you in the making of your music. What's your opinion?
"Yes, every time I play shows, even in Japan, someone will tell me that the music I make sounds very Japanese. Maybe it is because I eat a lot of Japanese food I guess, I don't know. Also, I recorded all of 'Computer Recital' in a tiny apartment in Osaka sitting on the floor with my girlfriend's tiny computer sitting on a tiny table. So I think those circumstances helped me make this tiny music. Maybe some other Japanese artists work this same way? I don't know. I think most people use desks. I just got a new computer that is a little more portable, so I want to start making music outside more".

Why did you called this album "Computer Music? Apparently it's made up basically with xylophone.
"Actually only one track on the whole album uses a xylophone. Every other track is made completely with sine tones. I like sine tones because they are so simple and pretty. So, I called the album 'Computer Recital' because I wanted to capture the essence of going to some little kids' piano recital or something like that, except instead of there being a piano it is a recital for computer. I am glad that you don't think it sounds too much like computer music even though it really really is. The bulk of my track on the split 7 inch with Child's View was done almost completely without computer though [except for chopping Sookmi's voice, editing etc.]. I actually made the track with my xylophone [actually it is technically a metallophone I guess but I like the name xylophone a lot more] and the 8 bit sampler in a Casio SK-1. Both of those instruments have a nice toy quality that is great because it keeps you from taking anything too serious when you are playing with them".

What kind of images you show in your live performance through Bunnybunnybunny visual art collective?
"We do a lot of stop animation with Sookmi's [my girlfriend and Lullatone's occasional vocalist] illustrations. Also, sometimes we throw in clips of movies I made when I was going to school in Japan about things like different ways eggs are found in Japanese cooking. The videos have a total sense of humor because I want people to be relaxed and have fun whenever they come to a show".

Working with Thrill Jockey's artist Nobukazu Takemura should be very amazing. Could you please tell us about the 'Child View' project already released on Audio Dreg?
"Yes, Takemura-san is very nice. He is also a great musician and he has done a lot for artists and the overall genre of electronic music in Japan. Actually, my next album is going to be released on his label Childisc. E*rock [the owner of Audio Dregs] knew I was already talking to Takemura-san about doing an album so he told me that I should invite him to join Audio Dreg's postcards 7" series. Basically this is a series of split 7 inches that always feature artists that are living kind of far away from each other. So we did this when I was back in America and he was in Japan. I really like the design of all of the records in the series. E*rock does great work".

RESONANCE FEATURE

Lullatone

Artist's description: Lullatone is the musical venture of Shawn James Seymour, and occasionally, enhanced vocally by Sookmi Park of Nagoya, Japan. Lullatone’s first full length CD, “computer recital”, will be released this winter from Audio Dregs Recordings (E*Vax, Carpet Musics, Inkblot, etc). A melodic album composed almost entirely of ordered beep-tones, “computer recital” rouses images of a sine-wave symphony. Audio Dregs will also be soon releasing a split 7 inch single of Lullatone and Child’s View (a.k.a. Nobukazu Takemura) as part of their “postcards” 7 inch series.

Influences: Raymond Scott, Nuno Canavarro, Nobukazu Takemura, E*Vax, Boards of Canada,Greg Davis, carpet musics, aphex twin, mouse on mars, ISAN, aki tsuyuko, b. flieschman,

History: Seymour, who had long been working in the electronic music field began recording under the Lullatone moniker in 2001 while living in Osaka, Japan. Seymour has since returned to America for one year to finish studies, so as to become eligible to return to Japan as an English teacher in the summer of 2003. (Lucky bastard..-Umi)

Members:Shawn James Seymour, Sookmi park

Location:Louisville, KY - USA

"music for apartments"
First off, top respect for the man who has an SK-1, i loved that keyboard...its raw, powerful 9khx of pure sampling was tops. Second of all, I got to point out we aint getting lazy on this one, yes, lullatone has won this month with only one song, and lordy it is one hell of a good song. Ok, so picture this, this song really heads the emotional route and almost immediately reminded me of susumo yakota in style, and had remarkable qualities in the usage of effects, the ambiance and the total randomness of the clicky beat. "music for apartments" in sense means exactly what its says, in a kind of utopian sense, bringing together a cool, slow groove with some pretty original sounding floating pads and textures that really breathe life into the music. Ok, so when you first start to listen you do get a little bored of it, but I promise you, it does grow on you after some time. I found myself listening to it about 3 times, and after each time (9 mins!) I found myself liking it more each time. The evolution of the song is amazing, and really does chill you out if you have been having a real shit day. We give it a 9/10

Wow, why oh why does the man have to go and be a teacher? our advice to you is the contact the leaf label in Japan as soon as you get there cos lullatone has some real potential in the blue room sound. We all sit and wait to hear more from them....rich tea anyone?
Originality:****
Talent:****
Underground viability: ****
Commercial viability: **
Quality:****
Resonance rating:18/25

CLUB MUSIC
Joyful noise
BY Jenn Danko

If pop culture is recycled every 20 years, it's no wonder the same electro beats and synthetic sounds once associated with the early '80s are creeping back into music.

But don't bust out your parachute pants quite yet.
Today's electronic sounds are returning with a new face. Many electronica artists, including Greg Davis, Lullatone and Shedding, use computers and laptops to produce visual mosaics of noise. While the music may be inventive, creating music via a laptop can make live adaptations a less-than-engaging experience for the audience.
"It is sometimes a little bit tricky," says Shawn James Seymour, the mastermind behind Lullatone. As he prepares to release his first full-length album, Computer Recital (Audio Dregs), Seymour says he is incorporating art, props and other visuals to lend to the aesthetic of his shows. "All of the events we've done so far have been in art galleries," he adds.

Seymour's art collective, Bunnybunnybunny, builds on visually painting how the music sounds. He says it helps enhance the visual character of his shows.
Still, music remains the core of the presentation. After spending more than a year in Japan, Seymour predicts electronic and experimental music will gain more domestic popularity in the years ahead. "Japan is always into the hippest kind of music, and electronica already caught on over there. I've only been back in America for six months, and I've already noticed a lot more people catching onto it."

Even the radio-friendly works of Missy Elliot and Justin Timberlake showcase electronic samplings. "A lot of what we do is not different than what a lot of cutting-edge hip-hop producers do," says Seymour, citing Elliot's new single "Work it." "It's really stripped down to a couple of nodes and melodies, which makes it really beautiful. When it comes down to it, we're trying to do the same thing and present it in a different way."

Greg Davis, Lullatone and Shedding plug in their laptops and props at The Social on Friday, Jan. 3.


	(Grooves Magazine, Issue 14) The 2003 Lullatone release Computer Recital shows Shawn James Seymour playing a child’s colourful glockenspiel, an apt visual analogue to his innocent, child-like music. Created entirely using gentle sine waves, its simple music box melodies and lullabies distinguished the recording from others dotting the electronica landscape. His latest Little Songs About Raindrops is no less bucolic but its instrumental palette is richer, the sine tones having expanded to a tiny orchestra of toy instruments. On the eve of its release, the 22-year-old agreed to discuss the new recording, his musical background, and what it’s like to be a permanent resident of Nagoya, Japan. Having grown up in Louisville, Kentucky, last year’s move to Japan might seem surprising but Shawn’s account of his background makes it seem natural. He explains that a lack of formal musical education didn’t discourage his youthful exploration of experimental methods. “I used to make a lot of songs with toy keyboards using two cassette decks, and, following high school, I bought a used 8-track cassette recorder and started experimenting by flipping tapes to make backwards melodies and putting microphones on things to see how they sounded if I tapped them. During this time I bought a bunch of toy instruments from thrift stores. (My favorite keyboard for a long time now has been my Casio SK1.) I started making more and more music and playing solo at art gallery openings when I was about 17 or 18. The style I’d developed was pretty similar to Lullatone because it was mellow and slow and instrumental. When I turned 20, I moved to Osaka to go to school for a year, and, as I couldn’t take all of my toy instruments with me, I took one SK1. So, as a matter of necessity, my music became less complicated (and better) and, when I realized this, I started using sine waves because they’re so basic—hence the formation of the original Lullatone-sound. I met my girlfriend Yoshimi / Sookmi (she has two different names) when she was studying in America but when she had to return to Japan, she said I should come with her. So I said OK and got accepted to a school here. I realized then how much I liked Japan and so came back as soon as I finished university.” When the topic of influences arises (Erik Satie and Steve Reich are often cited), Shawn replies, “I think my biggest influence is my girlfriend because most of the Lullatone songs I’ve released started out as little lullabies I made for her. I would always work on music after she went to sleep so, naturally, I tried to make something quiet and pleasant for her to sleep to. But, at the same time, I was always waking her up in the middle of the night to say “Hey, check out this new song I made for you to sleep to!”” Queried about his affiliation with Nobukazu Takemura (Seymour released My Petit Melodies in 2003 on Takemura’s Childisc Recordings label), Seymour replies, “Takemura-san and I don’t get to meet very often because we live in different cities and he is a very busy person. He invited me to play last year at an event he organized called Childisc Funfair. Of all the Childisc artists, I meet with Yabemilk and Aki Tsuyuko the most. I listen to Aki-san’s music as well as releases on Miroque’s wonderful Cachamai label, and I really like Yuichiro Fujimoto. He just released a CD on smalltown supersound from Norway and makes incredibly beautiful sparse music. Other than that I like Asuna, an organ player from Tokyo, and Asana, a post-rock band from Nagoya that uses a lot of ethnic instruments like gamelans and a Chinese version of a koto.” Our talk turns to the new record and Shawn describes its instrumental approach. “There are many more instruments, the most important being my music box,” he says, “It’s a little difficult to explain, but basically I punch holes in a strip of paper with a staff printed on it, and feed that through the box and it plays my composition. I also used a tiny toy metalophone, accordion, toy piano, cymbals, a toy cassette tape recorder, and some sine tones. I recorded all of Little Songs About Raindrops in my tiny one-room apartment.” Not only has the Lullatone sound changed but Seymour’s also joined by numerous guests. Ryan Stearman and Yusuke Asano play ukuleles, Nick Cox plays viola, and Keiichi Sugimoto adds guitar harmonics. (Sugimoto is a member of the bands Fonica and Minamo and also runs the Japan label Cubic Music.) Having previously appeared on Computer Recital’s “Tracing,” Yoshimi (Tomida) adds vocals to four songs, and also sings and plays accordion at live Lullatone performances. When asked about future plans, he admits that he’s taking a bit of a break after having released three albums in one year and so has no plans to tour at the moment. For now, Shawn’s content with things just as they are. “Simplicity is really appreciated in Japan and as far as I’m concerned I’m in the center of the world. Plus Nagoya is a great place to live when it comes to playing shows because it’s in between Tokyo and Osaka.” -Ron Schepper interview: Loop.cl (Chile) Text Guillermo Escudero Your music is playful and evokes innocence, childhood and simplicity... How did you come out with this music? "I have always liked really simple things, like minimalist graphic design and music. Usually when people think of minimalism they think of things being modern and cold. But I think minimalism can be really cute because simple things are cuter than complex things. I think the music I make comes across as being playful because of the approach I take to making music. Making songs is like playing for me. I think playing is something we all do our whole life long, but typically we only think about children as "playing" and adults as "having hobbies". Making songs is fun, so it is playing as far as I am concerned. As for innocence, I think the fact that I never studied any instrument or composition or anything like has a big impact on the songs I make because it dictates the way I go about making them. Earlier this week I was watching my 5 year old cousin, so we played with all of my little instruments, and I was really happy to see that the way she went about making sounds was pretty close to the same way I do. We were both just kind of wandering through notes". As you live part time in Japan, I guess Japanese music has influenced you in the making of your music. What's your opinion? "Yes, every time I play shows, even in Japan, someone will tell me that the music I make sounds very Japanese. Maybe it is because I eat a lot of Japanese food I guess, I don't know. Also, I recorded all of 'Computer Recital' in a tiny apartment in Osaka sitting on the floor with my girlfriend's tiny computer sitting on a tiny table. So I think those circumstances helped me make this tiny music. Maybe some other Japanese artists work this same way? I don't know. I think most people use desks. I just got a new computer that is a little more portable, so I want to start making music outside more". Why did you called this album "Computer Music? Apparently it's made up basically with xylophone. "Actually only one track on the whole album uses a xylophone. Every other track is made completely with sine tones. I like sine tones because they are so simple and pretty. So, I called the album 'Computer Recital' because I wanted to capture the essence of going to some little kids' piano recital or something like that, except instead of there being a piano it is a recital for computer. I am glad that you don't think it sounds too much like computer music even though it really really is. The bulk of my track on the split 7 inch with Child's View was done almost completely without computer though [except for chopping Sookmi's voice, editing etc.]. I actually made the track with my xylophone [actually it is technically a metallophone I guess but I like the name xylophone a lot more] and the 8 bit sampler in a Casio SK-1. Both of those instruments have a nice toy quality that is great because it keeps you from taking anything too serious when you are playing with them". What kind of images you show in your live performance through Bunnybunnybunny visual art collective? "We do a lot of stop animation with Sookmi's [my girlfriend and Lullatone's occasional vocalist] illustrations. Also, sometimes we throw in clips of movies I made when I was going to school in Japan about things like different ways eggs are found in Japanese cooking. The videos have a total sense of humor because I want people to be relaxed and have fun whenever they come to a show". Working with Thrill Jockey's artist Nobukazu Takemura should be very amazing. Could you please tell us about the 'Child View' project already released on Audio Dreg? "Yes, Takemura-san is very nice. He is also a great musician and he has done a lot for artists and the overall genre of electronic music in Japan. Actually, my next album is going to be released on his label Childisc. Erock [the owner of Audio Dregs] knew I was already talking to Takemura-san about doing an album so he told me that I should invite him to join Audio Dreg's postcards 7" series. Basically this is a series of split 7 inches that always feature artists that are living kind of far away from each other. So we did this when I was back in America and he was in Japan. I really like the design of all of the records in the series. Erock does great work". RESONANCE FEATURE Lullatone Artist's description: Lullatone is the musical venture of Shawn James Seymour, and occasionally, enhanced vocally by Sookmi Park of Nagoya, Japan. Lullatone’s first full length CD, “computer recital”, will be released this winter from Audio Dregs Recordings (EVax, Carpet Musics, Inkblot, etc). A melodic album composed almost entirely of ordered beep-tones, “computer recital” rouses images of a sine-wave symphony. Audio Dregs will also be soon releasing a split 7 inch single of Lullatone and Child’s View (a.k.a. Nobukazu Takemura) as part of their “postcards” 7 inch series. Influences: Raymond Scott, Nuno Canavarro, Nobukazu Takemura, EVax, Boards of Canada,Greg Davis, carpet musics, aphex twin, mouse on mars, ISAN, aki tsuyuko, b. flieschman, History: Seymour, who had long been working in the electronic music field began recording under the Lullatone moniker in 2001 while living in Osaka, Japan. Seymour has since returned to America for one year to finish studies, so as to become eligible to return to Japan as an English teacher in the summer of 2003. (Lucky bastard..-Umi) Members:Shawn James Seymour, Sookmi park Location:Louisville, KY - USA "music for apartments" First off, top respect for the man who has an SK-1, i loved that keyboard...its raw, powerful 9khx of pure sampling was tops. Second of all, I got to point out we aint getting lazy on this one, yes, lullatone has won this month with only one song, and lordy it is one hell of a good song. Ok, so picture this, this song really heads the emotional route and almost immediately reminded me of susumo yakota in style, and had remarkable qualities in the usage of effects, the ambiance and the total randomness of the clicky beat. "music for apartments" in sense means exactly what its says, in a kind of utopian sense, bringing together a cool, slow groove with some pretty original sounding floating pads and textures that really breathe life into the music. Ok, so when you first start to listen you do get a little bored of it, but I promise you, it does grow on you after some time. I found myself listening to it about 3 times, and after each time (9 mins!) I found myself liking it more each time. The evolution of the song is amazing, and really does chill you out if you have been having a real shit day. We give it a 9/10 Wow, why oh why does the man have to go and be a teacher? our advice to you is the contact the leaf label in Japan as soon as you get there cos lullatone has some real potential in the blue room sound. We all sit and wait to hear more from them....rich tea anyone? Originality:** Talent: Underground viability: Commercial viability: Quality:**** Resonance rating:18/25 CLUB MUSIC Joyful noise BY Jenn Danko If pop culture is recycled every 20 years, it's no wonder the same electro beats and synthetic sounds once associated with the early '80s are creeping back into music. But don't bust out your parachute pants quite yet. Today's electronic sounds are returning with a new face. Many electronica artists, including Greg Davis, Lullatone and Shedding, use computers and laptops to produce visual mosaics of noise. While the music may be inventive, creating music via a laptop can make live adaptations a less-than-engaging experience for the audience. "It is sometimes a little bit tricky," says Shawn James Seymour, the mastermind behind Lullatone. As he prepares to release his first full-length album, Computer Recital (Audio Dregs), Seymour says he is incorporating art, props and other visuals to lend to the aesthetic of his shows. "All of the events we've done so far have been in art galleries," he adds. Seymour's art collective, Bunnybunnybunny, builds on visually painting how the music sounds. He says it helps enhance the visual character of his shows. Still, music remains the core of the presentation. After spending more than a year in Japan, Seymour predicts electronic and experimental music will gain more domestic popularity in the years ahead. "Japan is always into the hippest kind of music, and electronica already caught on over there. I've only been back in America for six months, and I've already noticed a lot more people catching onto it." Even the radio-friendly works of Missy Elliot and Justin Timberlake showcase electronic samplings. "A lot of what we do is not different than what a lot of cutting-edge hip-hop producers do," says Seymour, citing Elliot's new single "Work it." "It's really stripped down to a couple of nodes and melodies, which makes it really beautiful. When it comes down to it, we're trying to do the same thing and present it in a different way." Greg Davis, Lullatone and Shedding plug in their laptops and props at The Social on Friday, Jan. 3.


lullatone.com (official Lullatone site)