Mei Semones is an artist based in Boston who writes jazz influenced indie J-pop music with lyrics that are both in English and Japanese. On May 6th, Mei released second EP Sukikirai 好き嫌い, a beautifully written and mesmerizing experience. Mei and I got to chatting about her beginnings into music, writing/creative process and so much more.
Hi Mei! Thanks so much for letting me interview you, how are you?
Hi! I’m good, just finishing up with finals this week. Thank you so much for interviewing me!
How did you get into music?
My first experience with music was at the age of 4, when my grandma bought my family a piano. I took piano lessons from when I was 4 up until around the age of 11, and then switched to guitar and started playing mostly rock music.
How did you start playing jazz guitar?
I started playing jazz in high school. The high school I went to, Community High School in Ann Arbor, MI, had a really nice jazz program with small jazz combos (as opposed to the standard big band style at most high schools). I really enjoyed this class, and it’s what got me in to jazz.
How did you decide you wanted to write music in English and Japanese?
It started with my debut single, Hfoas. I thought it would be good to try to write in Japanese, (since I had only written songs in English up until that point). I found that writing in Japanese in addition to English felt very natural and authentic, and it felt like I was finding my own sound. I love the effect of switching between two languages in a song – I think it can be very impactful and creates a compelling contrast.
We’re all about the DIY music scene, were you ever into your local scene? Which bands/artists were your favorites?
I’m very into the local scene here in Boston, and pretty involved in the DIY community with house shows and everything! Some of my favorite bands/artists here are Gabriel Lazaro, Clifford, Trophy Wife, and G Luné.
Your second EP, Sukikirai 好き嫌い is coming out so soon! It’s so lovely, and mesmerizing. What was the main inspiration behind it?
Thank you so much! There are a few different inspirations behind the EP. Musically, I drew on jazz influences as well as from an indie-folk/indie-rock sound. In the first track, Ippo, I experimented with using Coltrane changes and some mixed meters. In the second track/the title track Sukikirai, I’m drawing on a more indie-rock sound, with some slightly unexpected chords thrown in. And the last song, Kemono, is a folk-rock song with some jazz-influenced chords. Lyrically, the EP covers a variety of themes including love, my relationship to music, reflection on self-growth, and loneliness. In the last song Kemono, I explored writing lyrics in a narrative style. It tells a story of being a beast in the forest that wants to hide from everything.
Was the creative and writing process for Tsukino 月の, any different from Sukikirai 好き嫌い?
I would say that the creative and writing process for Sukikirai was overall smoother and felt more natural than my first EP Tsukino. I think this has to do with where I was in my life at the time, the resources I had access to, and my growth as a musician and songwriter. I also think the creative process for Sukikirai flowed very well thanks to the amazing musicians and engineer I was working with, and because we had access to studios through Greenline Records (an organization at Northeastern University).
What was it like recording Sukikirai 好き嫌い?
Recording Sukikirai was so much fun for me. Working with engineer Kai Tsao at Greenline Records, the process was very efficient, and I wasn’t stressed like how I usually am when I record. On top of that, all the musicians who played on the EP are absolutely amazing, and they each individually brought so much to the tracks. The most difficult aspect of recording the EP was recording my own parts (guitar and vocals); specifically vocals because my voice tends to tire quickly.
When creating a song, how do you decide if you want the song to be in English or Japanese?
I kind of just go off whatever feels right! If I try to write in English but I can’t think of any lyrics, I’ll try writing in Japanese instead, and vice versa. This usually prevents me from getting stuck for too long. It also has to do with what words will fit rhythmically into a phrase, and writing in two different languages gives me more options in this sense. I try to be pretty fluid about how I switch back and forth between the two languages – sometimes it’s even within one sentence.
My favorite thing about your music is how soothing it is, but it has so many different influences in it. How did you go about finding your sound?
I found my sound after I came to college. My debut single, Hfoas, was one of the first songs I wrote that I actually liked and that I felt was an accurate representation of what I was trying to do. It felt like it sounded like me. I think finding my sound had a lot to do with starting to think more about incorporating certain harmonic/melodic concepts from jazz, and equally important was the concept of writing in both English and Japanese.
Who would you say are your musical influences?
I think my main musical influences are John Coltrane, Wes Montgomery, Thelonious Monk, João Gilberto, Nirvana, and the Smashing Pumpkins.
Is there a certain method you follow when creating music?
There’s not really a particular method, but in general the initial idea for a song will come from a specific guitar voicing, an interesting combination of chords, a new harmonic technique, or a set of tensions I enjoy. From there I just build the song in to whatever sounds good to me – sometimes I think more from a technical perspective but usually after the initial spark, I write from my ear and from my feelings. I then bring my songs to my band and they add their own individual parts, which are always so amazing.
When creating a song what comes first music, or the lyrics?
The music always comes first for me. I write the chord progression, and from there the melody emerges, and then the last step is putting lyrics to the melody.
I love how inspired you are by your Japanese heritage, and how you incorporate it with your music! What would you say is the best thing about being able to incorporate your heritage with your music?
The best thing about it for me is that it’s a way for me to connect to my heritage and to the Japanese language in a creative way. Growing up, and even now, my mom is basically the only person I speak Japanese to, so writing songs in Japanese is an artistic way to stay connected to the language and to my background.
When creating music do you listen to bands/artists for inspiration?
Yes! My inspiration sometimes comes from specific chord progressions or techniques used by an artist, or even just from the general atmosphere of a song. I also think I am influenced subconsciously by what I listen to, and sometimes I am not completely aware of it.
Besides making your own music, you are also a lead guitarist in the live bands for The Brazen Youth and G Luné! How did you start touring with bands?
I started playing in more groups in my last year at school (at Berklee College of Music). All the bands I play in are connections I’ve made through Berklee – I’m super grateful for all the projects I’ve been a part of.
So far, you’ve had two EPs come out which is so exciting! What’s coming next?!
I’m planning on continuing to write and record and perform! I’m doing some more writing and recording this summer, and then relocating to NYC at the end of the summer. I’m not exactly sure what the next project will look like – more singles? Another EP? I don’t think I’m ready for an album quite yet.
Last question, we’re always looking for new music! Who should we be listening to right now?
I mentioned some of these artists earlier, but some of my favorite artists making music now are Gabriel Lazaro, Clifford, Trophy Wife, G Luné, Raavi, and The Brazen Youth, some of which I play with!
Words by Melody
Keep up with Mei
Listen to Sukikirai 好き嫌い here
