Words by Jim Ottewill

“I wanted my music to create this atmosphere where it felt like you were deep within the world of nature without having to leave your home,” says composer and synth aficionado Hinako Omori of the distinctive audio galaxy in her album a journey maps. 

This new record, forthcoming on the experimental Houndstooth label, is inspired by the impact of the Covid-19 lockdowns we’ve all been touched by during these last few years. But rather than invoking the claustrophobia of the restrictions, Hinako draws on ambient electronics, textures and ‘therapeutic frequencies’ to usher listeners into a landscape of expansive and forgiving alternative sounds. It’s a sensory pleasure to take the record in on headphones and bask in its warm glow. 

“At the time, the Covid rules were tough and I was thinking about how many of us couldn’t do anything due to lockdown,” Hinako explains. “I was inspired by this idea of people being stuck in cities, unable to exist in the natural world.”

During the pandemic, with in-person human connection restricted, appreciation of our environment around us has grown in abundance. a journey is inspired by the restorative powers of nature and touches on meditation and the Japanese practice of forest bathing. “I thought it would be lovely to piece these worlds together and create - for want of a better world - a virtual forest,” she laughs. “I wanted it to be there for people to dip into whenever they needed.” 

Originally hailing from Japan, Hinako’s musical career has evolved in London through her studies, music industry jobs and new experiences. Her love of synthesisers and experimenting was initially kindled by the otherworldly electronica of the Knife’s self-titled debut album at the start of the 2000s. 

“It’s a completely timeless record,” Hinako enthuses. “I’ve not heard anything quite like it before or since. Although I don’t think my music sounds like them, I often listen back to this album. It almost sits in its own unique sonic world and their ability to create something like this is really inspiring.” 

A live gig at Brixton Academy intrigued her even more with theatrical elements, multiple performers and numerous sounds and vocals emanating from the stage. “You couldn’t really make out who was singing and it felt like they were trying to blur their own identities. I found this sense of mystery really attractive,” she says.

Hinako initially studied Music and Sound Recording at Surrey University and used different skills she learned to propel her through a range of projects. Musical synchronicity continually rises to the surface when Hinako discusses the twists and turns her path has followed. From assisting on sessions with composer James Seymour Brett at Abbey Road to working at music manufacturer Focusrite, her musical abilities and unflinching ability to say ‘yes’ has stood her in great stead. 

“Through working in tech and playing with different artists, I’ve had the opportunity to meet lots of wonderful people who continue to both inspire and collaborate with me,” Hinako says. “It’s not been a traditional route but it’s opened my eyes to lots of different things and I feel grateful for having experienced so much.”

Alongside her experiences as a session musician with the likes of Georgia and Kae Tempest, Hinako cites an introduction to fellow composer Hannah Peel as a crucial moment. She went to a meet-up with a number of other artists, talked to Hannah and found herself contributing to a new, remixed version of her 2017 acclaimed record, ‘Mary Casio: Journey To Cassiopeia’. The track ‘Particle B4’ was well-received, earned plays on BBC 6 Music and gave Hinako the confidence to pursue her experiments. “I really owe it to Hannah for awakening this thing inside me,” Hinako says. “I didn’t have the drive to do it as my music was always focused on collaborating and supporting other artists. I wasn’t craving the limelight but this really played a part in helping me want to write more.” 

Hinako has since continued to release hazy, synth-led sonics, including the 2019 Auraelia EP, alongside live tours but a journey is perhaps her boldest artistic statement to date. Rather than sitting down to write an album, the record’s genesis is more fragmented, coming from musical sketches and outlines snatched between gigs. 

“The process was a little haphazard, this piecing together of what I’d call synth noodles,” she says. “I’d be programming for a gig, press a chord to see what would come out and this might become the basis for a song. It wasn’t massively thought out but when going through these ideas, much of the music seemed to sit together really nicely.” 

When the world came crashing to a halt due to Covid and live performance being put on hold, Hinako’s diary emptied as we all adjusted to the stasis of the new normal. Fortunately, her friend Oli Jacobs and senior engineer at Real World Studios contacted her with an exciting opportunity. 

“Oli messaged me to say Real World was planning this immersive online festival called WOMAD At Home and asked if I wanted to be involved,” Hinako explains. “I loved the idea as I’d never been to Real World and immersive audio really interests me. I initially had this idea of an improvised synth performance but then remembered all these sketches.”

After delving back into her musical archive, Hinako set about piecing the tracks together and achieving a rich musical ebb and flow. It’s this tapestry of sketches, put together between her home and work undertaken at Real World, alongside field recordings made near the studio, that makes up a journey. “It was released via this online festival platform, was on there for a week, then Real World very kindly said I could have the recordings,” she says. “I had an opportunity to connect with Houndstooth and they were happy to release it in the same form as it came out with Real World. I’m really appreciative of how this has all worked out.” 

Forest bathing and the use of binaural frequencies are two innovative strands inside a journey’s compositional process. Championing the natural world and the sensations it instils in many of us is something Hinako has continually returned to over the years. “I always enjoy nature and the relaxation it provides,” she explains. “It was something that I’ve connected to and wanted to bind into the music. I know when I’ve ever felt stressed or concerned, that surrounding myself with the natural world helps to decompress.” 

Sound therapy has also been a preoccupation for Hinako, who has immersed herself in sound baths to relieve the stress of being on the road. When lockdown began, she teased this interest further still through online study. “It’s taken me to a different place. In the middle of an intense amount of touring, it just really helped to reset my body,” she says. “I wanted to do something that was just as effective and create that on others as well which is why I’ve incorporated these binaural frequencies.”  

The benefits of these sounds are thought to range from decreasing anxiety to increased concentration and alertness. But compositions would come first, then Hinako would re-record and detune sounds to certain frequencies to create these binaural beats. “Ideally, you’d listen to this on headphones for it to be really effective,” she explains. “It’s been really exciting to create spaces within the recordings and have the opportunity to use sonic architecture to come up with different moods and environments.”

For every project, Hinako likes to add extra musical equipment to her armoury to help her find new sounds. With a journey, analogue synths including her go-to Prophet 8 and Moog are at the heart of the creative process. “Each time I’d start something new with an artist, I’d spend a lot of time learning their music and would invest in a piece of kit to help bring their sound to life,” she says. “So much of the music I’ve come up with has been through figuring out how to use a piece of technology for a project. Happy accidents are really important.”

Alongside the equipment, Hinako also feels that the environments around her leave their mark, particularly when she’s been travelling on tour. “The idea of field recording came from this concept of creating sonic postcards from the places I’ve been lucky enough to visit,” she explains. “I have been to a large amount of travelling on tour, and I’ve always been keen to document any experiences. It means I have plenty of random audio recordings on my iPhone - a water fountain in the middle of Germany or church bells in Spain. These audio snippets definitely take me back to where I was and who was there.”

These field sounds have influenced not just this album but past releases as well. From meeting new people to experiencing different cultures, Hinako wants to take as much inspiration from the physical world to fuel what she captures when she hits record. “On tour, I’d be going to as many galleries as possible,” she explains. “This is to try and understand the local artists and absorb as much as I can. I’ve always found experiencing and connecting with other cultures as a huge source of inspiration.”

With the album due for release in March, Hinako will be bringing her new record to life at the Purcell Room at London’s Southbank Centre, collaborating with the London Contemporary Orchestra. “I’ve been thinking about how to reimagine the album with these incredible musicians,” says Hinako. “I’d like to create a sound bath to relax the audience, then perform the piece in its entirety reimagined with a blend of organic and electronic instruments.”

Hinako’s future involves more experiments and music-making. For an artist who has had such a varied and engaging career, Hinako feels that the journey is just as important as your final destination. 

“Enjoy the process as much as possible and be open to anything,” she advises new emerging creators and composers. “You should document everything as you go along. You might not feel something is immediately right for you but later on, you could connect with these ideas and they can take on a new life of their own. It’s a really fun and exciting way of working…”