Kodomo ~ Interview + Minimix


Brooklyn’s producer/composer Kodomo (Chris Child) takes his stage name from Japanese (meaning “child”), as influenced by his childhood spent in Japan. Child of the ’80s, he witnessed the Japanese technological boom, took his first piano lessons, and attended Japanese techno raves. High school in Soul, Korea, when he began to experiment with tape recorder and drum machine, was another point of musical influence for Kodomo. Fast-forward to Chris Child’s life and work in Brooklyn, he composes scores for films and makes retro-futuristic (?!) music sampling Bach and Schubert and tweaking it into modern soundscapes for his new album Patterns & Light.

Kodomo recorded a selection of six tracks exclusively for our readers (or listeners rather) and answered a few of the questions we had for him, unveiling some of his childhood memories, thoughts about his new production, and upcoming projects.

You’ve spent your childhood in Japan. What are your most vivid memories from there?

My most vivid childhood memories of Japan include:

– the endless cityscape at night on the elevated highway
– waiting in line with Japanese school kids to play the first Super Mario Bros.
– Japanese street food – yakisoba, yakitori, okonomiyaki, insane snacks with amazing packaging
– A fascination with Japanese stationary (the coolest erasers ever)
– Long summers spent exploring the neighborhood parks and throwing water balloons off the rooftops of buildings
– The thick mesh of telephone wires throughout Tokyo

Were you involved in any music scenes in Japan, or had any special early interactions with music?

As a kid, my earliest involvement in music consisted of classical piano lessons. Later, in my early twenties, I spent a lot of time and most of my income at clubs in Tokyo listening to Japanese techno / ambient, trip hop & noise artists like Ken Ishii, Ryoiji Ikeda, DJ Krush, and Nobukazu Takemura.

Where do you place your new album in the scope of all the music you have made so far?

I am quite satisfied with it overall and feel like this is more the direction I’ve been moving towards; a blending of harder electro styles and mellow ambient IDM with a bit of my classical music upbringing!


You work as a film score composer. Did you have any visuals in your mind when working on Patterns & Light?

Actually yes; The title Patterns & Light comes from an art exhibition of pieces by California visual artist Chris Duncan, who is also the artist behind the album cover. I was intrigued not only by the minimalist image, but also with the title and how I might apply this term (patterns & light) to a collection of pieces for an album.

Are the any music videos in the works for any tracks from the album?

Yes; there is a music video for “Infinity Divided” which will be released in the next week by video director Ben Parslow.

Kodomo – Infinity Divided (Music Video) from Benjamin Parslow on Vimeo.

How did you pick the six tracks for your mini mix? What is the thinking behind it?

I picked six tracks I thought would give a range of my current and past releases as well as an example of some of the producers I greatly respect and how they inform my own music. I included a remix I did for the Brooklyn electronic duo Kodacrome, as well as a remix Shigeto did for “Disappearing Light” off my second album Frozen In Motion. I’ve always loved hearing creative remixes, and I think the recent Jon Hopkins remix of Moderat’s “Last Time” is a brilliant example of artful composition, production and absolute epicness! The Nausicaa remix of “Mochipet” by Aeroc is super creative with the use of cut up acoustic guitar and seemingly random background sounds woven into the piece; all alongside a great beat and synth hook.