"The Siwnin Sails" is a solo album consisting of eight songs written and composed by Shoko Numao, an emerging Japanese singer-songwriter. Numao studied vocal and composition focusing on jazz at Dublin City University in Dublin, Ireland, where she trained to use her voice as an instrument, exploring the expressive possibilities of the voice and laying the foundation for her current approach. Since returning to Japan in 2021, she has been based in Tokyo, performing her own songs, both in collaborations with various musicians and as a solo artist. She has captivated live audiences with her poetic and introspective songs as well as her translucent voice, which occasionally reveals a flickering, ethereal quality. 'The Siwnin Sails' features eight songs written and composed between 2016 and 2024, all performed by Numao herself on guitar and vocals."-elsewhere

"The Siwnin Sails is a solo album consisting of eight songs written and composed by Shoko Numao, an emerging Japanese singer-songwriter. Numao studied vocal and composition focusing on jazz at Dublin City University in Dublin, Ireland, where she trained to use her voice as an instrument, exploring the expressive possibilities of the voice and laying the foundation for her current approach. Since returning to Japan in 2021, she has been based in Tokyo, performing her own songs, both in collaborations with various musicians and as a solo artist. She has captivated live audiences with her poetic and introspective songs as well as her translucent voice, which occasionally reveals a flickering, ethereal quality.

The Siwnin Sails features eight songs written and composed between 2016 and 2024, all performed by Numao herself on guitar and vocals. All eight tracks were recorded in July 2025 at Muriwui in Tokyo. This album follows her first album, Live at Ftarri - Lena, released in 2023 on the ftarri label, but it is her debut solo album."-elsewhere

elsewhere Q&A with Shoko Numao ​about The Siwnin Sails

Yuko Zama (YZ): How did you come up with the title for this solo debut album, "The Siwnin Sails"?

Shoko Numao (SN): "Siwnin" means "Blue" in the Ainu language. Combined with the English word "Sails," the title means "Blue Sails." The recording sessions took place in a hut built on the rooftop of a building in a location called Muriwui. The building has a blue sunshade that resembles a sail, which inspired the title. Muriwui is in a shopping district in Setagaya, Tokyo. When you look down, you can see the city. However, when you enter the small hut on Muriwui's rooftop, it feels like you're in a different world, as if you're on the sea.

YZ: "Blue Sails" is a beautiful title, perfect for this album. As I listen to this collection of songs, I feel as if I am looking out at a blue sky and sea, gently swaying on a small boat with blue sails. I feel calm and refreshed. I recall that you also wrote briefly about recording sessions at Muriwui on your website.

"I had a solo recording session at Muriwui in early July, and I've been listening to the recordings over the past month. When I listen back, it feels like these songs came from somewhere unrelated to me. I can't figure out how I wrote them or why the performance turned out the way it did. Everything fell into place with incredible precision. For some reason, I kept thinking of a tightrope walker balancing on a rope when I was listening back to the recording. However, it doesn't seem unstable at all since I feel playing in that space on that day inevitably led to this result. It didn't come from me alone, but rather from my music responding to the space of Muriwui" (August 5)

YZ: In the meantime, why did you decide to incorporate the Ainu language into the album title?

SN: When I wrote 'Nobotan (Glory Bush)', the last song on the album, I had just discovered Yukie Chiri's 'Ainu Shinyōshū' (A Collection of the Ainu Epics of the gods). I was fascinated by the book and the Ainu culture, and became completely absorbed in it. However, that doesn't mean I intentionally incorporated Ainu elements into the song (I didn't think it was appropriate to casually adopt another culture). Rather, it was simply a personal record, and every time I played the song, I naturally thought of the Ainu people. So, I thought this was something that only made sense to me, but when I played this piece during the recording session, the master of Muriwui suddenly said, "This feels like Ainu", even though I hadn't explained anything. It made me think about my consciousness and my output, and it was a particularly memorable moment during the recording process, so I decided to include that element in the title.

SN: Among the many introverted songs on this album, 'Nobotan (Glory Bush)' seems to be more extroverted. I hoped that the last song would be a little more open, which I think overlaps with the image of looking out toward the vast ocean.

I have never conducted fieldwork in Hokkaido, nor did I intentionally try to express the Ainu culture. It is simply something that I am interested in learning more about. I hope to study it further in the future.

YZ: Is there a theme that runs through this album? Or what did you want to express (or convey to the listener) through the eight songs on this album?

SN: I didn't decide on a specific theme for this recording. On the day of the recording, I went to Muriwui and sang whatever songs came to mind at the time. So, what I wrote in the answer above is what happened and what I felt on the day of the recording. From there, I feel like a story of sorts is beginning to emerge, which may become the theme of this album.

I don't know if it's the blue of the sky or the blue of the sea, but I hope that those who hear this song will imagine themselves sailing on a boat, blown by the wind, in their own world.

YZ: That's a fascinating story, and I think I understand what you mean. Are all eight songs on this album new songs?

SN: They're not exactly new songs. They're more like songs that have evolved through repeated performances, both solo and with various collaborators. "Drizzle" was created in 2021; "Ship Journey" around 2016; "Pyrethrum" in 2022; "Exoskeleton" in 2023; "Fox's Rumor" in 2022; "Notuki Grass" in 2024; "Reminiscence" in 2023; and "Noboran (Glory Bush)" in 2022.

YZ: When I listen to your songs, I am deeply drawn to the beauty of the 'sound' of the lyrics (or the words). I think even listeners who don't understand Japanese would be moved by them. What role do lyrics and the sound of words play in your musical expression? How do you view the relationship between the composition and the accompanying lyrics?

SN: This is something I always think about. About words and the sounds that come before words.

Whether I'm singing in Japanese or English, even when the meaning of the language is lost, I always make sure that the sounds I'm making are my own words and my own voice.

When it comes to songwriting, I use various methods. Often, I add lyrics after the music is composed. It's like starting with sounds or sound patterns and finding words that fit them. While I sometimes emphasize the meaning of words in my lyrics, I also prioritize musicality of sounds over meaning, writing in a way that feels like wordplay.

YZ: It's interesting that you aim to express pure sounds that may lack meaning as words. When I listen to your songs, I feel that your voice captivates me before I understand the lyrics. As we mentioned earlier, the words you sing seem to become part of the music, like the sound of an instrument.

Do you find singing songs in Japanese appealing or difficult? Do you feel that some things can only be expressed through Japanese lyrics?

SN: Japanese is my native language, and I find it easiest to express myself in terms of meaning, sound, and combinations of the two, so I often write lyrics in Japanese. In addition, since I am currently based in Japan, I feel it is important that the meaning of my lyrics be understood by the many people who listen to my music.

When I think about lyrics and words again, I realize that I am in a stage of constant experimentation, turning the words I write into music (sometimes as a solo, other times with collaborators) and sharing them with others through listening. Sometimes I translate lyrics I wrote in Japanese into English and create a completely new song.

Also, I think this had a particularly strong influence on my verbal expression. From my second year of junior high to my first year of high school, I sang in a choir. I feel that this experience became second nature without me realizing it. We sang songs based on poems by various Japanese poets, including Shuntarō Tanikawa, Noriko Ibaragi, and Murō Saisei. We also sang songs based on English poems by Christina Rossetti and their Japanese translations. Repeating beautiful words over and over again was a special experience for me.

YZ: I was surprised to learn that we share so many similar experiences, but I also joined a choir in junior high school and received training in singing carefully and with attention to the words, so I noticed that your singing also has that same sincere approach to the lyrics and the carefulness and clarity with which you transform words into sound. I feel that there is a common beauty between your singing and choral pieces like "Shiroi Mono" by Hakushū Kitaharasi (lyrics) and Makiko Kinoshita (music), where the beauty of the Japanese language is quietly conveyed through a simple melody.

SN: We sang songs by Makiko Kinoshita in the choir, too. Even now, some of those songs pop into my head from time to time, and I find myself listening to them or humming them.

YZ: What sparked your interest in singing?

SN: I think J-pop was what first sparked my interest. When I was in elementary school, I liked a singer-songwriter named Aoi Kawashima, and I began to be fascinated by the idea of playing and singing my own songs. However, even before that, my mother was always humming songs and sometimes played the piano, so I think that had a big influence on me as well.

YZ: What do you find appealing about solo performances that combine singing and guitar?

SN: I love the sound of the classical guitar. Spending time singing and playing the guitar is very important to me, which is why I continue to play. I also often compose songs on the piano.

YZ: I listened to some of your guitar and vocal recordings on YouTube. When you sing and play the guitar, you seem very natural and relaxed. I feel that not only your singing, but also the intimate connection you have with your guitar, is one of the charms of this album.

Also, when I listen to your songs, I sense a straightforward and pure quality reminiscent of Japanese folk singers and singer-songwriters from the 1970s. The warmth, simplicity, and sincerity of analog music from that era-the careful attention to each word and how it resonates-seem to underlie your work, bringing back the organic humanity and warmth lost in digital music since the '80s. That may be why your song feels somehow nostalgic to me.　However, within the quiet melodies, unsettling nuances occasionally peek through like small ripples or the sound trembles, catching you off guard. In this sense, I feel that your music has a contemporary appeal and freshness.

YZ: You studied vocals and composition, with a focus on jazz, at Dublin City University in Ireland. What made you choose Ireland as the place to study composition and vocals? Have your experiences in Ireland and what you learned there influenced your current musical expression and creativity?

SN: I lived in Dublin for two and a half years. I had always been into European jazz, like ECM, and I was also inspired by Irish musician Sue Rynhart, so I decided to study in Dublin. At school, vocals were treated the same as wind instruments. The idea was that anything that could be played on a wind instrument could also be performed vocally. I found this approach fascinating because it allowed me to explore and expand the possibilities of what can be done with the voice. Singing without lyrics was common, too, which made me see the voice as a single instrument. Now, I believe that the songs I sing or write don't necessarily need lyrics.

YZ: Using your voice like an instrument to produce sound is a very interesting idea. Even with lyrics, attempting to express music purely through the sound of the voice without lyrical constraints seems free and full of endless possibilities. I think that's the appeal of your singing.

Who are your favorite ECM or European jazz artists or works?

SN: When asked about my most important album, Theo Bleckmann's 'Elegy' (ECM, 2017) is the first that comes to mind. Other favorites include Norma Winston's 'Descansado' (ECM 2018) and Meredith Monk's works.

In terms of influence, I also loved Sheila Jordan, who recently passed away. I think all jazz vocalists look up to her. Lastly, I also have great respect for Jen Shyu's approach to language, her handling of singing syllables, her reasons for using them, and her attitude toward learning. I truly admire her.

YZ: I was surprised but also understood when I heard that your most important album is Theo Bleckmann's 'Elegy'. Around 2000, when I first started visiting New York and was into jazz and ECM, I heard Theo and Ben Monder perform as a duo at a small venue called Internet Cafe in East Village. Their creative singing and playing, as well as their original pieces, made a profound impression on me. This inspired me to help organize their first Japan tour in 2001 and 2002. I fondly recall traveling with them by bullet train to Kobe, Kyoto, and Nagoya, carrying Ben's vacuum tube guitar amplifier (though it was quite a challenge...)

At the time, the musician who had the greatest impact on me among New York contemporary musicians was Theo Bleckmann. His voice and music had a delicate quality that resonated with Japanese aesthetics and sensitivities, and I feel that a similar quality is present in your music. When I first heard your singing, I was immediately captured by the purity and beauty of your voice, and at the same time, I felt a sense of nostalgia. This may be because I sensed similar moments of beauty and, occasionally, a sense of swaying that gives a glimpse of another space, which I also felt in Theo's singing. Of course, you both have your own unique styles, but I think there is a similarity in that you both have strong identities and are trying to express them purely and faithfully through voices, as well as exploring free expression beyond the framework of song.

SN: That's amazing! There are many artists I admire, but I think Theo Bleckmann is my biggest idol. Both in terms of singing technique and songwriting. I love his music so much, but I've never been able to see him perform live, either in Ireland or Japan, because the timing never worked out... I hope to meet him someday. His album with Ben Monder is also wonderful.

YZ: What other genres of music and artists besides jazz appeal to you?

SN: I was really into Brazilian music for a while. I like João Gilberto very much, and Tatiana Parra, among others.

YZ: I also love João Gilberto. I saw a video of you singing and playing bossa nova, and I thought your natural, unpretentious style suited the bossa nova songs well. Do you have any plans to play (or record) bossa nova in the future?

SN: I don't really think about performing or recording bossa nova in public for now. But I love listening to and singing Brazilian music, and I often find myself moved by the beauty of Portuguese lyrics when I look up their meanings. So, I think I'll probably feel like singing again someday and casually record a video.

YZ: Are there any genres other than music that have had a significant influence on your music or creative activities?

SN: I don't read that much, so I won't say it out loud, but I do enjoy reading books. I read novels and essays, and sometimes I feel that those words influence my songwriting.

YZ: It seems that you have tried various musical styles, incorporating vocals in addition to solo performances. Is there anything you would particularly like to try in the future?

SN: I would like to compose and perform pieces for slightly larger ensembles of around six or more members, though I don't know when that will happen. I would also like to compose and arrange pieces for ensembles that include strings someday.

Right now, I want to be able to do more with both singing and guitar. Whether playing solo or with others, I want to expand the range of what I can do.

YZ: Speaking of ensembles, you recently self-released a CD with your quartet, Uquwa. What kind of sound and expression are you aiming for with Uquwa that is different from your solo projects? What do you find fascinating about the sound created by a vocal, piano, bass, and drum quartet?

SN: With Uquwa, rather than having a vocalist and piano trio structure, we want all four members to be on equal footing. To that end, I want to be as flexible as possible with my voice and not limit what I can do. This is possible because we are all conscious of this when playing our instruments. We are also active in other projects and collaborate with various artists, so we are constantly evolving. As a result, our performances with Uquwa change remarkably with each live show. The CD we are releasing this time was recorded last May. When we listened to it together, we agreed that we couldn't perform it the same way now.

With Uquwa, we primarily perform my compositions. By continuing to play with the same members, we develop a deeper understanding of each other's music. This allows us to be freer within the pieces and collectively nurture the music, which is truly rewarding.

YZ: The cover of this solo album features artwork that you created specifically for it. The soft, subtle hues of the blue-colored pencils, gentle touch, and floating, playful lines and composition suit the album's collection of songs perfectly. You often use hand-drawn illustrations for your event flyers. When did you start drawing?

SN: I've loved drawing ever since I was able to hold a pen. However, I never studied it formally, and I've simply continued to draw because I enjoy it. I don't have any drawings saved up; whenever there's an event or something, I always draw specifically for that occasion.

YZ: You often draw pictures with birds as motifs. Do you like birds? I think your bird drawings are very unique, capturing the characteristics of each bird, and I really like your style.

SN: When I draw, I tend to think about the texture and patterns of insects, but I do like birds. It's true that many of my works feature birds as motifs.

YZ: Thank you for sharing your interesting story, Shoko.