Review from allmusic.com :
"The meandering, atmospheric compositions that make up Little Songs About Raindrops(they're little in scale and scope, not necessarily in length orcomplexity) branch out from Lullatone's predominantly electronic debut,Computer Recital,to include an impressive collection of toys: a tiny toy metalophone, atoy piano, a toy cassette tape recorder, and a programmable music box,whose glockenspiel-like tones dominate the album nearly as much ascomputer-generated sine waves did Recital.There's also some accordion, ukulele, viola, and delicately plucked(and rather toy-sounding) acoustic guitar. Virtually all of theseinstruments seem to personify the titular raindrops, which these songsare not so much "about" as wholly comprised of, figuratively speaking-- and so, come to think of it, do Yoshimi Tomida'svocals, at least on the onomatopoeic "Pitter Patter Interlude."Needless to say, there's a considerable amount of cuteness and whimsyon display here -- but that's not to suggest that this music issimplistic or overly precious. Apart from that admittedly cutesyinterlude, the album is largely instrumental (Tomida'svocals appear on three other tracks, but they're either considerablymuffled or substantially processed and manipulated), and largelyconcerned with gently building up layers of sound to create lush andlazy soundscapes that are wistful and winsome but still majestic intheir quiet way. If the song titles and instrumentation make thechildlike qualities of Lullatone's music inescapable, and perhapssuggest a whiff of gimmicky novelty, the music itself reveals thatessence to be much more fundamental -- even performed entirely on"adult" synthesizers and classical instruments and given banal,non-descriptive titles (which these pieces are both abstract andaccomplished enough to accommodate), the music's simple beauty andsense of wonder would remain undeniable."
"The meandering, atmospheric compositions that make up Little Songs About Raindrops(they're little in scale and scope, not necessarily in length orcomplexity) branch out from Lullatone's predominantly electronic debut,Computer Recital,to include an impressive collection of toys: a tiny toy metalophone, atoy piano, a toy cassette tape recorder, and a programmable music box,whose glockenspiel-like tones dominate the album nearly as much ascomputer-generated sine waves did Recital.There's also some accordion, ukulele, viola, and delicately plucked(and rather toy-sounding) acoustic guitar. Virtually all of theseinstruments seem to personify the titular raindrops, which these songsare not so much "about" as wholly comprised of, figuratively speaking-- and so, come to think of it, do Yoshimi Tomida'svocals, at least on the onomatopoeic "Pitter Patter Interlude."Needless to say, there's a considerable amount of cuteness and whimsyon display here -- but that's not to suggest that this music issimplistic or overly precious. Apart from that admittedly cutesyinterlude, the album is largely instrumental (Tomida'svocals appear on three other tracks, but they're either considerablymuffled or substantially processed and manipulated), and largelyconcerned with gently building up layers of sound to create lush andlazy soundscapes that are wistful and winsome but still majestic intheir quiet way. If the song titles and instrumentation make thechildlike qualities of Lullatone's music inescapable, and perhapssuggest a whiff of gimmicky novelty, the music itself reveals thatessence to be much more fundamental -- even performed entirely on"adult" synthesizers and classical instruments and given banal,non-descriptive titles (which these pieces are both abstract andaccomplished enough to accommodate), the music's simple beauty andsense of wonder would remain undeniable."
