Showing posts with label South Korea. Show all posts
Showing posts with label South Korea. Show all posts

Friday, 12 January 2018

🐣 OH MY MUU — WORTHY

There is something beautifully sad about this song—even before you learn of its origins, which makes it sadder still, there is an air of farewellness to it, the slumping gentle feeling of the plucked synth that weaves through, the poignant space left between each resonation: the emotion behind it rather than the melody itself, which itself is wistful in its slow cheeriness, like bright blurry eyed melancholy. And the title: 'Worthy'. It hits the heart, combining with the music – the frustrated whispering glitch of percussion, the close intimate feeling of the beat, the warmth and welling-up of the thicker synth and bass, the watery outdoors samples symbolic of life and living – to summon this small heroic hope in the downtrodden swirl of depression.

But in 'Worthy' its creator, LA-based producer James Im aka oh my muu, is not only building this emotive and inspirational soundscape in and of itself; rather it has been created as a tribute to Kim Jong-hyun, the K-pop star who committed suicide on 18th December 2017. As such the song takes on a whole different persona, and becomes bigger than it is: especially when it is imbued as it is with Jonghyun's spirit—a sample from the singer's 2015 song 'I'm Sorry' crackles throughout, broken and decayed, as if heard from an unknown elsewhere, uncovered by you personally amidst digital debris; a truly touching, intense element of the track that feels instantly timeless; a sweet swansong.

After more soft, playful synth, the track ends on a crescendo of fluttering grainy synth chords atop columns of bass, like tears and pain mingling with determination; or, having felt devoured by despair, it's the shock of having someone tell you, "it's ok, you are worthy." Catharsis and letting go.




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Monday, 6 November 2017

🐣 JREAMS — SEOUL

This is a bright electronic patchwork, an irregular mosaic of sounds, crackling tracts of airy modulated synth sounds touched with abrasion, a collage of differently pitched slices of sound that rainbow nocturnally or overcastly with a pastel-grey hue, impacting like hazy memories. These sounds get stitched together with a wealth of samples, a moneybag of it, mechanised glonks and clops that scritch-scratch trickling and boldly waterfalling throughout—colossal textures. Created by US-based Jreams, this track is called 'Seoul', and fittingly features samples of a lady speaking Korean, as well as found sounds taken from around the country itself.

"I found Korean culture fascinating and decided to take a trip over there and couch surf around Seoul," Jreams says, explaining the background of the track in an email to YES/NO. "I reached out to this radio station there and got a spot to play on Seoul community radio and then was invited to a few shows after that were all hip hop and electronic focused. I started making [this] track while I was over there and finished the rest of it when I got back to the states."

He concludes: "I wanted to showcase how great of a place Korea is."

The video for the track, pulsing with boomerang-esque forward-reverse scenes, glitching mashes of colour, and shots of the bustling city life of the Korean capital, fits the music itself, the beat sounding like bookcases falling down flights of stairs against explosions of colour, the grit and hard angularity of the place mixed with the airy dreamlike feel of its technological wonderland ideals and aspirational aesthetic that seeps into the population's everyday style.




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Tuesday, 17 October 2017

🐣 YAEJI — DRINK I'M SIPPIN ON

The space here runs off into the distance like an endless profusion of cut-out apartment blocks and the black sky blanketing it all above with dim hundreds of lights below and the receding traffic, lonely open urban caverns and canyons; it is the silken void between angular concrete, the difference between tangible feeling and architectural corners, spirits and shapes—humans, the distances between them. This is the vital crux of 'Drink I'm Sippin On', a moonless city and its skyward turrets and those who inhabit the harsh environment, and how this landscape is conjured by its creator Yaeji. Each soft explosion of bass is the ghostly shape of a tower popping into your periphery, the trap-flavoured scuttling needling hi-hats the bird's-eye view of buglife people swarming and cars lurching, and smart snares cracking with the unforgiving tarmac, the flat pavements, the signs traffic lights the metal and glass and cement.

All of it is placed like building blocks with a minimalism, a brutal but soft stark sparseness, that allows this literally awesome sense of space to gush through and into the cityscape like a waterfall, like a dam destroyed and the flood pouring in lakeishly, oceanic; but it is not water, though it is as fluid as it. Yaeji's vocals come in here, the sea of soul that makes up the spaces between the percussive pillars of the beat, her voice in Korean and English somehow harsh as it whispers almost abrasive fizzing with satin smooth texture and the reverb of it dropped into this expanse and sweeping and deepening and besides this the catchy hook is the haunting reminder of rhythm and individuality, a lone isolated voice, amidst the illustration here of non-rhythm and non-individuality, of sprawling structures and the giant of humanity in all its multiplication. The spirit of Yaeji, though expressed through a hushed susurration, grows and fills the gaps between the coldness the bluntness of the beat, a single person speaking in a silenced crowd.


  • πŸ”” This wonderful track is taken from Yaeji's EP2, her second release this year, a six-track offering that will arrive into the world for your listening pleasure on 3rd November via Godmode.


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Monday, 16 October 2017

🐣 GENIUS — 2226

The dust that this track kicks up the dust caught in lances of light coming in through a boarded up window the dark humid nature of it and the basement punk feeling of it the slapdash half-asleep DIY dream of the track sloshes against your ears like an old pair of jeans. It is in the harsh comfort of this track, its vintage photo smouldering cigarette atmosphere, where inexplicably a subversion of this sort of music dwells. Garage rock, abrasive punk-flavoured guitar music features lyrics that are blunt, to-the-point, aggressive. But in this, '2226' by Busan-based band GENIUS – that is μ§€λ‹ˆμ–΄μŠ€ in Korean – the lyrics are so cryptic that they are practically non-sequiturs. It begins with the biggest of all: "Hey dear brothers and sisters / Today I don't wanna take it / Don't make me a bird / Don't make me an ashtray."

At other times, however, the lyrics are in their simplicity quite blissful: "Today I don't wanna drink beer / It makes me full / I just need hot water in the big cup." To hear such strange poetic words floating along to scratchy sweeps of lo-fi guitar, to attitudinal scoops of bass and racketing drums, it was refreshing. When we asked the creators of this gently raucous track about the concept behind the song, the guitarist replied enigmatically, "I want to be happy with my dear brother and sister. That's it." According to the email we received back, many of his lyrics revolve around "rebirth and transcendence." For such big ideas to live in this short tract of grunge-tinged guitar music feels like a reflection of inebriated philosophising, the persistence of big thoughts no matter who or where you are, the discovery of the meaning of life half-drunk at the bar; the song's final line, "We can… be happy more", echoes hopefully like a mantra.




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Saturday, 23 July 2016

NEON BUNNY FEAT MARK REDITO – ROOM314

Mark Redito (the artist formerly known as Spazzkid) features on this latest track from South Korean singer and songmaker, Neon Bunny (real name Lim Yoojin). It's called 'Room314' and it probably has nothing to do with this book entitled The Battle for Room 314: My Year of Hope and Despair in a New York City High School, nor anything to do with this film called Room 314 (might do though). It's a towering sweet romance of a track.

As NB alternates between singing softly in Korean and singing in English the touching refrain 'if you like me now it's fine, why don't you stay here with me? / maybe you will like me tomorrow, why don't you stay here with me?', fluttering chords lead into instrumental sections alive and electric with energy, buzzing synth and aching melody playing in these parts where unbridled emotion bursts in waves. Decorations throughout the track include gentle chimes and wonderfully placed dynamic drum fills – the skittering beat, chopped samples of Yoojin's voice, loving chords that fill the last half a minute of the song – little moments where your heart swells with love for the care and attention that's been placed on making this sound as perfect as possible.

Swaying between brooding calm and floods of frenzied feeling, the track reflects in this sonic twoness the nervous trembling and out-of-body vibes that swirl in your body in anticipation of romance, the wild longing, and the unreal moments that fly timelessly afterwards; being on the edge and then tipping over; kinetic human emotion, physical unending passion.




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Tuesday, 24 March 2015

SEIFUKU – NEED U GIRL

This song is just like… Well when I first heard it… It's one of those songs, you know the type: an immediate all-encompassing feeling just seems to emanate effortlessly from the music, each sound playing its part in the effusion of whatever emotion happens to be in the process of being conjured at the time. Just as many musical minds over the centuries, even millennia, have done, this song wrestles listlessly with romance: matters of the heart lie at its core, lovelorn and dreaming.

It's funny you can get all this just from 2-minutes-8-seconds of indistinct music centred around a vague samples from an (internationally) obscure pop song. But that I suppose is where its strengths lie, in the shapes of meaning and intent moving beneath the smooth ambience of the track, like attractive alluring shadows of a mystery crush moving behind a curtain at a high-rise window as you look across from your own apartment… but this is fantasy.

Of course, the title helps in these matters of sonic semantics also; it's called 'NEED U GIRL' and it's by a producer called seifuku.

Founded on a bed of organ-feeling dusty-far-off chords, the heavy muffled thud of expertly placed kicks make up the gentle contours and curves of the track, playing call-and-response with a beautifully simplistic finger click cutting through the soft tide of sound, hi-hats ornamenting it with accented rattle, a brief section of muted bloops intersecting the unending slowdown sample of the chorus from South Korean singer-songwriter Taeyang's 'I Need A Girl'.



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Monday, 31 March 2014

NEON BUNNY (야광토끼) – IT'S YOU (α„‚α…₯α„‹α…§α„‹α…£) [VIDEO]

I have been spending most of today looking out of the window at the same view I pretty much always look at. It's greenish, pretty, flowery, but it's not inspiring me. And neither was anything I had heard up until now. Then I remembered that I had to check out this new Neon Bunny track. And I was cured! Cured of my malaise. Cured I say. Thanks to K-pop. Or K-indie.

Where are we now? Anyway, this is the THIRD Neon Bunny (real name Lim Yoojin) track I've heard and the third I've featured here. I discovered her at some point last year (with her song 'Oh My Prince') when I was actively exploring the Seoul music scene – and what a happy discovery! Since then, she's worked with fellow Korean producer Demicat on the song 'Singing Bird' from his Out Loud EP and, well, not much else that I know of. Until now! This song has seemingly appeared out of the blue as a purchasable single and it's called "α„‚α…₯α„‹α…§α„‹α…£" (neoyeoya) or 'It's You'.

Like her past songs, this one follows in their footsteps with electro aplomb, fuzzy distorted saw-wave bass blasting in waves, losing its distortion outside of the catchy chorus, where Neon Bunny's gentle voice sings the hook, and where the beat bustles with doubled-up hi-hats in all its footwork flavour, snapping back and forth between cracking clap-snare combination and throttling kicks. Swept with waves of mystified chords and glistening delicate melodies, this is a song of contrasts: the sweet and softly sung vocals with their near-nostalgic pop sensibilities; the hard and driving beat drenched with harsh distorted synth. But it works wonderfully.

Hopefully, and I don't know if it's the case or not, this is taken from an upcoming album. It'd be nice to hear a full-length collection of songs from Neon Bunny. I mean, even an EP would do. But for now, the summery 'It's You' and its addictive, perfectly pop sound is just fine!



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Friday, 28 February 2014

DE LA SOUL – STAKES IS HIGH (DEMICAT REMIX) [FREE DOWNLOAD]

Oh wow look it's Demicat. Do you know Demicat? It's like totally fine if you don't know Demicat. He's a producer from South Korea who makes nostalgia-infused electronic music, from heady wistful dance to the retro fumes effusing from his hip hop-style tracks. I've written about him before, in conjunction with another South Korean artist, the singer Neon Bunny, on collaborative track 'Singing Bird' – this appeared on his Out Loud EP, released last september. You can buy that for the decent sum of $5 (or more) from his Bandcamp page.

His penchant for the retro, namely the indomitable sunny sound of the 1990s, comes through totally in this new track he shared with the world a few days ago. Created to celebrate the 25th anniversary of the release of hip hop trio De La Soul's debut album, 3 Feet High and Rising, the track is a remix of one of De La Soul's tracks, 'Stakes Is High', from the 1996 album of the same name. The original clacks hard with boom bap, tangled with gloss tendrils of bass, but Demicat's remix is an entirely different beast.

Adding snappy rising-heat electronic chords, muffled with lounge-smart nonchalance, and the hard punchy beat of electro combined with its deliciously distorted squelch of bass, grabbing at your ears in its jaunty pattern, dynamically twisted the sound, blanketing sound with a vacuum of treble, building it up with thin whooshes of sound, the track's loudness subject to the excitement of a house track, all the while with the original vocals ringing crisp and clear in what could easily be a freshly squeezed piece of music from right here and now. But it isn't. It's a slice of the well-loved past, lovingly collaged with torn electro, scraps of house, framed with beats plosive in their bulging rigidity.

Free download via Demicat's Facebook page. What's not to like? Go go get it if you want want want it.



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