by daftsounds ~ April 16, 2008
Mustangs, Acid trip
February 21, 2008, Beatball Record
Can I say “masculine music” exist? If someone asks to me, I would say yes. I know. I should be cautious because dichotomy is not necessary. Still, I think there exists something which could be called ‘masculine music.’ More precisely, there exists some music which could be made distinctively well by boys. For example, it seems that it is easier to explain those kinds of music by using words such as “stamina,” “persistent,” “masculine” and so forth. You are seeing more and more musicians who are making these kinds of “masculine music.” Hollow Jan (할로우 잰) is one; Galaxy Express is another. I am talking about powerful rock music which make you feel their muscle jerking and smell their sweat between notes.
Madness + calculation = ecstasy
Now we have the Mustangs (머스탱스) who are today’s topic (attention please, to their name). It is a psychedelic rock; long, complex and heavy, and infatuating with conjuring magic. Nothing like pretty melodies, recognizable lyrics, exciting rhythms. Like slow wood fire, drums unnoticeably come thumping without regret; guitars fuzzily go between ears; vocals, less singing than spell-like, are undiscriminatingly pulsing – this is what the mustangs’ music is all about. Their music is partly indebted to 1960s’ Korean rock, partly 1970s’ American rock, but the result is decisively about now and here.
From a 4 short minute track to a 12 long minute track, the Mustangs explore music territory we haven’t heard about recently. Half insanity, half calculation – ecstatic territory combining both. Whereas their first album showed something, but left much to be desired, their second album, Acid Trip proves the expatiation toward them at that time is valid. Korean rock these days put a lot of efforts to wisely remember the past and to produce newness now and here at the same time. The Mustangs stand at its front. With their stamina and persistence.
Originally written in Korean and published March 26, 2008 at Magazine T.
The image is by 백가현 beck@t-fac.com and taken from Magazine T.
by daftsounds ~ April 5, 2008
Nell, Separation Anxiety
March, 20, 2008 | Ullim Entertainment / Mnet Media
Nell (넬) is a band who stands inbetweens. They exist between modern rock and ‘modern rock gayo,’ between indie scene and mainstream, between popularity and commerciality, between possibilities and establishment, between well-made music and well-made-only music, between fresh and deja entendu, between borrowing of the foreign and creatively appropriatiing it, between sharp sensitivity and over-self-indulgence, and finally between boys and girls.
In other words, they stand at the point where Korean musicians, who are now regarded as “creative,” have been through or have stepped back. The difference between Nell and them is that the former has stayed at that point since they debuted. This might be a reason they have brought about extreme reactions, either praises or abhorrences, from fans and critics. All of this happened despite the fact that their music itself is not controversial at all in nature. It is a guitar rock with tidy melodies made by boys that what Nell’s music is all about.
Between here and there, the choice
Thus how you judge Nell’s fourth album (sixth including ones from their indie era) depends on they make their choice about the betweens. Will they break through, will they step back? They choose neither. They occupy. They cling. They seem to choose to be an “inbetween.” Thus they make a “inbetween” their identity. Compared to their previous albums, they put a lot of energy in fusing electronic and acoustic music. But they are still making “non-controversial controversial” music. It means that this album sounds great, is made with delicate care, and is worth receiving attentions and affections. It sounds afloat a half step above earth. Pretty rock music.
P.S. Considering “inbetweens,” the album title, “separation anxiety” seems significant to me. Now is it inseparable?
Originally written in Korean for and published March 26, 2008 at Magazine T.
The image is by 백가현 beck@t-fac.com and taken from Magazine T.
by daftsounds ~ February 25, 2008
Broccoli, You Too? (브로콜리 너마저)
No calling for encore (앵콜요청금지) (EP)
BGBG Record (붕가붕가 레코드; Bunga Bunga Record), 2007
One routine critics tend to take is to point out a band or a musician which is not likely to break, to promote it by writing, “here is a real new talent,” and to hope to see it make big. The difference between critics and recording company associates is that the former wants honor rather than money (more specifically, honor with money).
Can Broccoli, You Too? (브로콜리 너마저; Brokoli Neomajeo) be that kind of band? Maybe. But they became too famous to be the case. How famous? If you type “Broccoli” in the search window at Naver.com, you can find their name in the second line from the auto-form list (just above “boiling broccoli”). Now it seems too late for an indie webzine writer to make a fuss about them.
The momentum for them was made by “No calling for encore (앵콜요청금지; Aengkol yocheong geumji),” the title track of this EP. Performance is simple; it sounds like a demo recording (even after I read at their blog about their hard work while recording). Yes, exactly what you are thinking about – an unpolished sound. But four minutes of playing feel too short. Indebted to, not despite of, the outdated recording technology. I am tempted to say that this exemplifies the virtue of lo-fi. Reflecting the emotion of lost love with dry tone, this song is the most moving tune that a twenty something in the twenty first century can ever make, or “Sarang bakke nan mola (사랑밖에 난 몰라)” translated into the language in the indie scene.
And the rest? Good or not. The opening “Mal (말)” is impressive with its “irritating” guitar sound and “Kkeut (끝)” is entertaining with its straightforward wriggling. But the fact is, no track is as impressive as “No calling for encore” while pretty melodies and tongue-in-cheek lyrics are found everywhere. As a result, pretty moments are continuous even in mediocre tunes. In conclusion, I hope I can say all these things again with their regular album. Everyone who listened to this band is willing to wait for the day.
Let me finish with a snake’s foot, not necessarily relating their music. Both the band name, Broccoli, You Too? and the song title, “No calling for encore” show their wit as students. The same wit can be found in the records by the bands, such as Nuntteugo Kobein (눈뜨고 코베인), who are working under the label, BGBG Record. How it impresses is up to the listeners. Yet, I hope the impression from this sensibility doesn’t exceed one from their music. It happened exactly when this EP started to sound boring to me. But this matters to all who want to set a new coordinate (which for them is to be a “sustainable entertainer”).
Rating: 
Related sites:
Broccoli, You Too Homepage
http://broccoliyoutoo.com
BGBG Record Homepage
http://www.bgbg.co.kr
