The Turning Gate

The Korean soundWave X

Jaurim, Sweater, Ibadi

Today marks the start of Korea's rainy season. There's little I like to do more on a rainy day than kick back with some good tunes, and, as luck would have it, good tunes have not been in short supply. Sigur Ros, Portishead and The Submarines have new albums out, Nine Inch Nails has released their latest album, The Slip, and a live tour EP, Lights In The Sky, as free downloads from www.nin.com, and I discovered the incredible Emilie Simon and Under Byen just a few months ago. As if that weren't enough, we also have fantastic new releases from Korean bands Jaurim, Sweater and Ibadi! At this point, my problem isn't finding great music, but finding the time to enjoy all the great music I've found. Much as I hate to push my problems off on other people, I'm going to do just that. Welcome to The Korean soundWave X.

Jaurim's 7th is a gem

Jaurim's latest, Ruby Sapphire Diamond, comes as a welcome return to form following their 2006 foray into jejune electronica, Ashes to Ashes. Rather than that, this is the album they should have released following All You Need Is Love. Once more taking pages from latter day Beatles, Jaurim plunges back into the flamboyant, psychedelic rock of that album, expanding upon it and taking it further. Whatever fears I had for the band's future have now been put to rest. This is Jaurim at their finest. I may be declaring an early album of the year!

The album cover offers clear indication of what's in store for the listener. It's bright, surreal and strange. The artwork embodies the music, which vocalist Kim Yoon Ah has cited as being influenced by musical films such as The Rocky Horror Picture Show and Memories of Matsuko. On listening, there's no doubting the album's theatrical qualities. Every song brims with presence and charm.

The album leads off with Oh, Honey!, a bright, spunky tune that instantly sets this album apart from Ashes To Ashes, which opened with something of a downer in Seoul Blues. From the get-go, it's clear that Jaurim means to have fun this time around.

The third track, Something Good, is a tightly composed pop-rock song with a wonderfully uplifting chorus. Kim Yoon Ah's vocals are stellar here, buoyed by a lush musical backdrop.

Drops, one of my personal favorites from the album, is an odd melange of keyboards, drums and "drops" that recall Komeda at their quirky best. I go all in for this brand of eclectic din.

Being for the benefit of Mr. Kite, Jaurim will be performing a show tonight on trampoline! The record's first single, Carnival Amour, single-handedly crushes the entirety of Ashes to Ashes beneath the overpowering girth of it's immense, circus-like personality. The song, which speaks of one's fear and reluctance of falling in love, is a big band, orchestral affair, wacky, wonky and wonderful.

Guitarist Lee Seon Kyu shines throughout the album, turning in some of the most well-thought, soulful guitar performances I've heard on any Korean record. That he's a great player I've never doubted, but Ruby Sapphire Diamond really drives the point home. Not only does he know how to play, but also when to play and, more importantly, when not to. He's the rarest of things: a remarkably talented guitarist who serves the songs, not the guitar gods. Eat your heart out, Yngwie!

Getting towards the close of the album, The Devil rears its bass-heavy head. Bassist Kim Jin Man lays the sludge on thick, miring you, the listener, in place just in time for Lee's searing guitars to take off your head. And, crazy as it sounds, there's something about the vocals that call to mind Tom Jones' Sexbomb. I just can't shake it ... or, I just can't stop shaking it. Sexbomb, sexbomb, you're my sexbomb, and baby you can turn me on!

Kim Yoon Ah steps back on Poor Tom, allowing guest vocalist Kim Yoon Il to lead. The slowest, most plodding piece on Ruby Sapphire Diamond, the song sounds something like the ballad of a sad, European clown and is well positioned at the tail-end of the record. The final piece, Blue Marble, is driven mainly by piano and Kim Yoon Ah's voice, again in fine form. It's a beautiful close to a magnificent record.

Ruby Sapphire Diamond is aptly named -- the album is full of gems -- and stands as solid proof that Korea's greatest alternative rock band is still Korea's greatest alternative rock band. If you have no love for Ruby Sapphire Diamond, then I dare say you have no love at all for music.

See the music video for Carnival Amour on YouTube.

Right-click to download Oh, Honey!, Drops and Carnival Amour.

Sweater's Highlights; it's about friggin' time

Sweater's long-awaited new album, Highlights, is finally upon us. The band seems to be playing it safe; the record treads familiar territory for the band, but nonetheless comes as a welcome addition to a catalog too seldom updated. Highlights is Sweater's fourth release, but their third official album, the direct successor to Humming Street (Songs In Air was counted not as a third album, but as album 2.5).

In general, the album sounds light and airy. It's a sort of thing best listened to on a breezy day with the windows open, whilst relaxing, reading a good book or gardening.

Highlights kicks off in 3/4 time with Begin With Waltz, a short, sweet song comprised of finger-picked acoustic guitar, drums and accordion. The songs feels very organic; I love that you can hear the sound of fingers sliding on the strings.

Sweater fans will feel right at home with songs like Marine Snow, Your Song and most other songs on the album. Feathers is one I'm particularly fond of; a song with a gentle drive and some wonderful instrumental flourishes throughout, lurking just beneath the surface like fish glimpsed through the shimmer and ripple of a pool. The layered intro and outro of the song are probably my favorite parts.

Sweater has always drawn on funk and disco as partial influences, weaving them into their own brand of indie pop-rock. Don't Stop follows that trend, indie funk lite. I'm also keen on the piano pounding evident in A Piece Of The Puzzle Is Gone, particularly on the run.

If you've heard Staccato Green or Humming Street, you should have a pretty good idea what you're going to get out of Highlights. The album won't challenge your sensibilities, and Sweater isn't breaking any new ground. It's an album likely to please fans. By that same token, if earlier albums didn't turn your head, Highlights isn't likely to turn it either. I still consider Humming Street to be the band's quintessential album and the best starting point for newcomers, but Highlights is a good album that stands well enough on its own merits, and I'm very glad that it's finally come.

Right-click to download Begin With Waltz and Feathers.

Ibadi's glorious debut

The recently debuted Ibadi is the acoustic side-project of Clazziquai vocalist Horan. Like her previous albums with Clazziquai, Ibadi's Story of Us touts immaculate production values. Comparisons between the two bands should end there, however; those looking for the next Lover Boy won't find it on Story of Us. Ibadi is adult contemporary music, targeting mature listeners. The kiddies probably won't take well to this one, but more the shame for the kiddies. Story of Us is a beautiful record that should be appreciated on its own substantial merits. It's greatest problem will likely be the inevitable comparisons to Clazziquai that will the drawn due to Horan's iconic status in Korean music. But that weakness is also the album's strength; Horan is a remarkable singer and it's refreshing to see her breaking her mold. Ibadi proves, beyond the shadow of a doubt, the breadth of her talent.

It certainly doesn't hurt that she's, once again, supported by such capable musicians. Guitars and drums are handled by Geojung, with Justin Kim on bass. A handful of guest musicians round out the roster on pianos, keyboards and accordions. It's clear as day that everyone involved is a top-notch musician. Songwriting and arrangements are great and done entirely by the band's primary three members.

Those looking for more of the same will have to hold out for a fourth Clazziquai album. Those willing to accept Ibadi for what it is stand to be impressed. I applaud Horan for stepping outside her established safety zone with this project, and I applaud the entire group for producing such a masterful debut.

Check out the music video for 끝나지 않은 이야기 on YouTube or in the Multimedia section of the band's website.

Right-click to download She and 꽃놀이.

TTG vs. Park Joon Hyuk

Park Joon Hyuk (a.k.a. Park Jun Hyeok) recently released his debut album, Private Echo, on Pastel Music. I'd had high hopes for the record based solely on his duet with Han Hee Jeong, All Right, released late last year on Pastel's 12 Songs About You compilation and which resurfaces here. Sadly, he doesn't live up to expectations. Private Echo is the sort of album you listen to for about a week, then shelve and forget you own it.

I've lately been out of touch with Pastel, so not sure what's going on over there. They seem to be scrounging for new acts, though, and not coming up with much. On 12 Songs About You, Pastel gave album space to quite a few new artists. Park was among them, as was Monolyd. I saw Monolyd perform at one of Pastel's showcases and walked out during their second song. To their credit, Pastel had the good sense to cry off from Monolyd. Honestly, I wish they'd have exercised similar judgement relating to Park Joon Hyuk.

In April, I saw Park making his debut appearance at another Pastel showcase, coinciding with the release of his album. His performance was immensely disappointing. He utterly lacked any kind of stage presence, and I just felt sorry for the poor guy to be up there sucking the way he was, playing a guitar that sounded like he bought it in a dollar store. I can and, on a number of occasions, have done better. And so I was left to wonder why he was the guy on the stage and me the guy in the audience, because, if Pastel is really so desperate for acts, I'll take my guitar to the office on my next visit.

Sitting through his set was my first mistake, because by the time Han Hee Jeong took the stage, I really had to pee. I did my best, but couldn't make it through her entire set without going to the bathroom, and so I missed one of her songs. Should have gone at first notion during Park's performance. Him I wouldn't have felt bad missing. My second mistake was giving him the benefit of the doubt and shelling out for his lousy record.

Vocally, Park sounds like he's trying too hard to emulate Radiohead's Thom Yorke. And, when you get right down to it, there's only one Thom Yorke. Park comes off sounding the poorer for his imitation. Lyrically, I find Park at his best in Korean, mostly because I can't understand him. For the sake of Korean listeners, though, I can only hope he makes more sense in his native tongue than when he chooses to sing in English. With lyrics like, "Splendid porcupine, splendid porcupine / It's delicious flesh / Oh no ... You dream the yellow golden lace / But it's very expensive ... Na na / What a furious day / It is the marvelous sun ... I'm so glad," I have no idea what he's on about. And really, that's the whole song; just those nonsense bits repeated over and over.

Here's another: "You mistake for ... / My ring is the core / You like miss phone / You need the disco / Feeling ..." Erm, yeah.

Or, maybe: "If I, if I'm not alone / If I, if I'm not with you / I'm in bathroom / I am on stool / If I ..." That's the entire song. All of it. Every friggin' word.

Lucite Tokki is fantastic, so you might you be excited to find Lucite Tokki's Cho Ye Jin appearing as guest vocalist on one song. That is, until you realize the song is defused by the same abysmal writing as the rest of the album. That song is Deli Pill, a song mostly sung in Korean, except for the line, "Take a pill," tacked onto the end of two of the three couplets that comprise the song's verses -- there's only one verse repeated twice in full and once more in part -- and a rousing chorus of "Take a deli pill / Take a deli pill / Take a deli pill / Take a deli pill" ... And what the crap is a deli pill? On second thought, don't answer that, because I don't really care.

And that's really the gist of it. After listening to Private Echo, I just don't care. If Park never releases another album, I won't be bothered. If he does, nothing short of a second guest appearance from Han Hee Jeong will convince me to buy it. I'm a sucker for Han Hee Jeong.

If you really want them, right-click to download You & I and Deli Pill.

Coda

Some words on 3rd Line Butterfly: Though the band isn't presently listing any upcoming shows, I've been informed by reader Russ Elliot that they do still perform, as recently as 2007. Furthermore, 3rd Line front-woman and indie hotbox Nam Sang Ah performs solo (video, April 2008) and with a project band, Mauvais Sound. Gigs, when they happen, are advertised on Sang Ah's Daum cafe.

Russ also runs an Asian music profile on MySpace. It's a big pile of sounds.

And now the bad news. For those yet to catch wind of it, my time in Korea is drawing to a close. I leave August 2 for the United States, where I will be attending the Hallmark Institute of Photography beginning in September. I may occasionally import new releases from Korea after I leave, but I will no longer have the access to the music that I now have, and I expect to discover far fewer new acts from so far away. I fully intend to write up Han Hee Jeong's solo album when it releases, but beyond that I make no promises for future entries into The Korean soundWave. It may or may not happen, depending on what I manage to get my hands on and whether it's worth writing up. For those who have been regular readers of the series, I thank you for your patronage and hope you will continue to seek out only the very best that Korea has to offer, musically and otherwise. Too often, visitors come away from this place with the wrong impression, and it's truly a shame for them never to have realized what a special place it is.

Send this article to a friend »

« Next Article | ... ... | Previous Article »