Kim Il Doo? [When Do You Come?]
A genre of music is accumulated as our auditory experience information through similar forms of repetition, and when a unique name is given to the structure of the accumulated information, it takes its place as a distinct genre. catch
What composes this information is the arrangement of sounds centered on the time axis that forms music, the overall tone or texture, some rules of harmony and rhythm, similarities in the composition and use of musical instruments, and the overall sound change that occurs when all of these are synthesized. can be summarized as
The musicians' individual tendencies, perspectives, and attitudes that walk within this similarity appear as unique differences within the same genre.
The reason we can say someone's folk music or someone's rock music is precisely because we can recognize the individual differences of musicians above the similarities defined by musical genres. Conversely, this is why it is possible to distinguish which genre of music it is, even if it is impossible to distinguish whose music it is.
As such, the music we experience is based on a history formed by the accumulation of auditory information of certain acoustic situations and attempts, so even if it is recognized as a musician's uniqueness, it implies a sound history or historical memory beyond what we perceive.

A more or less exceptional case in the matter of this allusion is noise. Noise is inherently almost impossible to give any clear definition to because of its indeterminate complexity.
Noise is the whole of this world, and what we can define as it is only a local area filtered out of that noise.
What we are talking about noise now is just a very simple categorization. For example, it is used to refer to high frequencies that are uncomfortable for hearing, sounds with decibels above the threshold, and sounds that are considered unnecessary in the cumulative auditory experience.
All the sounds we hear are synthesized for some reason from densely filtered sounds from noise.
What we can say about music is a structure in which sound information filtered with various types of selective biases is accumulated, and whether it is music or not is distinguished according to the historicity of the structure.
However, noise is an indeterminate state prior to historical information rather than an accumulated history of auditory information like music, and as we approach music subjectively, it transforms into a possibility that can become new auditory information in the accumulated history.
The historicity of accumulated auditory information can even create vague and personal distinctions between what is music and what is not music in a larger category.
The more solid the accumulated is, the more one can think of the inside and outside of the accumulated.
Therefore, new musical attempts often deviate from the accumulated history that we generally recognize, and there is a larger world of sound outside of accumulated history, and as the effect of suggestion becomes smaller, it may not be judged as music.
Being able to recognize and think about the history and implications of this auditory information will also open up a way to talk about issues in which they interact by distinguishing the auditory information that has been accumulated and the auditory information that has not yet been accumulated in a piece of music. do.

Kim Il-doo's new work, 'When Do You Come?' raises an interesting question from this point of view.

'When Do You Come?' In an album, noise penetrating the entire album has a great influence on the texture of the overall music. This clearly belongs to the history of accumulated auditory information, and Kim Il-doo's music exists first and is then applied to the music.
Thinking about what has been inflicted and what kind of changes have brought about makes it possible to think of more complex and comprehensive contexts beyond simply talking about the technical issues of music production.
Noise in music was an object that had to be removed technically, but now the use of noise has become somewhat generalized.
In particular, when noise is treated as a production methodology in familiar music genres, the noise inherent in past media (turntable, reel-tape, lo-fi) implies the history of interaction between music and sound accumulated from the past. spatial ambience, etc.) was used as a partial decoration effect for the music.
However, this production methodology soon showed the process in which the inherent noise of the medium itself became a theme that completely reconstructed music itself, and the production methodology itself became music.
This music appeared in the synthesis of the existing idea of ​​composition and the technical idea of ​​produce. When the appearance of such music is recognized as a new uniqueness, the denotation of music and sound that we recognize gradually expands by causing another accumulation in accumulated history.
In the modern music production environment, the past media noise (accumulated information) is being reproduced through higher density information (sampling) rather than the actual recording space and the media environment of recording technology.
This method very easily creates a nostalgic effect for the past, and now has the effect of returning the space between the listener and the music with high clarity, which is so close that you can even feel the singer's breath in your ears, back to the past distance related to media technology.
When you can recognize and think about the history and suggestion of auditory information, you can get away from the suggestion effect and grasp it again in the real world. The application of noise to music is not simply reproduction of past effects, but the fact is that the density of the past information is further increased and subdivided.
Informed noise is not an intrinsic property of noise involved in sensitivity and complexity, but a loosely fixed pattern that has been instrumentalized or musicalized so that it can be used in music that is informationalized as noise in a medium, strictly speaking, no longer noise. .
Then, it is now necessary to be able to more specifically classify and say what the instrumentalized or musicalized sound used to be called noise.

'When Do You Come?' The reason why the overall use of noise for the music recorded in <#2> feels like a kind of provocation or game rather than a simple return to the past to listeners. This is because informatized noise carrying the noise is used, and the contrast of the effect caused by the noise appears clearly.
The clarity of the informationalized noise is raised to the same ratio as Kim Il-doo's music itself, creating a slightly different sense of distance to our hearing through the amplification and attenuation effects according to the noise.
In addition, as a sense of distance arises, more colorful textures and harmonics react to Kim Il-doo's music in the overall sound space, making the clear into ambiguous, the hard into soft, the hot into cold, and the close into distant.
As a result, it gives a strange sense of distance and a different texture to the direction of sound established in terms of genre.
Our ability to recognize established musical genres causes numerous variations from itself, but those variations often appear in interactions with sound rather than simply in the music itself.
And before music, an effective way to increase variation in terms of sound is the use of noise.
The noises applied to the songs in this album are a new sense of heterogeneity that has not yet reached the stage of fully experiencing and recognizing the history of music accumulated with auditory information beyond performing the function of suggestion, and this heterogeneity is what transforms our musical experience into other possibilities. It is a raw material that is converted into
September 2021 Ryu Han-gil (dingn/dents musician)

[Credit]
Cover Photo by Kim Chang-
hee Insert Photo by Choi Soo-mi
Designed by Hwang Jae- won
Mixed By Kim Chang-hee
Mastered By Kim Chang-hee

All Songs & Lyrics By Kim Il-doo
Produced By Kim Il-doo / Kim Chang-hee
Arranged By Kim Il-doo / Kim Chang-hee
* Assist Producer: Jongmin Kim
'I Knew It Wouldn't Hurt' (track 03, track 11) Music by Jongmin Kim

Song: Ildu
Kim Guitar: Ildu Kim
Drum Programming: Changhee Kim (except track03, track11)

Track 01 / Classic Guitar Playing: Kyuhyun Shim
Track 03 / MIDI Programming / Performance: Jongmin Kim
Track 05 / Organ Performance: Hyuk Choi
Track 06 / Harmonica Performance: Dongbeom Kim

Recorded By Kim Il Doo (Tascam 424 PortaStudio)
Recording Assist: Choi Hyuk
Recording @ Gyeongseong Inn Room 701

Production / James Records
Distribution / Music Bus

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Issued by JAMESRECORD
Manufactured and Released by MUSICVERSE.
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