Album Review: DJ 소맥 -구리시 (DJ Somaek – Guri-si) (Il Padrino Records, 2018)

Anyone who’s ever been out drinking in South Korea is almost certainly familiar with 소맥 (somaek), a cocktail combining beer (맥주, maekju) and 소주 (soju), the legendarily lethal Korean spirit. Somaek is the kind of drink that can sneak up on you – the beer tends to mask the harshness of the soju, making it easy to overindulge without realizing just how strong this convenience-store special really is. As such, it’s a perfect moniker for the Northern Ireland-born, Korea-based producer DJ 소맥, who makes serene, almost subliminal cloud trap and UK drill beats that don’t immediately catch the listener’s attention, but rather gradually grow on you until before you know it you’ve been sucked down the DJ 소맥 wormhole and he’s all you’ve been listening to for a week.

He’s an incredibly prolific producer, with a ton of tracks and albums available for free download via his netlabel, Il Padrino Records, so for this review I’ll be focusing on just one of his albums, 구리시 (Guri-si). Guri is a satellite city on the eastern fringes of Seoul, and each of the tracks on the album is named after one of the city’s neighbourhoods (with the exception of the title track, 경기도/Gyeonggi-do, which is named for the province that surrounds Seoul). My impression is that the album is intended to be a sonic representation of the city, with each track capturing the feel and atmosphere of particular districts and neighbourhoods, an impression further reinforced by the album video which superimposes day and night footage of the city to great effect.

You can stream 구리시 in its entirety on YouTube.

Album opener, “Gyeonggi-do” (I’m switching from 한글 to English from here on just for ease of writing) is a gentle lullaby of a tune, reminiscent of work by bedroom producers such as Baths. Korean vocal samples (a feature of every track) fade in and around a soft synth melody playing over rising and falling bass tones. It’s followed by title track “Guri-si”, one of the strongest individual tracks on the album that pairs layered chords with a detuned choir of voices and more Korean vocal snippets, this time of a child’s voice. The rest of the work in the track is done by unpredictable, nicely crunchy drums; the percussion builds to a crescendo before all the sound is gradually stripped away, until  only a simple melody, at once heartbreaking and uplifting, is left behind.

The third track, ‘Topyeong-dong’, has a much icier, more menacing feel, channeling the soundscape of early 2000s UK trip hop. The eerie metallic percussion is definitely the standout feature on this slinky opium-den-bass beat. The mood of the following track, brief interlude ‘Inchang-Dong’, is more mournful than menacing thanks to its thick, gauzy clouds of reverb and choral vocal hooks. Track five, ‘Sutaek-dong’, is another of the album’s strongest moments, where fragile, shimmering synth patterns flutter and swirl, threatening to collapse in on themselves, only to be buoyed up by sinuous sub-bass and rattletrap percussive hits.

DJ 소맥 is a prolific producer with several albums available for streaming on YouTube and Soundcloud, such as this one, 야간 번개 (‘Yakan Byeongae’, or ‘Night Lightning’). 

On track 6, ‘Sano-dong’, old-timey piano samples give the tune a jazzy ambience, while a high-pitched, siren-like pad sound simultaneously suffuses it with a sense of dread. The seventh track, ‘Gyomun-dong’, is one of the simplest, pairing a synthetic woodwind melody with 808 kick-thuds. It’s followed by ‘Galmae-dong’, on which a delicate synth melody flows over gentle swelling pads and cavernous percussion like raindrops trickling down a window pane during a summer storm; along with ‘Guri-si’ and ‘Sutaek-dong’, this track stands out in my memory as one of my favorite tunes on the album. The final track, ‘Acheon-dong’, ends things on a pretty dramatic note, and is probably the “trappiest” tune on the album, with a frenetic, endlessly looping lead melody, emotional key stabs, and an ominous bassline taking center-stage.

Overall, I enjoyed the album, even though it isn’t the kind of stuff I generally listen to. I find DJ 소맥’s music works best as “soundtrack music” – stuff to listen to while riding the subway, or mooching moodily around the city, or stating out of a taxi window watching the lights go past at 4 am. If anyone reading this is interested in cloud – or vapor trap music with a Korean twist, you can’t really go wrong with DJ 소맥, and there’s a wealth of material to work through – six albums available for streaming or download, as well as numerous other tunes. My advice is to just pop on the DJ 소맥 playlist on Il Padrino Records’ YouTube channel and float away.

 

구리시 can be streamed via Il Padrino Records’ YouTube channel  and is available for (free!) download at the label’s tumblr page. 

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