yeong die

Yeong Die - [COMPUTER MUSIC CLUB vol.2] - HARD DANCE EXCLUSIVE

Yeong Die - [COMPUTER Nek-O Future MUSIC CLUB vol.3]

[COMPUTER MUSIC CLUB vol.1] Multi Genre Set : Yeong Die

[COMPUTER MUSIC CLUB vol.7] - 2021.09.16

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Yeong Die - [COMPUTER MUSIC CLUB vol.7]

Pre-order: https://umantherma.bandcamp.com/album/terracotta

Seoul-based DJ and producer @umantherma, also known as one half of the leftfield ambient duo Salamanda, unveils her debut solo EP 'Terracotta' on @perpetualcareclub.

'Terracotta' is about navigating the space between resistance and surrender — a search for light not by escaping the dark, but by moving deeper into it. Each track passes through a landscape marked by muted anger, unease, and fragile longing, but never sinks into despair.

More exclusive music

Premiere: Uman Therma 'Senses'

Ableton Residency

Little Binch

cover art by my talented little sister, daphne

~

money won't save you from feeling the void out
you could go far out as sedation and bacon will leave you as hungry and burned out
he said he wants to die now,
but fearing what lies out beyond death
and if heaven and hell isn't real, where's he to go now?

and if you're young, dumb and in love, where should i go?
cos honey, i know that they'll take you away
honey, i know what they'll say
this feeling's a day
and you just might change your mind tomorrow

i can't be myself around you, i'm happy and sad
can you tell? need a prescription as well
people ain't answers, they're just more questions
you're a cosmic intervention, while i'm a piece of junk
floaty as hell

and if you're young, dumb and in love, where should i go?
cos honey, i know that they'll take you away
honey, i know what they'll say
this feeling's a game
and you just might change your mind tomorrow

~ far out ~

sampled voice recordings from when i tried writing pop songs in 2014 and before i gave up singing

Dislocated

Något Enformigt

Whities 016 - Giant Swan
Release date - 14th September 2018
Buy - whities.bandcamp.com/album/whities-016

A1 - Pax Britannica
A2 - IANAH
B - The Plaque

Art direction by Alex McCullough 
Embroidery design by Ellie Sweeney 
Sleeve design by Alex McCullough and Kia Tasbihgou
Mastered by Beau Thomas

Distributed by Rush Hour.

016 - Giant Swan: Pax Britannica / IANAH / The Plaque

good girl~

+device: Traktor kontrol S4 MK2

Yetsuby TOFFEE ROOIBUSH mix 23/9 /18 | In my room based on more than less (world best coffee)

Barbershop

spielraum

http://blowinguptheworkshop.com/project/tashiwada

Endless Night of Dreams

∙ Terry Jennings - Piece for Cello and Saxophone
∙ Micachu & The Shapes and the London Sinfonietta - State of New York
∙ Jessika Kenney - Ingsun
∙ Brigitte Fontaine / Areski with the Art Ensemble of Chicago - Tanka 2
∙ Gareth Williams & Mary Currie - Breast Stroke
∙ Augusto De Campos / Caetano Veloso - Dias, Dias, Dias
∙ Annette Peacock - I'm the One
∙ Haruomi Hosono - Korendor
∙ Alice Coltrane - Oh Allah
∙ Charlemagne Palestine - Carillon Concert
∙ Księżyc - Klepana / Klawesynowa
∙ Hanne Darboven - 2²
∙ Mustapha Skandrani - Improvisation (Sika)
∙ Reiko Kudo - The Deep Valley of Shadow
∙ Julia Holter - Why Sad Song
∙ Robert Wyatt - Alifib
∙ Les Rallizes Dénudes - Otherwise Fallin' in Love with You

Blowing Up The Workshop

97 ◆ Tashi Wada

Jasmine

From Paris with love here comes mix 008 by Second Circle artist and friend D.K. (@d-k-music). Q&A (excerpt) here below.

www.musicfrommemory.com

MFM: Salut Dang Khoa, welcome to our podcast series. Had a nice summer?

DK: Hey! Thanks for having me. My summer was pretty cool, I was happy to play some nice festivals and gigs in Europe. I also had a little break to go on vacation with some friends in Marseille to enjoy the sea and the South coast of France.

MFM: Speaking about summer, your music has quite an exotic touch in which melody and percussion both seem to play a pivotal role. Where does that come from? 

DK: At the very beginning, it was simply inspired by the kind of house music I was listening to. But it changed through the years. I had a period when I was into industrial stuff, and I’ve been really inspired by the textures, by that sensation of mechanical groove and how the percussions were used. It kind of lead me to listen to the roots of music, and got into ritual sounds. Regarding the melodies, I don’t know man, it’s maybe because I’ve listened to too much R’n’B when I was a teenager haha.

MFM: But you're not a trained musician in one way or another? Like, can you read notes and play keys or other instruments maybe?

DK: I played violin when i was very young at the Rennes Conservatory of music for 6 years but it was a long time ago and i didn't practice since. I still can read notes but i'm super slow when it's about to play a musical score with other instruments now.

MFM: Would you say you have a D.K. workflow when in the studio?

DK: I like to have a precise idea of what I want to do before I start, even if it’s going to change completely during the process. Also, the shape of a track will really depend on what I’m listening to at the moment. I can easily get lost sometimes, producing something that is totally different of what I’m doing but I always learn some new technics. It’s a good way to find new ideas as well. Most of the time, I work on the same loop until I’m satisfied, almost all the elements of the track have to be already present on this loop, so I can have a vision of what it’s going to look like. Then, I know it will be easy to structure, edit and finish.

MFM: Interesting, for a lot of producers making arrangements seems a tough task or annoying burden even. What's your trick?

DK: I start with the  rhythm structure then focus my work on finding the main theme of a track,  and i build everything around it. If the beat and the  hook are strong enough it's usually not a tough task to make the arrangements.

MFM: You've been putting out music not only as D.K., how come?

DK: I decided to use that 45ACP moniker to focus my work more on sound textures and beats. It was maybe more heavy and club-oriented than what I used to do as D.K.. But now, I’m trying to combine everything in one project to create more contrast in my music. I’m generally interested by the opposition of textures and sounds in music. For instance, I like to mix raw percussion parts with clean drums or melancholic cold pads with naive midi melodies.

MFM: So, what can tell us about the mix? Any specific theme behind it?

DK: It’s a collage of tracks that I’ve been listening to at home recently and some edits I’ve made, from ambient and tribal to Japanese stuff. It’s obviously not what people can expect to hear me play in a festival or club but I would say that it’s more the vibe that I’m trying to create when i’m performing live.

MFM: Last but not least, any exciting news you'd like to share?

DK: I’m wrapping up my next Ep at the moment, it will be the third volume of my trilogy dedicated to club music on Antinote. I also have a release to come out soon on 12th Isle, and a couple of remixes.

MFM Mix 008: D.K.

Yetsuby - You Popped A Gold Fish

𝙒𝙖𝙡𝙠𝙞𝙣𝙜 𝙛𝙡𝙤𝙬𝙚𝙧 

𝘗𝘦𝘳𝘧𝘰𝘳𝘮𝘦𝘥 𝘣𝘺 𝘚𝘢𝘭𝘢𝘮𝘢𝘯𝘥𝘢
𝘗𝘳𝘰𝘥𝘶𝘤𝘦𝘥 𝘣𝘺 𝘚𝘢𝘭𝘢𝘮𝘢𝘯𝘥𝘢
𝘈𝘳𝘵𝘸𝘰𝘳𝘬 𝘣𝘺 𝘚𝘢𝘭𝘢 𝘰𝘧 𝘴𝘢𝘭𝘢𝘮𝘢𝘯𝘥𝘢

Walking Flower

Yeong Die - Threshold Value [CLIPP165]

Yeong Die is an artist residing in South Korea that got into music after commencing her study of piano at age 6. In the following years she was influenced by Chopin and Beethoven, K-Pop, Bill Evans and Brad Mehldau, Aphex Twin and the Boards of Canada, Bjork, Erykah Badu and DJ 威力. “Studying jazz from an early age made me want to make music that understood the concept of ‘improvisation’. I started producing with minimal equipment, using only Master Keyboard, MacBook, and Logic X... ”. In 2018 she dropped her debut self album “PIZZAPI” and began her journey as a DJ, producer, and sound designer - collaborating predominantly with video media. 

If all that sounds like your bag, then wrap your head around her new album “Threshold Value”.
 
Ahead of what would be the strangest year in living history, on January 1, 2020, Yeong Die quit her job and purchased her first synthesizer - a Korg Minilogue. She began working on music at 9am, every morning for three months. The resulting tempest of sound and ideas would be developed further over a total of 7 months from the start of the project, completion being the full length “Threshold Value” - a ten track odyssey of noise and textures and heavy concept clashes skipping between Ambient, Industrial, Manipulated Audio Media, Music and Non-Music Sound. Pieces like “Nool the Que” announce themselves like a love story involving telephone modems giving birth to a dystopian neon future. “Anywhere is Fine” can be heard at home bouncing around the confines of a basement fight club. The 10 minute “Worstward Ho” or “Much O O” could derive from a modern Music for Airports, albeit a 2020 version minus the hustle and bustle, echoes from a place both desolate and tense. 

In Yeong Die’s own words: “The theme of “Threshold Value” is embodied in the title songs ‘Anywhere is Fine’ and ‘Worstward Ho’. I focused on the sense of bearing and pain that I can never get used to. Holding, or not holding up are completely different, but I think the distance between these is very close. “Threshold Value” was the work of finding the space as close as possible between patience and explosion.”

Produced by Yeong Die
Mixed by Yeong Die
Mastered by ACiD
M/V by Uljiro Kim
Photography by leeyunho
Costume by HALOMINIUM

Follow Yeong Die https://www.instagram.com/yeongdie/

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About clipp.art: clipp.art promises an ongoing series of weekly/bi-weekly digital cuts - complemented by the occasional limited edition 12 inch and dance party. 

clipp.art events and tours feature headlines from Gerd Janson, FYI Chris, Breakbot, Ross From Friends, Bloody Mary, DJ Seinfeld, DJ Boring, Black Loops, Coeo, Seb Wildblood, Auntie Flo and Demuja, while supporters for clipp.art original music include: Andrew Weatheral (RIP), Dave Clarke, Optimo, Dusky, Laurent Garnier, Nemone, Vin Sol, Skream, Tensnake, Phil Kieran, Pete Tong, Shaun J. Wright, Little Helpers, Honey Soundsystem, The Black Madonna (Formerly Known As), Monki, Horse Meat Disco, Larry Tee, Dixon Avenue Basement Jams, Jacques Renault, Nightmares on Wax, and many many more! 

General Enquiries ☞ clippart001@gmail.com
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Threshold Value

Download

Yeong Die - Dishes Done

"Intimate Ghosting", a compilation album featuring nine musicians from Japan and South Korea, is being newly introduced to the roster of the Netherlands/US-based record label Psychic Liberation. Under the curation of novelist and musician Jiyoung Wi, the album contains the works of Arexibo (KR), Arles (KR), bela (KR), Jiyoung Wi (KR), Joyul (KR), Kazumichi Komatsu (JP), Kenji (JP), Ultrafog (JP), and Yeong Die (KR). ‘Intimate Ghosting’ is a lucid invitation to the effervescente sonic field progressing throughout the experimental, left-field, ambient music communities of said regions. The album artwork is from Moon Bae, an artist working in the US and South Korea.

Curation : Jiyoung Wi
Mastered : Elizabeth Davis
Design : Moon Bae

Distributed in the United States by Fantastique LLC

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