State Champ Radio Interview
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Unlike their western counterparts, K-pop artists intentionally steer clear of any news or discussions regarding relationships. Dating within the realm of Korean idols remains a controversial subject and in 2018, DAWN found himself embroiled in a dating “controversy” with a senior artist from his record label—an incident that could have spelled the end of his career.
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Today, however, that very experience is shaping his most impactful music to date.
Following the infamous expulsion of DAWN and his then-girlfriend HyunA from Cube Entertainment after going public with their dating news (despite a wave of international media attention and fan support for the relationship that put the contract break on temporary hold), the then-24-year-old boy band member embarked on a solo journey. He became the first male artist to join PSY at his newly established P NATION label.
His second act delivered experimental pop and hip-hop singles like “Money,” “Dawndididawn” and “Stupid Cool,” with his relationship put on fully creative display with a joint EP with HyunA, titled 1+1=1.
By the end of 2022, both DAWN and HyunA decided to end their contracts with P NATION as well as their six-year relationship.
Now, DAWN’s personal and professional transformations have paved the way for his Act III, which commences with his latest single “Dear My Light.”
Now signed with the burgeoning hip-hop label AT AREA founded by production duo GroovyRoom (who have produced everyone from Korean hip-hop legends like Dynamic Duo to trending idol groups like (G)I-DLE and OnlyOneOf), DAWN has found a new home to build a dedicated creative team so “more people to understand me as a person better.”
With more music in the works, DAWN’s inaugural step with AREA through “Dear My Light” discards K-pop’s signature glossy veneer and unveils an acoustic-led and emotionally charged letter to his ex. This production is not the only thing stripped down as DAWN exhibits candidness through the lyrics that speak directly to his experiences with the K-pop industry and HyunA. Ironically enough, despite cultural norms prohibiting K-pop stars from dating freely, “Dear My Light” has emerged as DAWN’s most successful chart hit in Korea thus far.
Reflecting with Billboard from the comfort of his Seoul bedroom, DAWN opens up about this new chapter, the raw experiences charged into his new single and what lies ahead.
Billboard: You had a busy end to 2022 and start to 2023 with new professional and personal changes. First and foremost, how are you feeling these days?
DAWN: When I left P NATION, I had about four to five months where it was a time to recharge and also kind of rethink and plan out what I wanted to be and how I wanted to define myself as an artist. There were two things that came up as goals: One was trying to have my own artistic team and create a creative crew that I can work with. Another thing was finding a label that can really understand how and who I envision myself as as an artist. And, now, I feel confident that I’ve accomplished both so I’m very happy and continuing to work with that.
The music industry can be challenging and this was another significant shift for you. People can get disheartened or broken down by the industry. Did you ever consider leaving music or does it remain your core focus?
Sometimes I do think about not pursuing music anymore because in the back of my mind, I’m always [thinking], “Until when can I really do this? Is there an endpoint to this? Will I be able to continue?” I think that when listeners feel what I’m doing in terms of music is not trendy or I’m not putting out good quality of music, I feel like maybe that’s the time when I stop but, obviously, I don’t want to. That’s why I’m always putting in the effort to look for something new, trying to learn and be inspired because being inspired by something is also a big part. So, that’s also why I created our team because I felt like I could be inspired from other boundaries of art too—not just other musicians, but from paintings, a tattoo, graphic design. I obviously don’t want to stop, but I think about it and I’m doing everything I can to continue to deliver good-quality music.
What was the process in creating and finding this team with your new label, AT AREA? I don’t know if I’ve heard of a K-pop artist making an art team in this way.
I started in K-pop and there’s a lot of visual effects to the music. So, when the music comes out it’s very important to think about how we’re going to maximize the content creatively and visually. When a song comes out, you have to think about the artwork, the video and photos—I think K-pop is an interactive content and art form. With AT AREA, I obviously wasn’t only talking about the music with them, but I started sharing my ideas with them and creating an art team was one way for more people to understand me as a person better since the team would understand my stories the best. I feel very comfortable and safe brainstorming on how my music will be seen; I’ll talk about different styles like, “I want to be seen this way for this kind of music.” The synergy is really, really great now and I have the right partners for each aspect of my music.
I’m glad to hear that because “Dear My Light” is very different from the music we’ve heard in the past. Starting with the sound, what made you want to take this almost musical shift?
The change and transition happened very naturally from leaving P NATION. Although I left under good terms, one of the reasons why I did was because I knew I wanted to show a new side of myself as an artist. So, I don’t want to describe this as a “new” path for me really because I don’t see it as a transition but simply a change in my mindset.
Even the artwork for “Dear My Light” feels like a change from your past work, almost like a new artist, so it’s really exciting but you say it’s a transition?
Apart from the piercing, I guess my new mindset is that before it was very focused on talent. I would say, “I can dance like this, I can sing like this and I can perform like this” so I was very focused on that. But now I’ve changed to wanting to showcase more of who I am as a person. As in, “This is a type of story that I want to tell you and inspire you.” I want to talk more about myself and send a message, “This is my voice and I want to tell my stories more.”
You’ve shared how “Dear My Light” is about your relationship with HyunA, which was very brave to not shy away from and put into a song. What more can you share about the song in terms of your history together?
I can confirm that it is about my past relationship, but I want to add that it would be odd for me to deny that because, as an artist, I want to talk about what I’m going through now. So, I’d be lying because that is what I went through, that’s what I’m going through and that’s how I’m feeling. So, I’m confirming it is about that and the song is my story.
Do you have a favorite lyric?
It’s a part of the first verse, the [English translated] lyrics of, “Met you when you were most beautiful/ I could go through anything no matter what anyone said.”
Is that line referencing when things were unclear after you left Cube Entertainment?
It is referencing back to that time when I left the company and there were a lot of different comments, media, stories, a lot of talking happening. There was a lot of backlash from that, but also a lot of people worried about us and, of course, a lot of people supporting us too. I was also very young at the time. But if I think back to it now, I feel like that was such a hard time but I remember that even though it felt like the whole world was against us and we could really go through it because we had each other and because we loved each other so much—that was what kind of helped us get through it.
Thank you for sharing that. I loved the chorus’s last lines, “It’s okay if I lose everything/ As long as I can see you dazzling.” There’s a sense of being selfless even if you’re hurting. What inspired that?
It’s a pretty direct reflection of how I was feeling when I was in love and I still believe that that’s the right way to love because I heard someone say once that if I really love someone, then your brain oddly makes you think that your lover is actually you. So, you start cherishing them like you’re cherishing yourself. And so I believe that what I do for my partner is essentially what I’m doing for the two of us so that’s kind of my selfless attitude when I think about relationships.
Something that I thought was interesting was that HA:TFELT, or Yeeun from Wonder Girls, co-wrote “Dear My Light” with you. She also came from an idol group background and could show herself and her stories more as an artist. Was there any connection or common ground that you guys found together?
So, I’m not very good with words. [Laughs] Expressing myself and my emotions into words is very challenging sometimes. One of the challenges was, “How can I write my emotions in a beautiful way?” And HA:TFELT has been a friend ever since me and HyunA were in a relationship so she’s kind of seen the whole process of our history. And she’s an amazing writer too. So, I really wanted to work with her; there was a really good synergy between us writing this.
The artwork and concept photos are very powerful too I loved all the styles in “Dawndididawn” and “Stupid Cool,” but this feels like one, straightforward concept. What are the artwork aspects representing here too?
I think fashion is not just the wardrobe or what I’m wearing, but I use it as a tool to express myself. That’s why I think there’s consistency because me, as a person, doesn’t change. So, I feel very confident that it looks coherent together. In terms of the artwork and the photos itself in “Dear My Light,” it’s a song about the progression of a version of myself that was in a dark space finding a person, finding the light, and progressing into a more positive person that feels brighter. That’s why you see thorns around the neck and a hole in my heart on his chest; all of that expresses the void that I felt during my dark times, but the music video shows that void fills up and the same progression that the song portrays.
Is there anything that you want people to know who listen and connect to the song personally?
For people who either parted ways from their partners or are going through a dark time in their lives, I want those people to know that if you look around, there are people that can really shed light on them.. There are people who really love them and I really believe that. Through this song, I also want to be that for them and reassure listeners that maybe this song could be the light, or if you really look around there’s someone who could be that for you. I want to be a cure for those who need it sort of.
Anything else to share as you continue on this new chapter?
For my fans and listeners, I always aspired to make music that inspires others. Now with AT AREA, I have already written a lot of my stories and will continue to write more. I’m looking forward to people listening to that music and I’ll keep working very, very hard.
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Dr. Umar Johnson has his fair share of critics and detractors and it appears recent comments he made during a podcast interview will add to those ranks. During the discussion, Dr. Umar Johnson expressed disappointment in the perception some men hold regarding the role of women in society despite getting pushback on his stances from the show’s hosts.
Dr. Umar Johnson was a guest on the Daily Rap Up Crew show and a series of clips from Dr. Johnson’s appearance have since gone viral. In one especially heated exchange, Johnson explains
“At the end of the day, if I’m a call myself a man, the ultimate responsibility for the reconstruction of the Black community rests with me,” Johnson said to the trio of hosts for the Daily Rap Up Crew. “Yes, they [Black Women] have a role. Yes, they have responsibility. But as a man, as a leader, to say ‘I can’t fix this sh*t unless she changes’ — that’s not the definition of a man.”
Johnson received pushback at this point when one of the hosts retorted by saying that the current pool of women to choose for a mate is, in the host’s words, “masculine” and does not want to raise the children of another man. The host added that too much of the onus has been put on Black men to conform to women, but Johnson fired back.
“Why is she masculine? Because she had to raise the kids alone,” Johnson fired back before getting cut off and returning the energy. I’m telling you, mistakes made by Black men systemically gave rise to the conditions that allowed her to be masculine and made her end up with a man that you consider to be less than he should be. And I’m telling you, Black men are responsible for her being masculine because we have not helped her raise them children.”
To view the portion of the discussion we reference above, hop to the 10:00-minute mark in the video below.
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Photo: Daily Rap Up Crew / YouTube screenshot
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Before Juan Luis Guerra launched his smooth bachata to global fame; or before the samba of Gilberto Gil’s samba traversed beyond Brazil; or Cuban son exploded out of the Caribbean in the late ‘90s, Putumayo championed world music.
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The company, founded in New York by entrepreneur Dan Storper, began in the 1970s as a store of handicrafts and musical discoveries that the American globetrotter brought back from his travels in Latin America, Africa, India and elsewhere. But over time, the music became bigger than expected — and in 1993, he created Putumayo World Music, a record label that has served as a benchmark for captivating sounds from all over the planet.
Through the label, genres that in the U.S. had largely been considered world music curiosities — such as bachata from the Dominican Republic, bossa nova from Brazil, Afrobeats from West Africa or bhangra from India — became better-known, as Putumayo played a big role in their global growth.
“I look back with a certain measure of pride at the fact that we’ve really introduced so many people to music that they were not familiar with — whether it be Latin, African, Caribbean, European, and more,” Storper tells Billboard Español, as he reflects on his three-decade legacy. He mentions, for example, that Carlos Santana met certain African bands through his catalog that he later ended up working with.
With a discography of more than 200 physical albums — many of which are now available via most streaming services — the pioneering label drops their first digital full-length album today (June 16), Acoustic Latino. Continuing their quest for finding treasures for those seeking a journey into the heart and soul of disparate cultures, the ten-track compilation offers songs by Mexican son band Chéjere, whose folk style from the Yucatan peninsula reflects their Afro-Cuban influences; Colombian songwriter Alejo Garía, who explores elements of jazz, folk and rock with contemporary sounds; Cuban singer Niuver, who’s influenced by trova, bossa nova, and chanson; and more.
“Putumayo’s strength is not only selecting some great songs with that human touch, but putting together a sequence to take you on a musical journey, and as we say, it’s guaranteed to make you feel good,” says Storper.
Billboard Español caught up with the label’s founder to talk about Putumayo World Music’s most memorable moments in its 30-year history.
When you reflect back on your record label’s legacy, what comes to mind?
It’s hard to imagine that it is 30 years. I look back with a certain measure of pride at the fact that we’ve really introduced so many people to music that they were not familiar with, whether it be Latin, African, Caribbean, European, and more. The Putumayo company that I founded actually started as a little retail shop in New York City in 1975. I was importing handicrafts, and a bit of clothing from Latin America. The Putumayo store started 48 years ago, and Putumayo World Music is 30 years old.
Talk to me about the origins of the Putumayo shop.
I was a Latin American studies major in college and traveled to Latin America in 1974. I studied [abroad] and decided to import handicrafts from mostly Colombia, Ecuador, Peru and Bolivia. I opened a little shop [called Putumayo] in 1975 in New York City selling clothing and handicrafts from Latin America. I started playing African and world music in my shops. I mixed in the music I brought back from the Andean highlands with Latin music and [artists] I like, such as Bob Dylan and others, to help create an environment. People started freaking out — not just saying, “This is great music,” but “I want to buy it. Where is it from? Where can I find it?”
How did Putumayo World Music start?
That led me to Rhino Records, who I approached on doing a compilation. I knew its co-founder Richard Foos through an organization called the Social Venture Network. In 1993, we released our first two albums [as Putumayo World Music]. It was a time when no one really knew much about international music. If you were a Latino, you might know many of the artists outside [the U.S.], but the Anglo world wasn’t familiar with a lot of the great music that was coming out of Latin America and much of the world.
We needed a package. I really didn’t like the plastic jewel case, and the digipak had just started. Record stores didn’t care for [digipaks] because they tended to get damaged. Rhino was desperately trying to talk me out of using them, but I insisted.
The covers and artwork are emblematic of the Putumayo brand. What’s the story behind them?
By another happenstance, a woman that did the interiors and window displays of our retail shops happened to have a friend who was visiting from London [named Nicola Heindl]. [The interior designer] came into my office and said, “Dan, you know that greeting card you have on your bulletin board? That’s done by my friend. She’s from England and is coming to New York in a few days. Would you like to meet her?” I had picked up this greeting card that I really liked in a London store a year before — so I said, “Of course!” We were getting ready to start the record label and I liked her art. [When I met Heindl] I told her, “How do you feel about doing the first album cover?” She did, and the people really liked it. We’ve used her art forever.
How did you envision your role when Putumayo World Music was coming to fruition?
In a way, I saw my role as being an introducer [of world music] in a nontraditional or specialty retail outlet, where we introduced people to music from artists that they wouldn’t have known about or heard on the radio. We sold a lot of CDs throughout record stores, gift shops and museum shops, where this music created a background. That was a big part of our history. I had a Dominican assistant designer for our clothing and handicraft company and she said, “Now that you’re starting this label, you should listen to Juan Luis Guerra.” Juan Luis Guerra was on the first track of the first Putumayo album [World Vocal (1993)] with [“Ojalá Que Llueva Café”]. We also included Gilberto Gil and Jorge Ben from Brazil.
What are other big highlights that you recall fondly that were essential to your label’s success?
The first album we did, Cuba, came out at the same time as the Buena Vista Social Club [documentary in 1999]. We rode that wave with that album; it was good timing. Then, the first artist we signed was Ricardo Lemvo, a Congolese artist from L.A, and we did a music video called “Mambo Yo Yo” that became popular. I remember Carlos Santana telling me it was one of his favorite songs of all time. I bumped into Carlos at the [1996 Summer] Olympics in Atlanta, and I gave him a copy of the One World (1996) album. He told me he got inspired by [“Guerrilla”] by Touré Kunda that was on that album, and invited them to participate in his Supernatural (1999) project. The song that they worked on together is “Africa Bamba.”
[In 1998] we released Cairo to Casablanca that had a track by Rachid Taha called “Ya Rayah.” I’ll never forget getting a call from our Colombian distributor saying there was a DJ in Bogotá who started playing that track and people flipped out. It became this huge hit and we couldn’t keep up with it in Colombia. Then it spread to Latin America. I don’t want to take credit for the interest in Arabic music that exploded in Latin America in the ’90s, but to some small part, I think we played a role in that. One of the great things many have told me is that they’ve traveled to certain countries because they fell in love with its music and decided to visit.
[Another] favorite story is when Brasileiro (1999) was released, a Brazilian music expert I knew told me, “Dan, this is blowing my mind. I’m supposed to be the leading Brazilian music expert in the United States, and you’ve just put out an album [whose] first four songs and artists I’ve never heard.” That was a testament to the idea that we were searching for artists we could introduce to people who weren’t familiar with them.
How did you come across these rare gems?
I give a lot of credit to Jacob Edgar, who has been working with me for about 20 years. He has his own label called Cumbancha. He’s [also] an ethnomusicologist at National Geographic and leads Lindblad Expeditions, [where] he is responsible for the music component of their cruises. He and I have traveled around the world, we’re naturally curious. We have a database of about 50,000 songs that we like enough to consider that grows every week. The idea that there’s great music in all parts of the world, whether it’s reggae, Latin, African…
I remember going to Costa Rica, Colombia and other places, and people constantly gave me CDs. We used to get scores of CDs in the mail before the Internet became a big thing. In that course, we learned about artists who were not mainstream yet or particularly known. We also included tracks by people like Bob Marley and the Gipsy Kings, because we really like them — but we took great pleasure in finding artists that were little-known. Then we would hear stories about these artists getting discovered through the Putumayo collection, and their songs would appear in films, TV or advertising; they would get an agent, a record deal, or start touring.
Why did you name your company Putumayo?
There’s a place called the Putumayo River that starts in the foothills of the Andes in southern Colombia, and it runs into the Brazilian Amazon, touching on the border of Ecuador and Peru. I was down there in 1991, collecting handicrafts, sitting by the side of a small stream tributary in the Putumayo Valley, and I was struck by [its] beauty. Carnival celebrations were beginning on this beautiful spring day, and indigenous people were coming in from the fields dressed in their wonderful, colorful costumes. They were all in a happy mood and about to celebrate. There were mountains in the distance, lush foliage and flying birds. I felt like everything was right with the world.
Unfortunately, as you probably have realized, Putumayo and much of Colombia for many years went into a challenging political time, with a civil war and a drug problem. The area became off limits for some time. But it really inspired me to name my company Putumayo, because of that magic moment. My sense is that music helps people rise up and survive challenging times.
Following the news of Stray Kids earning their third consecutive No. 1 on the Billboard 200 with their biggest sales week yet, 5-Star confirms the importance behind the intense attention the K-pop boy band put into each song — even when the songs take years to make it on an album.
“2022 was filled with so many unbelievable events; it all feels like a dream,” HAN tells Billboard when reflecting on the group’s chart success ahead of their new project. “All I can think about is how deeply thankful we are for everything and how much this experience has motivated us to work even harder and grow even more. The goal of this album is to emphasize Stray Kids’ unique color, which can be defined as ‘strange yet special.’ I hope that 5-STAR will be yet another breakthrough for our group and become an album that many people acknowledge as a legendary one.”
The new, 12-track project is the band’s first full-length LP since 2021’s Noeasy and sees SKZ challenge themselves in new ways, like their ambitious, genre-hopping lead single “S-Class”; standout B-side “TOPLINE” (which includes their first-ever album feature in Korea’s legendary rapper Tiger JK); and “THE SOUND (Korean Ver.),” which transforms their beloved Japanese single for K-pop audiences.
“The idea for the title 5-STAR came from the lyrics of ‘S-Class,’ playing around the words ‘special’ and ‘star,’” says Stray Kids leader Bang Chan. “5-STAR represents the uniqueness and confidence that we put into our work.”
Stray Kids members Bang Chan, HAN, Changbin and Felix have songwriting, composition and production credits across every track on 5-STAR. Still, the group emphasizes the teamwork required to bring together all their new music.
“Feedback where everyone needs to be involved is really important when it comes to a project,” Bang Chan adds. “If some people made songs, then the others play an important role to give feedback about the songs—extra thoughts and ideas around performance, recording, concepts are all vital in the whole process and the other members participate perfectly.”
The group’s vocal star Seungmin adds, “I helped bring the wonderful songs our members made to life by singing my heart out,” while youngest member I.N notes, “I didn’t really participate in the production process this time, but I did push very hard for ‘S-Class’ to be the title track [single].”
Looking ahead, the group isn’t putting additional pressures on themselves beyond pushing further with their future music and live shows. Hyunjin promises, “We will continue to perform many stages and will expand to even larger venues so that we can meet and interact with more people.” At the same time, Lee Know says, “Stray Kids’ next [step] will be filled with many new challenges, just like what we’ve shown the world so far.” While Felix concludes, “We just hope to be healthy in order to get through the challenges that await us.”
Felix concludes, “We just hope to be healthy in order to get through the challenges that await us.”
Celebrate Stray Kids’ latest five-star album by going with the members track by track through 5-STAR.
“Hall of Fame”
Kang Daniel‘s last trip to the U.S. took place in February 2020, just as COVID-19 concerns were truly taking hold worldwide and would soon put live-music experiences on hold for the foreseeable future. The K-pop superstar was preparing the second EP of his solo career—one of his four color-themed EPs he released from 2019-2021—sharing that there was “so much [he] prepared this year to show people.” Even if a global pandemic slowed travel, it didn’t affect the star’s ambition.
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Daniel pushed on into more music, acting and hosting these past years while balancing duties as CEO of his KONNECT Entertainment. Only in 2023 was he able to finally come back stateside with a show that finally saw his long-awaited concert dreams coming true.
“It might sound a little silly, but when you lose something you understand how precious it is, right?” Daniel says during some downtime after touring the Empire State Building in New York. “For me, it was the performances and my shows. I really wanted to do a tour and I really wanted to get to my fans overseas.”
After releasing his first full-length album, The Story, and touring it through North America, Europe and Asia on his First Parade world tour, Daniel kickstarted a new era with the surprise, Mad Max-esque “Prequel” trailer that showcased a cinematic story as a backdrop to the K-pop star’s upcoming album. Combining his music with an epic, blockbuster production is another example of the ambitious, multifaceted artist he strives to not only be in the K-pop industry but recognized as such around the world.
“There’s a long history of pop culture and such diverse performances and shows in the U.S.,” he explains. “Everybody knows it all over the world. I want to be recognized as an artist through my shows in the U.S.”
After finally bringing his shows to America and beyond, Kang Daniel’s forthcoming album REALIEZ drops on June 19. Led by his first original English solo single, “Wasteland,” and its intensely eerie “Music Sequence” visual, the superstar’s ambition and goals seem on track to be recognized by his biggest audience ever. Read on for more from Kang Daniel on “Wasteland,” his reflections from his world tour, his personal advice and more.
Congratulations on the release of “Wasteland” ahead of your REALIEZ album. Why was this the right song to start your new era?
I think “Wasteland” is a song that expresses the betrayal of a firm faith and the moment of realizing it. The lyrics are all in English, signaling the beginning of a new narrative to more people and it seems that people can be more immersed in the cinematic concept, so it was released as a pre-release single.
This is your first music since your First Parade world tour that hit Europe, the U.K and U.S. Going back for a moment, tell me about your mindset when you were touring the States for the first time as a soloist?
The most important thought I had was, “I must do a show.” In my career as an artist, the most important part is being on the stage because that’s where I belong, that’s where I have the most fun and I want to share that with my fans. So, I’m very excited to have been in the US, we visited a lot of cities across the nation and it required a lot of preparation internally and for my stages as well. And it’s not only about the tour, but I get to explore these new cities and I get inspiration from that.
Do you like exploring the different cities or do you need to rest at hotels during touring?
I love to explore new places. For example, after checking into the hotel [in New York], I just went out by myself—went to a local restaurant and had dinner. Nowadays, I’m really into workouts so the gym is where I spend most of my time. So it’s like, “Okay: explore then workout.” Balance.
The tour centers around your first full-length album, The Story. Before officially moving from that era to REALIEZ, how do you reflect on such a significant project?
I think: “Finally, I was able to publish my first full-length album.” You know, it’s something we can hold onto as an artist; it’s a lifetime experience. For some artists, it might take, like, up to 10 years, right? But for me, since my debut, since I started collecting the music even, I really wanted to do, and just the fact that I was able to have my own [full-length] album in my lifetime was meaningful enough.
A title like “The Story” reaches very wide. What does it mean to you and does it still hold the same meaning as when you first titled the album?
When I had to come up with a title, I had a lot of pressure and I had to give a lot of thought to it because it’s almost like a collection of different dramas, with various genres, like, “How am I supposed to put everything into one word?” And in terms of genres, we describe it as “various,” but we can also say it’s kind of all over the place at the same time. So I just thought, “Okay, so far the life I’ve lived, and the music I’ve listened to, and it all comes into the word ‘story.’” it’s the story that I can share with my other fans and it’s just another story I can share with everybody and I story that I can love. And that meaning has stayed true even now.
There are some great lyrics to songs you wrote for The Story. “Parade” feels like a mature and empowered mindset behind it. What’s the s sentiment behind these lyrics?
So, you mentioned the word mindset and I just wanted to express [myself], not in an overly expressive manner but calmly. I mean, people might think I have a special life just because I’m an artist but I’m just a human being like other people, you know? So, rather than working so hard to come up with “cool lyrics,” I just wanted to be honest with my feelings.
People can work all through the night and when you see the sunrise, you know, “Oh, yes, I’ve worked really hard,” and then you go back home. That’s the feeling that I wanted to share.
That’s your vibe, I think—larger than life on stage or on camera but humble and friendly in person. So, what’s the meaning behind a song like “Loser” where you’re almost speaking to yourself like a main character in a movie?
When I was young, I didn’t have a lot of friends, and once you fight with one of your closest friends, you don’t have anyone else to play with, you know what I mean? You can play with other friends, but they’re not the same. Even if you go to the playground or play games, something is missing. So, in the song, I am the main character per se, and I wanted to look back at it as an adult. Childhood is also still part of your story.
The lyrics in “How We Live” featuring sokodomo are really powerful. Where or from what experience did that inspiration come?
Beer pong. [Laughs] So, the behind-the-scenes story is kind of based on conversations I had that night over drinks had with friends You know, if you’re watching people play beer pong at an Irish bar—some people are drunk, some are throwing up, but they’re all ultimately fine and it’s just their life. But I think the story’s point is that I fell asleep while my friends were drinking, but I woke up because they were so loud. I was like, “Hey, stop…” and they told me, “It’s not that bad, just have your drink.” Just trust yourself; trust your situation.
“Parade” was the name of the world tour, and to me is like an anthem for all individuals, freaks, losers, all kinds of people. You say, “Leave us alone and we’ll be fine.” Was that the idea you wanted to base the tour around?
The lyrics of “Parade” have a deep connection to my life. For me, happiness is the most important, and work, money and life are all separate. But in Asia, and especially Korea, everyone is overworked—I have to overwork myself too sometimes—and it’s not like you get paid overtime. There’s not really overtime [in Korea] but there’s so much pressure. So, you have to finish your work even if they don’t pay you extra and sometimes I’m like, “What the heck? You know what, it’s not that important.” It’s my life and it’s not my life to just work…happiness is what’s important and rather than trying to convince people by a basic message, I just wanted to give them a suggestion. So how about this [“Parade” theme]? That’s why the music video is in an office.
You re-released the album as The Story : RETOLD with the new single “Nirvana.” What does that word mean to you?
Kurt Cobain. [Laughs] Yeah, Kurt Cobain because Nirvana is one of my favorite rock bands. When I was working on the track, I tried other words on the topline, but nothing really worked out. And “Nirvana” really fit well. But once I said, “Okay, this is going to be the title” then I finished the rest of the song.
What’s your favorite Nirvana song?
“Smells Like Teen Spirit.” Classic.
You’ve done a lot of great collaborations recently: Jessi, pH-1, Chancellor, 220 KID and Willim. What do you look for in a collaborator these days?
I guess you are kind of asking about the motivation, but I’m not really sure. It’s not about the outcome that I’m looking for, but I just enjoy the process—it’s fun. For example, Jesse, I, her let’s together, you know, and K one was recommended by the team. And then I was like, “Okay, it’s a good fit and I wanted to give it a try.” So, in terms of collaboration, the most important thing is that I need to have fun. Yeah. And when I’m having fun, the song comes out really nice. So, I’m not looking to have a big plan of “I’m gonna show this part” or “I want to do this concept with this person,” it’s the fun during the process and the song itself.
You’ve also been doing so many things beyond music lately, like acting, your first Japanese release, and hosting shows as the MC. Was there any big lesson you took from the opportunities?
Actually, I learned a lot from those experiences, so it’s not possible to take one word or lesson to describe what I learned, but I think the main keywords are about diversity within myself. Take, for example, this table, I only used to see the top part of it, but now I can also see the legs and the other parts of it. So I can apply that to my music. I was working on my new album and it was really fun. I haven’t said this yet, but I think a lot of people are really going to like it.
What can you tell us about the new album REALIEZ that we haven’t seen yet through “Wasteland”?
The album is about the process of realizing the truth hidden in lies on the theme of a dystopian world in a cinematic form. There are a total five songs, including “Wasteland,” in this album and it’s a story of gaining enlightenment through uncovering truth from lies and a story about the realization to face our whole self. Depending on the listener, different endings can be imagined, so, I’m looking forward to it.
Your KONNECT Entertainment has grown greatly since you last visited America with several great artists signed. I always ask K-pop company CEOs if they have professional plans or any reflections on their artists.
So, I don’t take care of their schedules, but when they need help, I try to set up a separate meeting with them so that I can refer somebody they need or make sure they have better connections. I’ve been having planning conversations with different companies and collaborators, some that are unexpected.
To wrap up, I always really admire your mindset, and you seem in a good place right now. Do you have any words for those who may be having a tough time or how to keep yourself physically, mentally and emotionally healthy?
Oh, thank you. Emotionally, let’s say, we don’t really know what’s behind the door until we open it. I’ve been in that place in my dark times and, actually, what scares us is not what’s behind the door, but it’s the action we have to take to open the door, you know? Because once we open it, there’s nothing really scary or severe. And I really hope it’s the same for everybody else, but happiness is ultimately most important, and that’s what I want to share most.
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Little Brother remains one of the best groups in Hip-Hop history and their impact and influence is still flourishing some two decades later. Phonte and Rapper Big Pooh recently shared in an excellent podcast interview plenty about their background, including saying that had a heavy influence on Kanye West when the Chicago superstar was early on the rise.
Little Brother sat down with the Dear Culture podcast, hosted by Panama Jackson. The three gentlemen discussed the early days of Little Brother, the impact of their 2003 album The Listening, and the nature of their relationship with their former bandmate, 9th Wonder.
Fans of the group are well aware of the track “I See Now” which features a strong verse from Kanye West and it would probably figure that the producer and rapper, a member at the time of the sprawling Roc-A-Fella camp, served as an inspiration but Little Brother says it was the other way around.
From theGrio:
Panama Jackson: There are a lot of groups in hip hop who will never be remembered. Y’all will never be forgotten. Like do y’all ever sit back, reflect on that part of it? Like y’all literally cemented a spot in a genre of music in hip-hop that will never be forgotten.
Phonte: Um yeah, I mean Pooh I’ll let you take it but I’ll just say. I think it was more so you know, Kanye didn’t influence us, we influenced him.
Panama: Yeah.
Phonte: So you know I just want to put that out there and make sure that’s clear. Pooh you can take it from here.
Panama: Make it clear right, I’m with you.
Big Pooh: Every now and again you have the moments where you like, damn, you know, look what we did. Or look at the impact, you know, that that we’ve had. But, you know, like, even when we when I saw they have put our name up at the Grammys when they was doing the fifth year of hip hop, and they had our name and it was front and center like that was that was one of the moments I was like, oh, censor word like, it was definitely one of the moments, it was just like, I expect us to always have quality. I expect excellence. But it’s still unexpected when people or when you step back and start seeing the high regard were held in. Not that we don’t deserve it. It’s just I’ve been so busy doing the work I don’t take a lot of time to. You know, sit back and acknowledge the work.
Check out the conversation between Little Brother and Dear Culture’s Panama Jackson below.
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Photo: Getty
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Weather Park was raised in literal Hip-Hop royalty as the son of beloved Wu-Tang Clan rapper, Ol’ Dirty Bastard. Now a rapper himself, Weather Park shared in a new interview that RZA, the Abbott himself, offered mentorship and guidance as he grew into his own.
Weather Park sat down with AllHipHop to discuss his burgeoning career as a Drill rapper, how his sound differs from that of his brother, Young Dirty Bastard, working with the 36 Chambers record label, and more.
From AllHipHop:
AllHipHop: Nice. So you started working with RZA, obviously, and this opportunity with 36 Chambers came about. Can you tell me a little bit about what it’s been like linking with 36 Chambers and what that allowed you to do as an artist?
Weather Park: Well, what I could say is it put me in a very focused state just as far as the direction of my sound. I know I’m good, but I’m constantly challenging myself to be better, just to be exposed to the greatness. It allows me to see myself in a higher light than I’ve ever perceived. You know what I mean? So as I create my music, I still have fun, but I’m creating it in a base of, “What can I?” not even like what, “How can I tell my story in a way that it can resonate with everyone just the same way as Wu-Tang Clan did back in the days?” You know what I mean? So that’s the most impactful part for me. I definitely appreciate the opportunity, and I definitely appreciate the time that we’ve had together because it’s definitely helped me grow as an artist. But the most important thing to me is my impact because I understand how impactful what I come from was.
The entire interview is full of gems and showcases that Weather Park definitely benefited from working with RZA both in music and in life. Read the whole piece here.
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Photo: @winter_park/Instagram
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Travis Scott is one of the most interesting musical acts to emerge in years and his body of work captures not only his creativity but also his sense of style. In a new interview, the Houston star discusses his career goals after music, his influence on the culture, and much more.
Travis Scott, 32, sat down with PIN-UP magazine, a publication that covers architecture and design. In the piece, Scott discusses a number of design principles using the alphabet. In the images, Scott renders his body to the corresponding letter and offers an insightful blurb under each post.
From PIN-UP:
ARCHITECTURE
Architecture is my true passion. I plan to apply to the architecture program at Harvard GSD when I’m done with music, which won’t be for a while. It would be dope to do both at the same time.
Further in the piece, Scott riffed on what it means to be an influential figure and the responsibility that comes with it.
“Making an impact is fun. But sometimes people also flip the question on you in weird ways. There are people who don’t understand why you’re influential, and it can become an issue. The person who had the greatest impact on me and my taste level was Virgil. He was a true inspiration,” Scott shared.
More of these gems are sprinkled through the piece, which certainly drums up anticipation for his upcoming album, Utopia. It will be the fourth studio album for Travis Scott, following 2018’s acclaimed Astroworld album.
[h/t PIN-UP]
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Photo: Getty
Thanks to the rigorous and multilayered training needed to debut, K-pop artists can embrace a kaleidoscope of concepts, sounds, genres and styles that can change with every album. As much as groups can creatively explore, the K-pop idols themselves tend to stay in specific, assigned roles: the rapper, powerhouse belter, the cute one, the mysterious one, the intense dancer, the center. While important in establishing a group dynamic, Monsta X‘s Joohoney looked to free himself from any previous expectations on his first full-fledged solo effort—and hopes other K-pop stars realize they can do the same.
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Introduced to the world as Lee Jooheon in 2014 before gaining significant interest while competing for a spot in the boy band reality competition No.Mercy, Joohoney stood out for his well-rounded abilities and earnestness in group dynamics. Eventually earning a place as one of seven in Monsta X, Joohoney served as a main rapper for the group but became increasingly involved in shaping their sound and direction.
Not only was he a credited lyricist since MX’s first EP in 2015, Joohoney eventually wrote, produced and arranged breakthrough singles for the group like “Gambler,” “Rush Hour” and “Love.” Joohoney was also the first member of his group to drop a whole, multitrack mixtape project where he took on a majority of the writing and producing. As Monsta X’s global ambitions grew with different U.S. labels and more Top 40 pop material, Joohoney adapted by taking more lead vocals on the band’s two Billboard 200 English albums, All About Luv and The Dreaming, with his admiration of Michael Jackson coming through in his ad-libs on Pop Airplay chart hit “Who Do U Love?”
For his first solo record to get a proper physical release and promotional push, Joohoney looked to pack all the different musical elements that inspire him into the concise, six-track EP titled Lights. But beyond bringing everything from his singing and rapping abilities to his appreciation for hip-hop, rock, jazz and Korean music into one project, Joohoney wanted to deliver a personal message to his fellow artists.
Speaking to Billboard ahead of the release of Lights from a video call in Seoul, Joohoney sees his eight years in the industry as groundwork to make a better support system for K-pop idols today. Joohoney says his early career’s unhealthy and intense hustle give him a new, more generous perspective for himself and his fellow artists.
Today, he isn’t afraid to question industry standards and wants to encourage K-pop stars to be more open and express themselves. That journey begins with Lights, his new single “Freedom,” and the new mindset and role he’s embracing in the industry moving forward.
Read on for more Joohoney on the makings of his first mini album and what comes next.
Congratulations on the release of Lights. You have credits as a songwriter, arranger and composer on every song, which is really impressive. What is your process like to handle all those roles?
Joohoney: First of all, I get inspiration for just the music itself. Whether I’m shooting a video or out on my day’s schedule, I’m always thinking, “How will Monbebes receive this music or this genre whenever my solo album does come out?” I type out lyrics on my phone and I sing into my phone to make my demos. When I finally get into the studio, I have my team—the production team who help make the lyrics and melodies—where we’re thinking about how to put together our stories.
The first thing that struck me was how many different genres and sounds there are on Lights. On one hand, K-pop is known for mixing genres but this felt more ambitious. How do you blend all of these influences?
To be honest, I don’t know how to blend the different genres—it’s about just being free, right? No matter what it is, sometimes it’s like, “I want to turn the drums up” or “I want to put drill there;” it’s free to me. I don’t want to ever have a fixed direction, I was open to every direction with the songs. I want to make a different way within the K-pop scene and the music genre itself.
Is that how you listen to music? Are your playlists all kinds of music genres and styles?
I enjoy listening to a whole mix of genres and imagining mashing them up. So, for example, I will listen to songs by Michael Jackson, and then I’ll start listening to Monsta X songs and he kind of imagining, like, the mashup of these [artists].
I think any of Lights‘ songs could have been the title track single, but you chose “Freedom.” Why?
I chose “Freedom” as the title track [single] song because the album title is Lights and I wanted to express that for anyone who wants freedom and to give a positive message out to the world. Out of all the songs, I thought “Freedom” was the one that expresses this meaning the best.
But I also hope that this song will kind of be a source of inspiration for other K-pop artists because it’s different from other typical songs. A lot of K-pop artists create songs based around their performances and they’re kind of made beforehand. But in my music, I want to especially express that I’ve been very raw and honest. And I want other idols to be comfortable with sharing about their hard times and able to express themselves confidently through their music in the future. The music and lyrics can really be a mix of arts.
No matter what the genre, a lot of artists sing about ideas around freedom and wanting to feel liberated. Why is it so important to speak about that?
As some examples, BTS‘ Jimin recently released “Set Me Free Pt.2” and TWICE came out with a song called “Set Me Free,” so I have been noticing that other artists have been expressing the different ways they crave freedom. I think that Korean artists and trainees can sometimes feel a bit restricted due to their companies and the different rules that they might have to follow. So, now, after I’ve grown and matured, I’ve been able to find myself and can express myself more freely now. There is an interesting difference between Western pop and the K-pop world right now. Many Korean artists have been writing about how they crave freedom but they’re also trying to spread positivity through their music—that’s been interesting lately.
Speaking of not being restricted, “Freedom” lets you show your singing and rapping. What’s your background in singing?
I actually started singing at church when I was younger. When I became a trainee, I was more interested in rap so I started going in that direction, but I would still practice singing by myself. Of course, I had vocal lessons then and learned about singing techniques, but I mostly just practiced on my own. I’ve always wanted to do both and show that a rapper can sing, and now I can.
“Hype Energy” opens Lights with traditional Korean singing and instruments before the hip-hop beat takes over. It’s very cool. Why start the album this way?
I first think about what kind of elements I want to incorporate and discuss that with my producing team before we make it come into reality. The reason why I incorporated more Korean and K-pop elements in the beginning is because I am a K-pop artist, so, I want to show my original image that I’ve had before the song kind of transitions into more hip-hop elements. And it goes there because I’m the most confident in the hip-hop genre, and I wanted to show what I do best as the introduction to the album.
“Monologue” with GSoul discusses your uncertainty before debuting as an artist. Was there a reason you chose a jazz style to tell this story?
Jazz was most fitting for a song telling the story of my pre-debut days because when I was younger, I did grow up hearing a lot of jazz around me. And I would actually find playlists and listen to all kinds of jazz, like Chet Baker. And when I struggled or had a hard time, I listened to jazz. So, when I was thinking about and remembering the past while writing the song, the memory came with the jazz sounds; it has a combined meaning.
I read that “Evolution” is you wanting to share how “reflecting on yourself is how true ‘evolution’ happens.” When you reflect on yourself and your career, what do you think about?
I think of how I was so busy; how I was running tirelessly and not able to take care of myself because the group was so busy with their different schedules. I want to emphasize that we weren’t even able to rest for like three days because our schedules were just completely packed with different things. For many artists, as soon as they debut, they have to tirelessly [work] and keep themselves busy with various promotions and schedules. So, I’m at a point where I’m now questioning, “Why do they have to be so busy?” I’ve noticed that being so busy affects the artists mentally. Now that I’m an older artist, I want to be able to kind of change or kind of improve the situation. Thinking about these things has made me “evolve” and change into the artist I am.
That answer makes me think about hiatuses you’ve taken for your mental health, which was a brave thing to share. When you say you want to change the situation, is it so other artists don’t have the same experiences?
I want to be a part of improving the situation that artists like myself struggle with and I hope they will be comfortable coming to me. The message in this album is also a message to those artists who are struggling as well. That’s why the album’s name is Lights.
You want to be the light.
That’s right.
Have any younger artists come to you for help or guidance? Maybe your label mates CRAVITY, who you’ve also produced music for?
I can’t reveal who specifically came to me for help and guidance, but I can say that they are younger artists who are currently working very hard. CRAVITY has also come to me for advice before, and I am always willing to help them if they need anything in the future. I just want to tell and advise younger artists that whatever they do is the right answer in the end, and that they should share a message from their heart in their music.
Releasing your first solo mini album sounds like it will be a busy time with very hard work. How do you find balance? Do you have more say over your schedule?
I have more control over some things now, but I work hard to do more and show more of myself for Monbebe. Listening to good music in the car helps me find balance and helps me maintain my rush of adrenaline too.
You became an MC for the K-pop show M Countdown this year. Why did you want to take on this role now in your career, and what has it taught you?
Taking on the role of an MC is honestly not easy because, as an MC, I always want to be a source of positive energy for the other artists. Something I learned with this role is that there are a lot of really great artists in Korea.
In what ways do you still want to evolve or improve yourself?
Now that I’ve found myself and who I am, I don’t want to keep running after a specific goal. I think that life is like a road where you can’t see ahead of you. I think you have to just keep moving forward, even if you can’t see what’s ahead. If you keep moving with the goal of moving up, you can always end up falling down. But if you just keep straight ahead like a road, you can keep moving forward and you won’t have to be afraid of falling down anywhere. I want to keep going forward over that road ahead of me and be a bright light.
What’s next for you and Monsta X in 2023? We saw you at We Bridge Festival, but will you be returning to the States soon? Anything else you want to share right now?
My plans are to just go with the flow now, but I know I will always be working on music for the rest of my life. As for Monsta X, the other members are also working on their albums so I hope you’ll look forward to their releases as well. If anything comes up for me in the States soon, I will definitely go! I have done interviews with Billboard many times before, but I am always very grateful for each opportunity to discuss my music with Billboard. I also want to share that I have bold aspirations of wanting to show who the artist Joohoney is at the Billboard Music Awards one day!
JOOHONEY
Starship Entertainment
“To be clear, there’s almost no commercial incentive for me to do this,” says Moby, breaking into a chuckle.
The Grammy-nominated electronic musician is 57 years old, his well-cropped beard more white than gray and his head as bald as it was in 1999 when his breakthrough album Play made him an MTV mainstay.
A “vegan” neck tattoo peeks out from his gray hooded sweatshirt, which stands out just enough from his white wall and beige window curtain as we talk via Zoom, but his minimalist approach to decor stands in contrast to his penchant for intellectual verbosity and philosophical musings.
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“At the risk of sounding melodramatic, one of my goals in life is to never go on tour again as long as I live,” he says. “It’s not like I’ve rerecorded these in the interest of promoting an upcoming tour. Also, in the spirit of honesty and full disclosure, it probably costs more to make these orchestral records with tons of guests and fancy orchestras than will ever be generated in revenue. So it’s purely… and maybe I even feel a little guilty about this because it seems quite selfish… it’s just a labor of love.”
That labor is materialized in Resound NYC, an ambitious album on which Moby recreates 15 of his biggest hits and personal favorites with orchestral accompaniment and a powerful cast of vocalists. Grammy-winning jazz singer Gregory Porter, Lady Blackbird, The Temper Trap’s Doug Mandagi and Pussycat Dolls lead singer Nicole Scherzinger all make appearances on a tracklist that includes “Extreme Ways,” “South Side,” “In This World,” “When It’s Cold I’d Like to Die” and more.
It follows in the footsteps of 2021’s Reprise, which was also released on the 125-year-old classical music label, Deutsche Grammophon. Yet Resound NYC feels bigger and bolder, focusing specifically on songs written and released during Moby’s time living in New York City, a period encompassing 1994 to 2010.
“One thing that New York really taught me is how wonderful and exciting juxtaposition can be when it shouldn’t exist,” Moby says. “The fact that New York is a filthy, dirty, hard place that’s also beautiful and can be very elegant and poignant. Especially in the ‘70s and ‘80, walking down the street and hearing hip-hop juxtaposed with someone playing classical cello, juxtaposed with salsa, juxtaposed with Arabic music. I think that encoded itself into my DNA to make me think culture should not be siloed. Culture should be a melting pot. It should be this weird, unexpected surprise that if [the parts] were a little bit off wouldn’t work.”
Resound NYC embodies that mix of sonic flavors, bringing new depth and grandeur to beloved fan favorites, offering fresh and welcomed dimensions to familiar melodies. The album opens with the hopeful tinkering of a piano on “In My Heart” and immediately explodes into a wall of sound that ebbs and swells with furious passion until the final notes of closing track “Walk With Me.”
Moby’s career-spanning examinations of hope and sadness, mortality and exultation, feel richer and more alive as his palette of blues, jazz, funk, rock and gospel are recreated by a sonic army, each song hitting new dramatic heights to elicit tears or dance freakouts, or both.
“When I was really young, like nine years old, I studied music theory, classical music and jazz, and I didn’t love it, because it was more technical and academic than it was emotional,” Moby says. “Oftentimes the most powerful emotional expression can be the most rudimentary. You think of blues or punk rock. Think of Neil Young; very simple music that’s very emotional. I try to take that ethos, that spirit of almost reductive emotional simplicity and apply that to an orchestra — even though an orchestra by definition is complicated.”
“Simple” seems a strange word to describe Resound NYC’s expansive and maximalist layers of sound, but sit with each instrument’s part, and you’ll hear how a series of long-held notes and straightforward rhythms build one piece at a time to create moments of eruption and release.
“I find myself really resenting art and music that doesn’t have that generosity of spirit,” Moby says, “meaning the willingness to try and reach the audience, whether it’s one person or a lot of people, in a way that potentially — presumptuously — might be rewarding for them. A lot of musicians, sadly, are very afraid of emotion, like the pursuit of cool is more important than the pursuit of beauty or the pursuit of emotion. I, embarrassingly, would much rather ignore the pursuit of cool and simply try to create beauty in so far as I can.”
Moby no longer lives in New York. He moved to Los Angeles in 2010, a few years after putting himself through rehab to kick increasingly problematic addictions to alcohol and drugs. Fans who’ve read his autobiographies Porcelain and Then It Fell Apart know how dark and uncomfortable his struggles became. In the latter especially, the producer writes in detail about sloppy and desperate nights spent chasing fame, glamour, ego and sex before finally succumbing to depression and even a 2008 suicide attempt.
Just as with writing those books, the task of transcribing, recomposing and rerecording some of his seminal works from that time has been a strange mirror.
“It’s like being reintroduced to yourself, but you’re sort of a stranger,” he says. “I was a mess, and sometimes it was a fun, dramatic mess. Other times it was just an embarrassing mess. There’s a temptation to be dismissive and say ‘I was just young and stupid,’ but that was still me. I was that awkward person making bad choices and having bad priorities. To lead a full integrated life, sadly, you have to be willing to look at that Jungian shadow self. I always thought the Jungian shadow self was your cool, violent, sexy, dark, goth self. But I’ve come to realize mine is just awkward, uncomfortable and probably talks too fast.”
Living in L.A. has given the artist a chance to refresh his own lifestyle and perspective. It’s also given him a front-row seat to the cartoonish attempts its citizens make to grasp ageless glamour, “from face-tuning to vampire facials.”
“I’ve been having this conversation a lot because of the rise of A.I., but there is a psychological, philosophical, existential aspect to [the] many ways in which humans feel they can technically improve upon themselves,” he says. “It’s so much more interesting when people accept their humanity, accept aging, the vulnerability [and] frailty. True strength, as far as I’m concerned, is both accepting the entropy that comes along with the human condition and being willing to be seen in that vulnerable, human state. I don’t know if I’ll ever get there, but one of my goals is to push myself to try and express that, either on my own or working with other people.”
He speaks at length about his love of the human voice for this very reason. It’s the instrument that best reveals the nuanced levels of emotional complexity.
“It’s almost comical the number of singers I’ve worked with and the weird diversity,” he says, “everybody from David Bowie to Ozzy Osborne to Britney Spears. I can’t even begin to think of the hundreds if not possibly thousands of singers I’ve worked with, all in pursuit of that vocal beauty and power. When it works, it’s remarkable. When it doesn’t, it’s incredibly frustrating.”
One of his favorite tricks? Recording a singer’s first few practice takes under the auspices that he’ll “do the real passes later,” knowing he’ll most likely get a more vulnerable performance when the singer thinks they’re not in the hot seat. Technical perfection is so rarely the harbinger of emotion. Like Moby says, “Would you rather listen to a 19-year-old pop singer with perfect pitch who’s been autotuned within an inch of their life? Or Leonard Cohen singing ‘Hallelujah?’”
No such ruses were needed to capture the soulful vocals on Resound NYC’s version of “Run On.” One of the barest and most stripped-down tracks on the LP, the tune originally started with a big brass section, live drums, percussion, a quintet, electric guitar, bass and piano.
“I had this big version of the song done, and [singer] Danielle Ponder was visiting her dad, who’s 89 years old and very ill, in his hospital bed,” Moby says. “He remembered singing this song when he was a little boy, so she held her iPhone up to him while he sang it. She sent me the recording, and I threw away everything I had done for that song and rewrote it around his vocal. Then she came in and did a duet with her dad’s hospital bed iPhone recording.
“In terms of authenticity? Dear God,” Moby continues. “I could listen to just an isolated acappella of him singing that song. It’s so special.”
When he isn’t seeking to expose the gooiest parts of humanity on record, Moby’s been keeping busy recording his Moby Pod podcast and launching a film and TV production company called Little Walnut.
The team recently released Punk Rock Vegan Movie, a full-length documentary that explores the little-discussed connection between the rise of plant-based lifestyles and the hardcore scenes of the ‘80s and ‘90s. Moby narrated, directed and soundtracked the effort, which includes on-camera chats with members of Bad Brains, the Misfits, Crass, Fugazi, The Damned, The Germs and many more. (Punk Rock Vegan Movie is available to watch on YouTube.)
“As time has passed, I’ve come to realize that my day job is actually animal rights activism,” Moby says. “That’s my primary purpose, and part of that was making this movie and giving it away for free. I wanted to try and do my little part to remind people that principles are good, and compromising principles is generally a bad idea… This algorithm accommodating culture that we live in it, it’s making my brain hurt. Who on their deathbed wants to remember, ‘Oh, I did a mildly effective job accommodating algorithms invented by someone in China.’ That’s not a good life.”
The decision to retire from touring is part of his own eternal search for that philosophical “good life.” The whole idea of moving from plane to green room to stage to hotel over and over again feels “unhealthy” and “uncomfortable.” Instead, he’s content to sit in his studio “which looks a lot like a monastic cell,” transcribing his life’s work into orchestral movements, recording podcasts, writing activist documentaries and just generally being.
“I really love sleeping in my bedroom here with the windows open, waking up, having a smoothie and going for a hike,” he says. “It doesn’t pay well, and there’s no ego gratification there, but it just feels so much healthier and nicer than waking up on a tour bus in a parking lot somewhere, sitting backstage waiting for some ego validation. I am thrilled that I finally ended up in a banal place, that I’m very happy.”
