A conversation with the electronic producer about trot, producing for artists, and his music philosophy.
is named after the genre ppong-jak, an offshoot of Korea’s soulful trot genre that tends to be more upbeat and feature electronic sounds. Unlike modern Korean pop genres, trot lyrics rarely contain non-Korean words and tend to use melodies that follow versions of the pentatonic scale, taking influence from the Japanese and Western music that dominated the early 1900s when trot was conceived.
To be honest, it's a bit hard to talk about the difference to people who are hearing it for the first time. The sound itself is different, so there’s definitely a noticeable difference when you just listen to it. On the flipside, I think it might help to explain what they share in common. Both genres, though different, are about good sadness, and about taking a step away from the sadness to view it more objectively, to repurpose it as material for entertainment.
When I was in my first year of middle school, my house and school were really far apart. It took around an hour and a half for me to get to school — by Korean standards, that’s really far — so I would have to leave my house at around 6 a.m. to get to school on time. When I woke up in the morning, I didn’t want to go to school, and then after a day of school I didn’t want to go home because all my friends lived nearby the school, and I didn’t want to spend an hour and half going home alone.
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