Aseul

ASEUL


One of Neon Bunny's few true peers is the artist formerly known as Yukari, who debuted around the same time with a darker, gauzier sound. Last year she redefined herself as Aseul, refining her shoegazey synthpop into something more essential and haunting on her full-length debut, New Pop. Informed by a similar ambivalence about Seoul and the modern Korean condition, she and Neon Bunny toured Taiwan together last month, and the two look set to cross paths again in the near future. - Vice - Noisey

#65
ASEUL, New Pop


Formerly known as Yukari, Aseul broke out in 2016 as a Korean indie artist to watch. On “New Pop” she’s provided the soundtrack to the bright cityscape of Seoul in the early hours of the morning. Twinkling synths and bells cascade over remedial drum machine beats, and her breathy vocals follow ’80s inspired synth bass that springs like a rubber band. The simple but catchy pop songs sound homemade and almost unfinished, giving them a tinge of solitude and melancholy. Her idea of pop is that it should bounce with celebration, but also hint at something sinister.

Ally-Jane Grossan - Bandcamp

Her first album as Aseul, New Pop, came out after a downbeat two years. “I was hospitalized once because of bad health and spent most days inside home due to unfortunate personal matters. I needed a free vent for my bad emotions like depression and a sense of loss.” The songs reflect this isolation, featuring half-speed beats and walls of guitar feedback alongside pitch-shifted vocals that add an unnerving atmosphere to the music, with Lee saying tracks such as the particularly off-kilter “Weird World” came about in the wake of the Sewol Ferry disaster in 2014. For all of the unease swirling about, songs such as the skippy synth-pop of “Fisher” and the fizzy sample workout of “Give Me Five” highlight her ability to write a catchy number feeling just off. It’s one of the most absorbing albums to emerge out of anywhere in 2016. - Bandcamp

Seoul-based Aseul (아슬) is a new incarnation of Korean singer and producer Yukari. Known for a dreamy atmosphere of her songs, she now adds retro electro elements to her music on her splendid new album filled with “New Pop”.

That’s actually the title of Aseul’s first full-length, released earlier this year and, deservedly, getting lots of acclaim. Throughout 12-tracks, Aseul takes us on an otherworldly journey full of synth sounds, electro beats, airy vocals, whispers, austere melodies – and lots of melancholia.

Rather than strictly musical associations, the album brings to mind films like “Blade Runner”, “Drive”, or “Stranger Things”, due to “New Pop’s” hypnotic atmosphere and intense, even when slowed-down narration.



Aseul has written, recorded, produced and released “New Pop” all by herself, which makes her one of the most fascinating young artists in the Korean scene. And “New Pop” will certainly end up as this year’s favourite Korean record for many listeners in the country and abroad.

While you can stream the album in its entirety on Bandcamp, Aseul has released two fantastic videos off the album: “Loveless”, which is actually quite shoegaze’y in the mood (you can watch it above), and a more dynamic “Fisher” (below).

Both of them will be a good starting point of the fascinating trip through time, space, and human (or maybe android) emotions. - Beehype

From neon-glowing cyberpunky city to sandcastles in Okinawa – electronic producer and singer Aseul comes back with two fantastic synth-pop pieces.

“New Pop“, the first album from South Korean electronic act Aseul (아슬), was groundbreaking monument for the country’s synth-made music scene of 2010s. In “New Pop”, Aseul elaborately mingled dreamy shoegaze atmosphere with shining electronic haze, which was quite futuristic considering the timing of release.

After 2 years, it seems that Aseul is making a trip to the past, rather than continuing the journey to the future. Her new two singles in 2018, “Always with you” and “Sandcastles” (모래성), you can easily notice that these new tracks are more slanted to conventional “synth pop” structure, which is similar to 80s electropop and pop rock titans.

Beats become more regular 4/4 structure, and the synthesizer is aiming at the keyword “retro” in these new songs.



You can find those retrospective reference from Western new wave music, but you may find a hint from growing trend of Japanese city pop, the AOR/disco/funk/jazz fusion mixture that flourished among 1980s in Japan.

In fact, this city pop trend is humbly bubbling right now in South Korea, from indie supergroup like ADOY to major K-Pop act Yubin (former Wonder Girls). Neon-glowing cyberpunky city in “Always with you” and Okinawa-located shooting of “Sandcastles” are also implications for those city pop references.

Still, the main sensibility surrounding Aseul’s music has not changed. She constantly sings about deep, melancholic feeling that looming over darkness of city night. “Could unveil it / only in room with no light.”



Both song will become the soundtrack for somber, yet relieving loneliness of individual life. No matter what structure she select, this sentiment is always circling around when you listen to Aseul’s music.

Her new EP, “ASOBI”, is scheduled to be released later this year. - behype

New Pop by Aseul
The Korean indie scene had just as good a year if not better than our much beloved K-pop. Top of that bunch is definitely Aseul’s kaleidoscopic New Pop. The album is best listened to as one whole at all times. The single doesn’t really stand out, and that’s what’s best about this. The aptly titled “Dazed” (the guitars in this are especially amazing) is merely one part of the hazy dream that Aseul beckons us into. Her synths and electronics contrast with fuzzy and clean sounds to shift us around, our state of mind unclear but in digital heaven. Highlight “Weird World” uses 8-bit video game samples sparingly to create its atmosphere. Like in most of the songs, Aseul uses a multitude of different influences without letting them overcrowd her album. It’s the most measured and precise piece of electronica this year. - kultscene

This artist I discovered on a Bandcamp spotlight that popped up on my news feed alongside Neon Bunny, Oh Jee Hung, Flash Flood Darlings and other Korean artists I’ve stumbled across in the last year. I’ve been on a Abra kick and discovered Aseul at just the right time to help me pass the time before Abra’s next full length one.

10 seconds into the featured track, “Gong” I knew I was not going to be disappointed (I’ll tell you why soon…). So I went to the intro track titled “Intro” and prepared to listen intently (while multitasking other work as well of course). “Intro” reminded me of a menu from a game I played on Steam in 2013 called “Anodyne” mixed with another game I played on Steam over the summer called “To the Moon” (both are great including the soundtracks, though I never finished Anodyne).

“Gong” is a nostalgia trigger for anyone who grew up on “Hybrid Theory”. Can I just say that that album is what “Siamese Dream” was for the people that weren’t fresh out the womb in 1993. Anyway, the song doesn’t have a drop like “Pushing Me Away” does, but I’m happy about it, because it means we’re not still living in the year 2000 musically. Instead, it builds slowly on the liquid piano droplets with serene and somber words.

“Dazed” begins right where “Gong” left off, with flashing chorus, Night Sins-like guitar tone, with 808s pounding from below. The song flushes itself in a wash of flange and indistinguishable vocals that are being squished and panned from side to side, before returning to the English refrain. “Nothings” reminds me a bit of LLLL’s “Paradice” album from the one and only Zoom Lens Label, because of the crisp chops and dreamy vocals.

“Give Me Five” is more cheery and walk through the neighborhood sounding. That is, if your ideal neighborhood that you visualize while imaging the world of the music you’re listening to is peaceful and electronic, something like Onett or Vermillion City. “Weird World” is a painting of a dystopian future with a hopefully optimistic outlook.

“Blind Waltz” is an elegant piano composition. A good time to acknowledge that Aseul wrote, performed, recorded, and engineered every track on this album. “Elephants Mobile” is about not seeing what is right in front of you (hence the elephant in the title), but how over time, if you continue to ignore the elephant/problem, there becomes more of them.

The lyrics say “세 마리 코끼리” meaning three elephants, but by the second verse there is a fourth elephant (“…네 모습이”). Fisher is a uniquely excellent track with a willfully forgetful message. The music skips along making it a song you will want to revisit. “Loveless” is a fun track that doesn’t sound like a MBV ripoff. The music video for this song features Aseul walking around in Korea, playing shows, and trying out equipment at a music store. There is a sense of longing that can be felt despite the language barrier.

“The Bedroom Demos” might be my favorite track on the album because it stays interesting for a full 10 minutes which is an impressive feat in this ADD/internet/consumer-driven/whatever you want to call it generation. The bassline is kind of like something you might hear on “In Rainbows”, but there are these cool sparkly Electroplankton sounds that do all sorts of neat swells and dials that induce euphoria in our nucleus accumbens. It evolves like a well-done DJ mix, except for all of this was actually created by one person. - The sunstar

‘New Pop’ is the debut full length by Seoul-based electro-pop artist Aseul.

Formerly under the moniker Yukari, her first full length departs from her former dream pop roots and thrusts itself into a new electro-pop niche. While no official reason has been stated to why the name change happened, it can be assumed it was due to a conflict with the Japanese cartoon character of the same name.

Regardless of what she calls herself, listeners of her previous work will be able to find familiarity in these new songs.

‘New Pop’ is engaging almost immediately, not needing much to hook the listener with a hypnotic intro leading into a more pop-friendly tempos. Songs tend to involve layering multiple samples and echoing vocals, but without ever feeling crowded or overdone. Although the album is not something you’d hear pulsing out of an EDM nightclub, the influence of trap, breakbeat and deep house are notable in the beats, whilst never leaving the boundaries of pop music. However, the dream pop element is not completely missing. You will find a more subtle touch in certain songs, or songs like ‘Elephants Mobile’, which sounds like it could have been an unreleased track from her previous album. ‘Fisher’ seems to be the most perfect lovechild between the two sounds with a spooky, yet oddly comforting feel as Aseul’s chants reverberate through.

Overall, the new direction might be an adjustment for those expecting another Yukari album, but even the most resistant will find this album growing on them quickly on the first listen and then falling in love with it with each subsequent play through. No matter how intense ‘New Pop’ can get, it never stops being charming.It’s rare that a full length album feels like it is over too soon for me. ‘New Pop’ is a powerhouse and alone it is proof that the Korean electronic scene is not to be overlooked. - Lastdaydeaf

When Yukari announced she was coming back under a new name Aseul, I was curious to know why she decided to change her name. But after listening to New Pop, it’s a pretty obvious decision. While the core of Aseul’s music is the same as when she went by Yukari, she has moved forward from her previous dreampop style and went into more electronic pop and synth pop. As a new beginning, New Pop makes a statement and is just as addictive as her previous work.

aseul new pop

New Pop is a deep and engaging 12 song album. The tempos are quicker and more pop friendly. The arrangements of songs is pitch perfect. Songs are more immediately engaging and don’t require an introduction before diving into the meat of each song. “Dazed,” which comes after the first two tracks is a strong single. The melodies carry through multiple samples and Aseul’s voice is processed, but still clean and fitting. Similar to tracks as Yukari, Aseul’s arrangements are heavily layered to create the audio landscape. She also plays with rhythms more like on “Give Me Five.” Tempos are consistent, but never drag to keep every song moving at a good pace. New Pop comes in a little over 48 minutes and it’s clear that these songs were crafted with a lot of time and energy.

“Blind Waltz” is an interlude focusing on piano and gives the album a nice break between the electronic tracks. It shows that Aseul doesn’t focus solely on electronic samples and creates her melodies with precision. If you’re missing Yukari-style songs, “Elephants Mobile” is close. It is the closest to a Yukari track that you will hear. Aseul also shows good variety with track like with “Loveless.” It’s a bit of a cross between a song you might find on Echo and New Pop. She hasn’t forgotten the roots and this track is the sign of a transition.

Whether she goes by Yukari or Aseul, the music that she creates is always really engaging and a lot of fun to hear. I’m really glad that Aseul didn’t stop making music and its been a while since her last release as Yukari. New Pop may be a reintroduction into a new style, but she has definitely become a stronger musician. - Koreanindie

Reader’s Pick Album of the Year - koreanindie

6. Aseul – Fisher


This year, our favorite Korean electro/dream-pop artist changed her name from Yukari to Aseul. With a new name came a new album and a new direction. On New Pop Aseul has moved away from ambient soundscaping and began producing more driven and mature work. Of all the gems this album holds, our choice is the absolutely yummy Fisher. Think somewhere between Grimes and M83, this track really does bridge the gap between both her previous sound and her new one.

For fans of Grimes, M83. - keunsoli

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the nominees for the 14th annual Korean Music Awards were announced today at 11am, KST. The nominated albums and songs have been selected from albums and songs released between December 1st 2015 and November 30th 2016. The Korean Music Awards do not take sales into consideration and the winners are determined by a panel of music critics and industry experts, making it a Korean version of the Grammy’s. This year the ceremony will take place on Tuesday, February 28th at the Guro Arts Valley Theatre. - KMA