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Korea Undok Group
(Click image for link) Borrowing their name from an early spam email service, Korea Undok Group is the moniker used for both the Winnipeg based record label and small recording project that runs underneath it. Known for their strange and striking “xerox styled” imagery, the Group have been active since 2015, with recording beginning nine months prior to the formation of the label. The creator, known only as Sam N. (based off of a podcast found here, highly recommended), came from a background in punk but launched the groups career by taking a big jump and starting something new musically. Admittedly, it was difficult for the new project to find an audience for the whispy and trace element songs. However, in 2016, the group was noticed by UK label Penultimate Press, releasing early works by Sargasso Sea, Purple Circles, and Korea Undok Group, all of which seem to be the same person. These works, and new ones, can still be found on Penultimate Press’ website today.
Korea Undok Group is a cryptic entity, and the essence of what this blog represents. The purpose of starting this blog was a way for me to document strange underground groups that are on the absolute fringes of already strange underground genres and scenes; the strangest of the strange. With little to no social media presence, little to no information on who they are, and really little to no music to be found online (some releases are cassette only)… they can be firmly placed on some of the farthest fringes in the underground music scene. With that being said, it is without further ado that I present… Korea Undok Group.
*special note!!!* After some searching, I found that KUG has actually released a majority of their discography for download here. All tracks discussed on this blog will still be linked to Youtube or similar streaming service. Please try to support the artist if possible though.
Selected Works
Deepening Floor, 2017, post-minimalism, ambient, neo-classical
(Click album cover for link) Deepening Floor was the first full album I heard from this group, and it dwells more on the neo-classical side than other records in this post. A lot of these tracks are barely there, but oddly there are still so many things to talk about. While I find this album a little less minimal than previous works (but still beautiful), it is very melancholic and takes a lot of effort to listen to in some parts– so be warned and be in a good headspace when spending time with this one. A lot of these tracks are drenched in white/brown noise with soft and sad piano melodies that play in the background. Some tracks have special touches that I find very unique to both the artist and the genre. Because of this, I will be discussing more tracks from this then usual.
Selected Tracks
Protagonist Soft Introduction
The first track on the record, laden in white noise, begins with a low volume pad that drones in the background. At fourty-five seconds the track abruptly stops and goes silent. Verrrrrrry eerie breathing is heard close in the mix. This breathing, sometimes talking, is a signature of Korea Undok Group. While it is often very prominent in the mix it is almost impossible to ever make out any words. It is bizarre, and I have never heard anything like it. A single droning note hovers over the mix and mind numbingly oscillates at different frequencies quickly and frantically. After this, a droning sequence of notes plays that pans from ear to ear while a noise with a high gate (similar to a helicopter, or having a car window open on the highway) plays in the background. The track fades to white noise.
Deepening Floor
Once again laden in white noise, breathing is heard close in the mix. After about 10 seconds, some very melancholic piano fades into the track. The piano is distorted and heavily filtered, placed far back in the mix with lots of reverb. While short, the track still manages to conjure up feelings not so different from abandonment or memories from long ago that will never be again.
Finds it Fading to Friendship
Breaking suit, the third track on the record comes on abrasively and strong. It has a massive feeling to it, with strange industrial type noises that are heavily distorted and filtered, along with intercom and siren like sounds (reminiscent of Heathered Pearls). It is hard to make out what these noises are, but they are prominent in the mix and add a beautiful dimension to the track. Further into the song, another sound is heard, this one clearly being an intercom. This track gives me a strange feeling… the fact that there are sounds of sirens (and traffic?) along with intercoms and busy work/travel areas, it still manages to conjure up feelings of deep loneliness while being surrounded by so many people. The track ends with a woman over an intercom; it is impossible to know what she is saying.
Exposed Ocean Bed
This track begins with a melancholic, down tuned and distorted piano melody that bleeds through while being processed through what sounds like a phaser. This loop goes on for what seems like infinity but in reality is only a couple of minutes. Little to no changes come along until the end, where some slight plucks can be heard along with some noises that sound like recording damage (reminds me of Basinski a little), until the track becomes nothing but unconsolidated loose notes and noises. Though it is a short song, we have an intimate experience witnessing the life and death of a sad, little melody.
Continent, 2018, experimental, minimal, ambient, neo-classical
(Click EP cover for link) This EP, released on Swedish label I Dischi Del Barone, is my personal favorite piece of music from Korea Undok Group. In my opinion, these tracks focus less on classical styles and more on ambient and experimental. While only two tracks long and a little over 9 minutes in length, this EP is still packed with various noises, frequencies, and samples to send any experimental music lover head over heels. From its striking, hand stamped cover art (of which only 200 copies were made), to its peaceful and sometimes catchy (?!?!?!) melodies, this is a very strong work and a good starting point for new listeners.
Selected Tracks
Continent
The cadences of a group of people are heard in the background, they seem as if they are having a good time but it is impossible to make out any words. It sort of reminds me of the way that people speak in dreams; sometimes you can tell what mood they’re in based on they way the speak but it difficult to understand any words. These voices break down into a harsh swirling-like sound around 15-20 seconds. They become so distorted and demented sounding that it is hard to tell what they were prior to entering this strange mix of sounds. By 1:30, piano kicks in over noise, and the sounds of people bounce gently and beautifully in and out of the mix. The piano melody is sad and beautiful and conjures up very introspective feelings that will be different for everyone. While sad, this track is different from tracks discussed previously in Deepening Floor as they don’t feel as gloomy and lack feelings of misery, dread, and abandonment. The piano notes get higher and shimmer more (almost sounding glockenspiel-like), and around 3:30 a woman is heard humming a melody that is eerily similar to Garlands by the Cocteau Twins. It is beautiful, mysterious, fragile, ethereal… and so many other things all at once. A man talking is heard in the mix before it fades out.
On Alibi
This track begins with a few grand piano notes that sound dark and demented, being layered with many effects that glitch in and out of the track. Soon after, a voice comes into the mix. The words don’t appear to be in English, but if they were it would be difficult to tell because they are distorted and heavily pitched down. These vocals gradually become more and more distorted and deformed, until they fall perfectly back into the mix and pan from ear to ear delightfully with piano notes and pads. The piano notes eventually fade out, and a lush pad overtakes the entire mix. It drones on for what seems like an eternity while the distorted vocals continue to pan back and forth. Sounds are heard in the background reminiscent of someone shuffling around in a room. All vocals and noises stop briefly while only a pad shimmers. This doesn’t last for long and quickly the noises of shuffling and melancholic piano notes return. The track ends on a loud chord followed by a short segment of a radio program.
Quarto, 2015, minimal, ambient
(Click album cover for link) Displaying KUGs classic xerox styled artwork, Quarto is the first full length release from the group. Released in 2015, this record marks both the first release for the artist and for the record label. According to their discogs, it appears that only 41 copies of this record were made so its a really rare and obscure run. Information on this record is scarce, and its likely due to it being a first release that is relatively old (nearly 10 years). A brief exerpt about the group located on their Last.fm hints that early releases were based off of Pedro Costas Letters from [of] Fountainhaus. This makes sense because one of the tracks on this record is named exactly after that. I’ve never seen the film so I cant attest to its quality, but based off of the quality of music that was inspired by it I can only assume it will make the viewer feel alone and abandoned in the best possible sense.
Selected Tracks
Quarto
A droning pad shimmers while what sounds like radio distortion or recording interference floats into the mix. This beeping and buzzing continues on as piano notes poke their way through. White noise is heard along with occasional shuffling in the background. This combination of white noise, shuffling, and distant piano notes continues for a little over two minutes before a sound that is similar to someone touching a microphone abruptly cuts into the mix. At this point, a pad and detuned piano dominate the track. There also appears to be some percussion in this; a ride cymbal, which is the first I have ever heard on any of their albums. At the 4:30 mark, chaos insues. The piano becomes sharper, higher pitched, and more frantic. It seems that two pianos are playing at the same time without rhyme or reason, and the voice of a man talking is heard in the background (maybe from the film discussed above). Right before the track ends, it briefly fades before introducing a stringed instrument (maybe a guitar, or a different piano?) but it is difficult for me to say exactly what it is. This instrument matches the overall tone of the track, which is very dark and depressing. The mix then fades and the track ends.
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Vladislav Delay
(Click image for Bandcamp) Finnish producer Sasu Ripatti has been releasing music under the moniker Vladslav Delay since the late nineties. Born in Oulu, Finland, much of his works have a strong percussive element due to his upbringing in classical music and jazz as well as being a trained drummer. Throughout the early 90s, Ripatti trained himself to incorporate electronic elements into his live performances, teaching himself to use samplers and drum machines. Typically dwelling in the realms of minimal techno and glitch, he is known for his organic and wildly textured style. Many works are comprised of swirly machined beats that flutter and glitch on top of lush pads and stabby synths that create both a fragile and violent ecosystem. These works are MASSIVE and his discography is huge. Below I’ll be talking about some selected albums and songs that, in my opinion, make him especially great.
Selected Works:
Vantaa, 2011, minimal techno, glitch, ambient
(Click album cover for link) Vantaa was the first work by Ripatti that caught my attention. As expected, many of these tracks contain the complex and lush textures that he’s famous for; synths looming above minimal bass lines and machined beats fluttering gently in background– almost hidden away. On most tracks, these components come together and form the loosely structured rhythms and beats of songs that are the essence of minimal techno.
Selected Tracks:
Lipite
A beautiful track with lush pads, mallets, and female exhales (possibly Ripatti’s wife) all cut by a deep 808 bass kick. There is a pad that shimmers in the background that changes from being deep to high pitched and buzzy. There is no shortage of pulsating synths and deep atmospheres in this track.
Vantaa
A track that makes me feel like I’m floating in outer space. It begins with sine wave pulses and pads playing over a bass kick mixed in with claps and hi hats. A beautiful pad is playing in the background, going up and down in pitch and sometimes panning around. Textures are immense and plentiful. The overall feeling of the track is dark and chaotic but it does contain structure.
Narri
The only true ambient track on the record, and probably my favorite one. It begins with a strange hollow pluck sound that continues in its entirety, while playing over pulsing pads and metallic noises all panning from ear to ear. Some structure tries coming in the middle of the track but nothing really forms out of it, letting you get lost in the beautiful nothing that this track offers.
MP3 Collection, 2005, minimal techno, glitch, ambient
(Click album cover for link) This is a confusing one. Not really in terms of its style, but in terms of what exactly this collection of songs is. It’s hard to find much info on this album. I didn’t see anything about it on Discogs or Ripatti’s official bandcamp page. However, it does exist on popular streaming services and based off of what little info I was able to find, it’s a collection of oddities that seem to never have made it onto an official release. There are a wide variety of styles on this album (hence why it makes sense that it could be a compilation album), ranging from highly structured and repeating techno/dance to chaotic and harsh noise to peaceful ambient.
Selected Tracks:
Kohde
This was the first track by Vladislav Delay that I ever heard. What’s amazing about this one in particular is that it sort of tricks the listener into thinking that its just senseless noise… but throughout the song there are hints of structure and tempo that bleed through, forming a very loose melody and beat with high hats and snares. Behind all of this is a lush pad, sub-bass lines, and strange alternating mallets and plucks that crawl under your skin. Listening to this track for the first time makes the user realize that this style of music is not that different from an abstract painting. However, a trained ear will quickly realize that each sound builds onto the other until a structure is formed.
Anima / C
I would consider this track more on the ambient/glitch side of the record. This is my personal favorite and I often associate it with memories of great solo adventures I’ve had in the N.E. mountains. A very introspective track, it begins with a harpy plucked mallet that is followed by strict sub-bass lines and frequent percussive glitches. A smooth and beautiful chord is played in the background. The overall track has little to no structure and is purely glitch. Its excellent to listen to while you’re alone and spending time in nature.
Bedroom Selection + DutchWallPaper
These two tracks are more rooted in dance and traditional techno. They are both repetitive and strict, with distinct beats that are much easier to follow. Bedroom Selection begins with female sampled vocals (once again, possibly his wife, as she is known to provide vocals on some of his tracks) followed by a simple 4/4 techno drum pattern. A sine wave style synth gently pokes throughout the track over an ethereal pad in the background. As the song progresses, crawling noises come over the mix followed by subtle changes in timing. A different lead is then introduced halfway through the song, and this lead is fat with high attack. The song ends with this lead playing chords over the same pad throughout.
DutchWallPaper is another great one, and similar to the track discussed above, it is more rooted in techno/dance. Another strict 4/4 drum beat plays over a lush pad with fat, stabby and wobbly lead chords. When things begin to get stale, Sasu will change up the beat or the timing of the chords. Some vocal samples play in the background, but fade so beautifully into the track that its impossible to really know what they say, which was probably Ripatti’s intention. This track feels a little on the acid side to me, which I can appreciate. Its an overall great track to change up the theme of things on the record.
Multila, 2000, Ambient, Techno
(Click album cover for link) Considered Vladislav Delays finest work (based upon his official Bandcamp, and I can’t disagree with that), Multila is compilation of the Huone and Ranta EPs and consists of 6 ambient tracks and one 22 minute techno version of Huone (also released on MP3 Collection, but shorter). Tracks range from short and focused ambient recordings to long and introspective techno recordings. Overall, it is probably the best album to get started on if your’re new to Ripatti’s work.
Selected Tracks:
Huone
This track is the 22 minute techno centerpiece of the record. A pinnacle of excellence, it begins with a reverb soaked 4/4 mallet playing in the background with a snare far behind in the mix. Around the one minute mark, a satisfyingly strict sub-bass kicks in, along with a hi-hat and some vocal sampling. At 1:50, everything starts coming together– a 4/4 kick is paired with a soft mallet and a hi-hat follows, playing in alternation with the kick. Pings and plucks start to flow into the mix, along with some strange frequency noises. Some lush chords kick in at the 4 minute mark, and by 6 minutes the track is in full force.
Female vocal samples are accompanied by a beautiful pad over neatly organized “blips” and “blops” on top of a classic 4/4 techno beat. At 11 minutes the track slows and the beat changes tempo. A low pass filter comes over the composition, lowering the pitch of the percussive elements, making it feel as if everything is under water. Gradually, the track begins to reform what it was in its first 11 minutes, slowly and beautifully piecing itself back together and becoming reborn. Over the next 8 minutes, the track has subtle changes to the percussives, keeping the listener entertained.
Viite
Track number 4 on the record opens up swirled in vinyl fuzz. It feels warm and a gets warmer once the bass kick comes in. This is followed by a reverby snare that sits far back in the mix (see a pattern?). On top of this, a warm pad plays in the background. Gradually, changes to the timing of the drums occur as well as new percussives being introduced. The beat gets looser, more complex, and less structured all at once as these extra elements are added. Crawling noises begin making their way into the mix, and a satisfying sub bass kicks in followed by some plucks. The introduction of a strict sub bass makes this track like many of Ripatti’s others. Bright and ethereal pads are subtly added to the track, changing pitch every so often to keep things interesting. As most of the percussives fade out, the track ends with the familiar vinyl fuzz layered over strange glitching noises and a droning pad. This track is a favorite for sure.
Karrha
One of Vladislav Delay’s smoothest tracks, this song starts our with a swirling pad dancing from ear to ear. Around 5 minutes a very deep sub bass kick comes in along with a sort of brown noise snare. The track has a Pop or Königsforst vibe to it, with a deep and lush pad in front of a very minimal drum and bass beat. As pads and synths drone over the entire length of the record, subtle changes come along over the drums. Now normally this would make for a quite boring track, BUT in this case (and also the case with a lot of Voigt’s stuff) it makes for quite the entertaining experience. I personally love tracks like these because the listener doesn’t really have to spend their time listening to all of the chaos going on (like in an Autechre track, maybe), but can instead put on this track and let it drone for 11 minutes. This is a perfect track for a deep focus task and has its special place on the record.
Ok, PHEW wow that was a lot. Now– this post only covers a fraction of a career that has lasted nearly 30 years. Ripatti is still releasing music today, and with the release of 2022’s Isoviha, its clear that he has no intention of stopping. Considering the fact that Ripatti is often reputed as a genius of electronic music, this post probably does him no justice…so go do a deep dive for yourself!
Enjoy– and tata for now 🙂 ,
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