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์•จ๋ฒ” ์†Œ๊ฐœ

ํ•œ๊ธ€

์ด๋ฒˆ EP๋Š” ์„ธ ๊ณก์ด ํ•˜๋‚˜๋กœ ์ด์–ด์ง€๋Š” ์‚ผ๋ถ€์ž‘(Triptych) ํ˜•ํƒœ๋กœ ๊ตฌ์„ฑ๋œ๋‹ค. ์‡ผํŒฝ์˜ ์ž‘ํ’ˆ์€ ํ”ผ์•„๋‹ˆ์ฆ˜์˜ ์ •์ˆ˜๋ฅผ ๋ณด์—ฌ์ฃผ๋Š” ๊ธฐ๊ต์  ์ž‘ํ’ˆ์ด๋‹ค. ์ด์–ด์ง€๋Š” ํ•„๋ฆฝ ๊ธ€๋ž˜์Šค ์ž‘ํ’ˆ์€ ๋ฐ˜๋ณต๊ณผ ์ ์ง„์  ๋ณ€ํ™”๋กœ ๋ชฝํ™˜์ ์ธ ๋ถ„์œ„๊ธฐ๋ฅผ ๋งŒ๋“ ๋‹ค. ๋งˆ์ง€๋ง‰์œผ๋กœ ์œค์—ฐ์ค€์˜ ์ž‘ํ’ˆ์€ UK ๊ฐœ๋Ÿฌ์ง€ ๋ฆฌ๋“ฌ๊ณผ ํ™”๊ฐ€ ์ด์ƒ๋‚จ์˜ ์ž‘ํ’ˆ์—์„œ ์˜๊ฐ์„ ๋ฐ›์€ ๊ณก์œผ๋กœ, ์ „ํ†ต์ ์ธ ํ”ผ์•„๋…ธ ์—ฐ์ฃผ์™€ ํ˜„๋Œ€์  ๊ฐ๊ฐ์ด ๋งž๋‹ฟ์•„ ์žˆ๋Š” ์ž‘ํ’ˆ์ด๋‹ค

ํŠนํžˆ ์ด์ƒ๋‚จ ์ž‘๊ฐ€์˜ Blue Circle No. 4๋Š” ์ด๋ฒˆ ํ”„๋กœ์ ํŠธ์˜ ์‹œ๊ฐ์  ๋ชจํ‹ฐํ”„๊ฐ€ ๋˜์—ˆ๋‹ค. ์ด์ƒ๋‚จ์ด ์บ”๋ฒ„์Šค ์œ„์— ์ธต์„ ์Œ“๊ณ  ๊ฐˆ์•„๋‚ด๋ฉฐ ๊นŠ์ด์™€ ์งˆ๊ฐ์„ ๋งŒ๋“ค์–ด๊ฐ€๋“ฏ, ์œค์—ฐ์ค€์˜ ์—ํŠ€๋“œ๋Š” ๋ฐ˜๋ณต ์† ๋ณ€ํ™”๋ฅผ ํƒ๊ตฌํ•˜๋ฉฐ, ์ธ๊ฐ„์  ๋ถˆ์™„์ „ํ•จ๊ณผ ๊ธฐ๊ณ„์  ์ •๋ฐ€ํ•จ ์‚ฌ์ด์˜ ๊ธด์žฅ๊ฐ์„ ํ‘œํ˜„ํ•œ๋‹ค.

์ด๋ฒˆ EP๋Š” ๋ฅ˜์ด์น˜ ์‚ฌ์นด๋ชจํ† ์˜ ์•จ๋ฒ” Playing the Piano ์—”์ง€๋‹ˆ์–ด ๊ฐ•ํšจ๋ฏผ์ด ๋…น์Œ, ๋ฏน์‹ฑ, ๋งˆ์Šคํ„ฐ๋ง์„ ๋งก์•„ ์™„์„ฑ๋„๋ฅผ ๋†’์˜€๋‹ค. ์ด์–ด์ง€๋Š” ์‹œ๋ฆฌ์ฆˆ๋Š” 5์›” ๋ฐœ๋งค๋  Triptych II์—์„œ ํ•œ๊ตญ ํ˜„๋Œ€๋ฏธ์ˆ ๊ฐ€ ๊ณ ํœ˜์˜ ์ž‘ํ’ˆ๊ณผ์˜ ํ˜‘์—…, 6์›” ๊ณต๊ฐœ๋  Triptych III์—์„œ ์˜๊ตญ ์กฐ๊ฐ๊ฐ€ Conrad Shawcross์™€์˜ ํ˜‘์—…์œผ๋กœ ํ™•์žฅ๋œ๋‹ค.

์„ธ ๊ฐœ์˜ EP๋Š” ํ•˜๋‚˜์˜ ์ •๊ทœ ์•จ๋ฒ”์œผ๋กœ ์™„์„ฑ ๋  ์˜ˆ์ •์ด๋‹ค. ๋ชจ๋“  ์ฃผ์š” ์ŠคํŠธ๋ฆฌ๋ฐ ํ”Œ๋žซํผ์—์„œ ๊ฐ์ƒํ•  ์ˆ˜ ์žˆ๋‹ค.


English

Structured as a triptych, the EP opens with Chopinโ€™s รฉtudeโ€”an essential pillar of pianistic virtuosityโ€”before transitioning to Glassโ€™ รฉtude, a piece emblematic of modern minimalism and hypnotic repetition. The journey culminates in Yoonโ€™s own รฉtude, a piece inspired by UK Garage rhythms and the meditative precision found in the paintings of Korean artist Sangnam Lee.

Leeโ€™s Blue Circle No.4 (1993) serves as a visual anchor for the project, mirroring Yoonโ€™s fascination with repetition as both artistic practice and philosophical inquiry. Just as Leeโ€™s layers of acrylic are meticulously ground down in pursuit of depth and texture, Yoonโ€™s รฉtude examines the tension between human imperfection and mechanical exactitudeโ€”an exploration of groove, repetition, and the tactile essence of the piano in the digital age.

Masterfully recorded, mixed, and mastered by Hyomin Kang, whose past work includes Ryuichi Sakamotoโ€™s Playing the Piano, ร‰tudes: Triptych I is the first of three installments. Triptych II, set for release in May, will feature the work of Korean artist Kohui (๊ณ ํœ˜), while Triptych III, arriving in June, will engage with the kinetic sculptures of British artist Conrad Shawcross. Together, these three releases will culminate in a full album that redefines the รฉtude form for the 21st century.

The release will be available across all major streaming platforms, inviting listeners to immerse themselves in a sonic dialogue between tradition, transformation, and the timeless pursuit of artistic precision.

[Credits]
์ž‘๊ณก, ํ”ผ์•„๋…ธ, ํŽธ๊ณก - ์œค์—ฐ์ค€
๋…น์Œ, ๋ฏน์Šค, ๋งˆ์Šคํ„ฐ - ๊ฐ•ํšจ๋ฏผ
EP ์ปค๋ฒ„ ์ž‘ํ’ˆ - ์ด์ƒ๋‚จ โ€˜Blue Circle No. 4โ€™

Composition, Piano, and Arrangement - Yeonjoon Yoon
Recording, Mixing, and Mastering - Hyomin Kang
EP Cover Artwork - โ€˜Blue Circle No. 4โ€™ by Sangnam Lee