South Korea’s biggest rock rebel on his trials since walking away from K-pop, handling the business of music as CEO of his own label and the big chase for chart success
Nam Taehyun is the quintessential millennial rockstar. In music videos he’s reckless and/or melancholic, usually moping around on furniture, smashing things or indulging in other forms of orchestrated delinquency. On Instagram he’s the epitome of grunge elegance with artsy vintage shots and firm gazes directed to the camera. He speaks frankly of his trials and tribulations but there’s an underlying angst about him that keeps him an enigma. He’s clear about his goals for the future but has no idea if he’ll ever end up achieving them. “I want to be a revolutionist that creates something that hasn’t existed before… But I don’t know what that would be,” he says with a laugh. He’s a walking paradox and in that, a symbol of rock ‘n’ roll rebellion done right.
The 24-year old singer-songwriter has been a subject to controversy ever since he left popular South Korean boy group WINNER in 2016 and shed the glitz and glamour of K-pop to pursue a path of blues rock rebellion. He maintains there’s no animosity between him and his former bandmates, but the Internet still spent two years dissecting every tattoo, cigarette, performance and Instagram post to unravel the ‘truth’ behind his departure, while unsavory assumptions about his mental health and relationship status made the rounds on tabloids. It’s probably why Nam (despite his badass reputation) is cautious, level-headed and tends to think twice before he lets the world see too much of himself anymore. “When I’m working by myself, I try to limit how much of my image I’m exposing,” he says. He adds that the biggest glimpse anyone will see of his true emotions is when he’s making music with his alt rock band South Club.
هذه القصة مأخوذة من طبعة December 2018 من RollingStone India.
ابدأ النسخة التجريبية المجانية من Magzter GOLD لمدة 7 أيام للوصول إلى آلاف القصص المتميزة المنسقة وأكثر من 9,000 مجلة وصحيفة.
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هذه القصة مأخوذة من طبعة December 2018 من RollingStone India.
ابدأ النسخة التجريبية المجانية من Magzter GOLD لمدة 7 أيام للوصول إلى آلاف القصص المتميزة المنسقة وأكثر من 9,000 مجلة وصحيفة.
بالفعل مشترك? تسجيل الدخول
DANCE-FLOOR BLISS AND THE SEARCH FOR (POST-) HUMAN CONNECTION
Over the course of roughly a decade, CARIBOU, the electronic-leaning project from Canadian musician and composer Dan Snaith, has released intricate, sonically inventive records that cradle rhythm and history. On \"Home,\" from 2020's Suddenly, he coos softly alongside a frenetic flip of Gloria Barnes' 1971 single of the same name. There, the subtle cracks and gestures in his voice manage to breathe life into the digitally-manipulated sample. Caribou's music has so far thrived on this quality — Snaith's seemingly boundless musical curiosity and his ability to crystalize big ideas into euphoric moments of dance-floor bliss. It's why his choice to use artificial intelligence on his vocals for his latest album, Honey, feels like a misstep. Here, Snaith's voice is transformed in character and identity, at times creating revelatory moments, like on \"Come Find Me,\" where he's reimagined as a treacly-toned young woman, though in small enough doses for it to work. Elsewhere, like on the rap-adjacent \"Campfire,\" where Snaith renders himself as the sort of rapper you might hear on a Caribou track (think Definitive Jux vibes), the concept breaks down.
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