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raplaplacp [userpic]

Shameless self-promotion for my birthday starting today until my actual birthday at the end of the month. yunasbowtie made me a poster (left side), it looks better than the one I came up with (right side).

First up my dear, dear baby Starting Over.

Read it here:


or here:


raplaplacp [userpic]



oceans of motion, devotion to a notion, a fool's love potion,

움직임의 대양, 생각에 대한 헌신, 바보의 사랑약

explosion, implosion, a crowded soul's commotion,

폭발, 안쪽으로의 파열, 붐비는 영혼의 혼돈

crazy movement, hence 'loco'motion, abortion of laws, a flaw, extortion,

미친 움직임, "locomotion"(운동/loco(=미친) 움직임), 법칙의 폐기, , 강탈

denotion melodic, logic's corrosion, contortion, distortion of constant proportion,

음악적인 표시, 논리의 부패, 뒤틀림, 항시 같은 비례의 왜곡

the brain's demotion for the heart's promotion.

심장의 진급으로 인한 뇌의 좌천



raplaplacp [userpic]

Musings on Nell’s Slip Away


Nell’s music, in all its consistency, coherency, drastic differences, and evolutionary writhing of emotions, has been an elusive figure to me. The best way I understand their music is as a culmination of self-love, although not in narcissism, but more so as an act of self-preservation in the moment of dire failure of love of two, a weaving of insulation against the thrashing of “you”. Even in the most plain of their loves songs, Nell does not purely sing about the love of lovers or the sexually charged disparity between the “now” and the “memories”. However it certainly is of loss, of one manner or other, that becomes the preoccupation. Nell’s music career has been a sequence of elongated attempts at crystallizing this vacuity, the ever present but impossibly inarticulable absence.

In comprehending not only of the Music Video of “And, Things Left Behind” but also of the overall arc of the album, Slip Away, I attempted to put the cypher of John Berger intertext of And Ours Faces, My Heart, Brief as Photos as shown in the MV in relation to Nell’s latest.

In dissecting Nell’s consideration of loss and absence, I would like to start with Berger’s words: “Once one lived in a seamless experience of wordlessness. Wordlessness means that everything is continuous. The later dream of an ideal language, a language which says all simultaneously, perhaps begins with the memory of this state without memories” (Berger 32).

Consider the cycle of water and how it flows as a rivulet, then as a collection of streams converging into a single confluence. They, as a one, roll toward the vastness of ocean. But at the ocean, the water evaporate and become a cloud. Cloud rains, falling simultaneously upon the window panes of a house five kilometers inland as well as a couple of beached lovers who are drenched in each other’s gaze.

When we say that the water flows, we imply that water flows towards something, whether it be an ocean or a more transcendent ideal of becoming the ethereal cloud. In this implication there is certain grounding of the notion of linear progression. Quite suggestive is the forward movement. But this forward movement is a falsity at best. As I mentioned earlier, consider the cycle of water.

I believe the seamlessness that Berger uses in his consideration of language, and the primordial state of the “ideal language” invites the cyclic water analogy. However, the seamless wordlessness is not the condition of our living. The contemporaries of our lives, those who walk, breathe and sing the same air as we do, are the lives that communicate through words. Then as suggested by the analogy, if language flows in a seamless and uncountable manner, then what does language do to disrupt this wholeness so that we may communicate?

Consider language and the individuated words that speckle pages as micro dams. Words and dam stop water and thought. Words put a pause, the point upon which the stream of consciousness may gather to elucidate oneself. Upon a word, whether it be “love” “hate” “you”, the ego of “I” stops and reflects itself. However, like a dam, the word cannot contain fully. It does not pose the permanent limit upon the thought. The word buys us time, so that we may consider its flow, its stopped flow, and its being. Dam, with use and time, becomes worn. It breaks, a chip at a time perhaps. But the concrete Goliath, the threshold of movement, fails.

The stream begins again.

Poems (as well as song lyrics) are exceptionally well suited for such task of rumination, because it is not hindered by the forward movement of linear progression as other forms of narratives may do. Lyric poems in particular come with certain impetus and desire to stop time, and to cultivate itself in that frozen frame. It is not hard to see the sense of fraternal bond that song lyrics share with poetic modus operandi, especially if we account for the repetitious musical backdrop.

I would like to propose that the same movement of “stop. consider. move on.” is what is at stake with Slip Away. Time in Nell’s music has consistently been amorphous, in a sense that it fluctuates back and forth, sometimes coexisting in a single sentence: “It won’t be easy, when the tears that the leaving heart had to shed and the ones shed by the heart staying behind were so uneven” (”Standing in the Rain” Slip Away). There is the promise of future (It won’t be easy), certainty of past (when the tears that the leaving heart had to shed), and the vacuity of the present “I” (and the ones shed by the heart staying behind were so uneven). There is the fracture between you an I, not just in the conventional sense of parting but in a more profoundly egoistic sense of temporality. “You” and “I” no longer occupy the same time zone.

Sentences, as rich as the one I examined, invite one to muse on the nature of love, parting, and you and I. The lyricism of the band is extremely egoistic. Unflinching and unapologetic in its need for self-preservation in the wake of tragedy of parting, the break-up or self-doubt. The vacancy of “you” amounts to exceptional evocation and amplification of “I”.

“I” will replace the “you” when “you” leaves “me”.

Where “you” leaves, “I” will live.

However, if there is such a finality of disjunct—in that the we will never be another we—then why does Nell sing?

Is it in mourning? Is it a lament, or is it celebratory?

Perhaps it is all of the above, but what I would like to draw attention to is the sentiment that is less than savoury. It is one of entrapment, to be mired into the loss.

Another great example of the ego’s inability to escape the whirl of temporality is seen in “Go”. In the starting lines of the song (pun not intended), “On your mark, get set, go,” the narrative voice of the song is that of a command. It is authoritative. It demands to be heard and obeyed. However, all this authority is undercut and dissipates when the subsequent line, “Just go,” is sung. The demand to see that “you” (whether it is a person or the fragments of memories that the rest of the lyric implicates) dissapear, loses its edge of authority, and it falls into a plea. It beseeches that the “you” let go of “I”. There is this desire to be freed from the memories of winter, Seoul, mirrors, and all the other images of time.

But I would like to assert that there isn’t a strict binary between the “you” and “I”. This parting between divisible “me” and “you” is not merely a singular or monotonous affair. I would like to conceive of Nell’s egoism as a mode of opening to the “other”. By the process of intense inward observance, the lyric implicates inversion of seeing, the moment of conversion from “I” to “You”. This movement is perhaps best articulated in Berger’s words, “At the moment of revelation when appearance and meaning become identical, the space of physics and the seer’s inner space coincide: momentarily and exceptionally the seer achieves an equality with the visible. To lose all sense of exclusion; to be at the center.” (italics added) (Berger 52). By being in the centre, the ego is able to cohere to the “other”. Whilst there may be the centre, in a sense that it processes the experiences and articulates them, there is no fringe. This particular concept of whole that is totally inclusive is quite troubling, but the effort put forth by the band is quite something.

So what does Slip Away do to contend with this ever increasing anxiety to return home, to the place and the contour of “you”? It has created a spatially self-aware album, where all the melodies and beats, subtle invocation and the ultimate susurrus of love are compounded upon each other in a cyclical manner. The album does not seem to divest itself in a singuarly memorable beginning or an ending. This is true of both the language (i.e. Titles) and sound (i.e. Composition).

The album kicks off swinging with “The Ending” and ‘ends’ with “Slip Away”. In the dire paradox of starting the album with an end, Nell prepares itself and the audience to return again and again to the ‘beginning’ of its album. Even if the audience arrives at the ‘end’ of the album, they will never fully grasp upon a catharsis, a denoument or an appealing closure.

There is to be no end in sight.

There is nothing to hold onto, the final signified slips in between our fingers. What we have at the end of the day is a Saussurian play of signifiers. We slip in and out of each other’s gaze, grasp, touch and being. The album is a paradox. The album is where all these slippages of being, of “I” and “you”, congeal. It stops us, although only briefly.

We are water. We are language. We are the faces that are brief as photos.

Works Cited

Berger, John. and our faces, my heart, brief as photos. London: Bloomsbury, 2005. Print.


I really just wanted to share this.

raplaplacp [userpic]

수연언니는 예민하면서도 무심합니다. 특히 자고 있을 때 떠드는 걸 싫어해요. 새침한 고양이 같은 얼굴을 하고서 불같이 짜증을 냅니다. 전혀 그렇게 생기지 않았는데 말이죠. 하이톤으로 소리 지르면 귀가 얼얼해져요. 나는 그런 수연언니가 무섭다고 생각해요. 물론 무섭다고 말하지는 않아요. 하나마나 플러스 마이너스 되는 게 없기 때문이에요.
신기한 건, 예민하긴 한데 또 그만큼 무디다는 겁니다. 무심하다고 하는 게 맞을까요. 귀차니즘의 화신이라고 해야할까요. 자기가 듣고 싶은 얘기가 아니면 모조리 잊어버립니다. 심지어 방금 전에 말한 것도 기억하지 못해요. 어떻게 그럴 수 있죠? 서너번 말했을 때에야 관심을 조금 가집니다. 그것도 잠깐이고, 다음에 다시 말하면 그런 일이 있었냐는 얼굴로 나를 빤히 봅니다. 이건 좀 아니라고 생각해요.
가장 싫다고 생각하는 건, 자기가 좋을 때만 애교를 부리는 겁니다. 아니면 바라는 게 있을 때나. 아이잉, 하는 부담스러운 애교를 보게 될 때면 나는 한없이 약해지고 맙니다. 비위가요. 나는 비위가 그리 좋지 않습니다. 느글거리는 속을 달래기 위해서 냉장고를 열고 냉수를 벌컥벌컥 마시고 있노라면, 수연언니가 나를 힐끔 보고 이렇게 말해요. 나도 물 한 잔만.
수연언니는 귀여운 걸 싫어해요. 자기는 섹시한 게 좋다나 뭐라나. 그래서 집에 있는 키티나 토끼 인형들을 커다란 상자에 넣어서 구석에 치워놓곤 해요. 하지만 다음 날이 되면 언제 치웠냐는 듯 커다란 키티가 바닥에 굴러다니고 있습니다. 그러면 수연언니는 짜증을 냅니다. 이따위 키티 찢어죽여버리겠다고 해요. 전 가끔 생명의 위험을 느끼고 있어요. 휴대폰으로 112를 누르려고 했던 적도 있는데, 이건 무덤까지 비밀로 간직할 생각이에요.

키티의 주인, 미영언니는 무딘데 눈치도 없습니다. 그런데 예민해요. 나는 당최 이게 무슨 조합의 성격인지 잘 모르겠어요. 어쨌든 그래요. 바닥에 굴러다니는 키티는 미영언니가 꺼내놓는 거예요. 우리 키티, 우리 키티하면서 머리 큰 고양이를 껴안고 뽀뽀를 해댑니다. 솔직히 저 고양이 인형이 부럽다고 생각해요.
우리 키티.
미영언니가 키티 인형을 꼭 끌어안고 있어서, 제가 부러운 듯 쳐다봤더니 미영언니가 손바닥만한 키티 인형을 제게 선물로 줬어요. 참 고맙습니다. 감사합니다.
수연언니가 불만이 가득한 표정으로 우리 둘을 흘겨보더니 미영언니의 키티 인형을 저어기로 던져버렸어요. 미영언니는 울상이 되어 왜 그래, 하고 수연언니에게 소심한 반항을 하기 시작합니다. 나는 미영언니에게 받은 키티 인형의 수염을 손으로 뜯으며 또 시작이네, 하고 속으로 생각합니다.
수연언니는 그딴 키티 불 태워버릴 거야. 하고 호언장담하더니 어디서 라이터를 들고 옵니다. 물론 불이 나진 않습니다. 왜냐하면 미영언니가 애교를 부리며 안겨들면 귓불이 새빨개지거든요. 수연언니는 팔불출일지도 모릅니다. 아, 그냥 자리를 피해야겠어요. 더는 못 보고 있겠습니다.
이 다음이 궁금하셔도 어쩔 수 없어요. 나는 그들을 지켜보는 팀의 막내에 지나지 않고, 이것은 그냥 시시한 이야기일 뿐이니까요.
그리고, 내가 미영언니를 좋아한다는 것은 비밀입니다.

raplaplacp [userpic]

Mars light
cityhunter card

raplaplacp [userpic]

space glasses cat

raplaplacp [userpic]

I feel like sharing some ringtones. Most are korean related like songs and random SMS alerts.



raplaplacp [userpic]


raplaplacp [userpic]

A list of notable South Korean Entertainment Companies and their artists.

101 Entertainment
- Kim Jong Kook
- Mighty Mouth

Amoeba Culture
- Dynamic Duo
- Supreme Team
- Primary
- Zion.T

- Gray

B2M Entertainment
- Hyori
- Kim Kyu Jong
- Heo Young Saeng
- Spica
- Eric Nam

Big Hit Entertainment
- Homme
- David Oh
- 8eight

Brand New Music
- Miss $
- Skull
- Phantom
- As One
- San E
- Swings
- Verbal Jint
- Bizniz
- Bumkey

Brave Entertainment
- Big Star
- Brave Girls
- Electroboyz
More of this big ass listCollapse )

raplaplacp [userpic]

By far my favorite break down of SNSD's IGAB. I absolutely love the complexity of this freakin' song. 


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