She DJ’d about town, produced a mix for Discwoman, a collective dedicated to showcasing women in electronic music, and contributed to a resistance themed compilation, ‘Physically Sick’, put out by Discwoman and Allergy Season.
yaeji raingurl download – Music Like Yaeji
People who like Yaeji might also like these artists. ADER error is an anonymous South Korean design collective. I wouldn’t even have known where they were from, except that I first discovered them in a Korean indie magazine. Their gender-ambiguous garments and simple yet prominent graphics are forward-thinking compared to what I was used to seeing growing up in Seoul.
Though she’s now signed with L.A.’s Godmode, her sound sits within a more global movement: lo-fi house. Yaeji’s output shares commonalities with other up-and-comers like DJ Boring, Ross from Friends, and Mall Grab, but her cover of the latter’s Guap” from earlier this year is a great illustration of what exactly puts Lee in a league of her own. Yaeji ‘s work circumvents many typical house trappings—like, say, repetitiveness to the point of making your eyes gloss over—thanks to what feels like a signature playfulness. She has a minimalist’s ear, curating the details in each of her songs to an impeccable degree, but she also knows how to keep things interesting with ornamental textures, layered vocals, and a hip-hop- and R&B-inspired touch. Altogether, it’s no wonder she’s able to capture the attention of those well outside the EDM scene.
Yes. It’s tricky. It’s definitely affected my work and I want to say it’s positive because I think there’s less suppressive energy. I had a lot inside that I’m pulling out now – even anger. I’m angry about certain things that have happened to me because I’m a woman and I’m Asian but I struggle to be open with it. I’m bad at clearly vocalizing thoughts like Fuck men! Fuck this!” I feel like it’s not the right way for me to approach it. I’m more inclined to express something in an abstract way through music or visual art or starting conversations with my friends or making my friends feel loved. So I can’t put my finger on a specific way it’s changed my work but I think it has. Like you mentioned about yourself earlier, this whole DJ and electronic music scene is relatively new for me actually.
On her version of Beach 2K20,” Yaeji uses Robyn’s sleepy hook as a sort of mantra, and she switches up the spoken intro, making it a into a bit of supremely unnatural dialog with Robyn. The newly reconstructed track is just as hypnotic as the original, in many of the same ways. Below, check out the Yaeji remix and the Robyn original.
Clockeflap Presents x Collective Minds is delighted to announce that NY-based singer, producer and DJ – Yaeji – will make her Hong Kong debut with us at TTN on July 23. Yaeji’s music is an invitation into an intimate, healing, world exploring cultural identity and self-reflection through dreamlike house productions that morph from whispery confessionals to dancefloor burners, and makes quite simply for a party unlike no other.
Last year, Pitchfork deemed Yaeji House Music’s Most Exciting New Voice for the way she oscillates between bass-heavy and more breathable moments, overlaid with her anxieties about her Korean-American identity, therapy, and skincare routines, taken from notes jotted down on the subway.
Yaeji is the undisputed rising queen of underground electronic music in New York City and beyond. Née Kathy Lee, the Seoul- and Brooklyn-based producer, vocalist, DJ, and visual artist has practically exploded overnight, frequently headlining some of the best parties in town and enjoying glowing little features in every outlet from The Fader to The New Yorker. If, somehow, you haven’t heard of her yet, then I suggest you look her up.
My relationship with New York is a little confusing: I was born here but I don’t really remember that time too well. I’m a little shy from calling myself a New Yorker in that sense, but since I’ve been back, my connection to New York has been so, so deep and intimate, specifically with Brooklyn. When I tour, I try not to forget that, and that my music was mostly influenced by what I encountered here in Brooklyn. For my tour, it felt significant to me to bring DJs who are friends of mine, who came up in the Brooklyn scene. I had one for each leg of the tour. That was really huge for me, because I would hear them spin before me, and I would get into the energy they had built up to perform my set. In that sense, it felt like home, which was really soothing.
Saturday’s show marks Yaeji’s Australian debut — she’s playing a few east coast shows around Meredith Music Festival. It’s part of the Sydney Opera House’s December Studio series, which turns one of the downstairs theatres with removable seating into the nicest 600 person club space you’ve ever seen, while theatre-goers one wall over watch Patrick White’s seminal Australian play A Cheery Soul.
The environment mirrored a scene from New York City house culture, alluding to her musical beginnings as an NYC native. The crowd moved in-sync to the ferocious electronic drums as she infused her music with both soul and funk, inspiring a disco-esque atmosphere. Aside from the influence of the New York soul-and-funk scene, Yaeji also embraced her Korean roots, which shined through her lyrics and performance style, delivering a fascinating fusion of both cultures.
New York-based Korean-American singer, producer and DJ Yaeji will be making her debut in Hong Kong this July. Known for her mixture of house and hip-hop style with her mellow vocals, Yaeji has successfully cultivated her own voice in the international dance scene. With hits such as Drink I’m Sippin On and Raingurl, be sure to catch some of her soft yet dynamic beats this summer.
It was a newly discovered love,” she says, and it took off like a rocket. Suddenly she was skipping class all the time to stay home and make music. Listening to tracks, she would retroactively unpack the samples and beats, effectively taking a self-taught course in ’90s hip-hop and R&B. During this period, she would often try to integrate music with her visual art – during college she worked on a series where she made tracks for visuals and vice versa. Now, she keeps them separate, a division reflected in the stark distinction between home and studio.
Now in Brooklyn, Yaeji has found a place, and an artistic community, where she finally fits. About a year ago, she started hosting weekly dinners for fellow musicians. Now she’s expanded the concept into full-blown shows, where heaped bowls of Japanese curry are dished up while she and her friends perform. Going to shows that are all night long, you’re dancing the whole time, so it’s fuel for you to keep going,” she says.
Oddly, you don’t always get that sense from her music. Despite her steadfast commitment to the relationships in her life – perhaps because of it – her music can focus on isolation and the sense of being trapped in one’s head. ‘Noonside’ explores the experience of crossing through customs between Korea and the United States, taking you to a liminal non-state. ‘New York 93′ contrasts the grounding of its title in time and place with the inaccessibility of memory and home.
I’m always thinking about my Korean lyrics, ever since I’ve been putting them out into the world, not just Soundcloud. It’s definitely been on my mind, that people who actually understand this are listening. What kind of conversation am I having with them? But in a way it’s become more and more casual, andIi almost feel like I’m talking to a friend. So it’s influenced my lyrics in a great way I think.
The NYC-based producer, rapper, singer, and DJ, Yaeji splashed onto the music radar in 2017 with her dreamy, melancholic rendition of Drake’s Passionfruit” and has since garnered the attention of major media outlets and countless listeners. Born Kathy Yaeji” Lee, the Korean-American artist masterfully sculpts her signature sound by integrating her gritty, underground electronic roots with a hush yet angular voice. Yaeji’s latest project, EP2 highlights the dance music prodigy’s versatility as she floats between the English and Korean language over a bed of house, trap, and pop-inspired beats. The sophomore EP has successfully amassed well over 10 million plays across Spotify and YouTube and shows no signs of slowing down. With so much promise, Yaeji carries the momentum into 2018 with her Make It Rain North America Tour and nods from both Coachella and Panorama NYC.
Listening to Yaeji’s music is like having someone whisper in your ear in the middle of a crowded club. Combining deep, rumbling subs with the softest of vocals, it’s exhilarating and soothing at the same time. The combination wasn’t intentional. I was pretty shy about using my voice, because I don’t think of myself as an amazing singer,” the 24-year-old explains, speaking (softly) on the phone from Brooklyn. So me singing quietly came from that.” But what began as a by-product of her own self-doubt ended up perfectly suiting the duality of her music, which takes elements of house and techno and drapes gentle melodies over the top; the kind of songs, she says, that make you want to dance your soul out until sunrise”. She has got two EPs out – Yaeji and EP2 , both released this year – and has already landed a spot on the BBC Sound of 2018 longlist.
The Brooklyn-based Yaeji makes warm, blissed-out house-pop, and she does it without ever raising her voice above a sleepy murmur. Like Robyn, Yaeji isn’t exactly prolific. She’s never made an album, and she seems to only come out with an EP or a single when the time is right. Yaeji has some experience remixing leftfield pop stars; she reworked Charli XCX‘s Focus ” last year. But it’s still a surprise to hear her taking on a Robyn track.
Ever one to bump members of her musical community, she name checks a few local institutions. Cakeshop, an iconic and influential club, and Contra, its new sister venue, both showcase artists and sounds on the cutting edge; Clique Records, according to Yaeji, is the record store for dance music in Seoul; and Seoul Community Radio, a platform for the burgeoning underground music community that offers great sounds from a wide range of genres. With strong roots in place, there are exciting possibilities on the horizon.
Sometime toward the end of college, I fell deep into gradients. The gradient allowed me to choose more than one color, and therefore convey more than one idea. Gradients are ambiguous, like a gray area. Like things in life, nothing is quite black or white. An artist I followed closely at the time was Rafaël Rozendaal, whose use of the internet as a medium was superfresh and aesthetically interesting. Recently, I’ve been enjoying the Korean Minimalist Lee Ufan’s way with color.
In Seoul, older generations thought it was really weird” when Yaeji spoke English on the street, and she felt alienated from native Korean students at her international school. She grew comfortable, turning inward, working on hyper-real drawings of anime characters she had invented, and obsessively collecting cute miniature diaries. It was a whole thing in Korea!” she says, with a laugh. There were forums which we called ‘internet cafes,’ where you would share your diary entry — we’d blur out names, but show off your handwriting.” Her online friends eased her sense of displacement, and helped her to broaden out her taste from Britney, too, with other users introducing her to Brazilian bossa nova, and Korean indie, and the Japanese electronic genre Shibuya-kei.
Yaeji, full name Yaeji Kathy Lee, is a 24-year-old DJ , rapper, singer and producer whose trance- and house-influenced music radiates both infectious pulse and disarming vulnerability. When I first encountered Yaeji’s work, on her track Feel It Out ,” I had to listen a few times to understand what I was hearing: her singing is soft, unwavering, and almost chant-like, as if she’s telling you a secret, while her instrumentals veer toward 4 AM, end-of-night simmering bangers. Her music is initially bizarre, even uncomfortable, but undeniably alluring.
Kathy Yaeji Lee , known professionally as Yaeji, is a Korean-American electronic music artist based in Brooklyn, New York. Her style blends elements of house music and hip hop with mellow, quiet vocals sung in both English and Korean. Kathy Yaeji Lee was born August 6, 1993 in Flushing, Queens as a single child in a Korean family. Growing up, Yaeji moved from New York to Atlanta when she was 5, and then to South Korea in the third grade. While living in South Korea, Yaeji switched between different international schools on a yearly basis, forcing her to find friends on the Internet, where she would first discover music.
There’s a sad undercurrent to the EP that comes to the fore right as it ends, but this subtle sentimentality is part of what brings Yaeji’s music to life and makes EP2 a mesmerizing release. Most of all, what’s most evident here is that Yaeji’s reign is just beginning.
The same, of course, can be said for Yaeji. For now, she’s just excited to be out and about, playing shows or attending them, making music or just listening to it with friends. Regardless of what she’s doing and when and where she does it, there’s no doubt that Yaeji can find and form fertile communities that enable her to flourish. Those communities will surely only widen along with her audience.
Thematically lots of things overlap. There’s a real sense of freedom. You can really be whoever you want to be in this game, everyone starts from zero. You can choose your race, gender, rank and either a merchant, fighter or an explorer. But what’s interesting is throughout the game you can change any of those by going on quests, which I thought was amazing! And I never thought about it as a child, but it was really ahead of its time.
Having studied painting and conceptual art at Carnegie Mellon University, Yaeji offers an unconventional but thoughtful concert experience. She’s previously hosted concerts where she serves curry to the audience, distributed blindfolds, and performed with other experiential techniques.
You can trace that value throughout the producer’s life. An only child born in Queens, Yaeji moved around frequently during her childhood, first around New York City, then to Atlanta, and then back to Seoul. She attributes this move back to South Korea in part to her parents’ concern that she was speaking more and more in English, becoming less Korean. In Seoul she switched between different international schools on an almost yearly basis. As a result, it was often difficult for Yaeji to settle in to any kind of community. It’s really hard to make friends,” she reflects, as if the thought has only just occurred to her.
Local concert promoters Collective Minds took to Facebook on Thursday evening, 21 March, to announce that genre-defying Korean-American artist Yaeji will be returning to Singapore for one night only. It makes sense that Yaeji’s first Australian festival is Meredith Music Festival: she might be the best accidental enforcer of their ‘ no dickheads ‘ policy they’ve ever had.
A year later, Yaeji and I were both performing in the Serpentine Galleries’ Park Nights programme in London. The genuine warmth I felt from her and her crew was affirmed when my collaborator, Shy One and I, were invited to New York to open for the last leg of her One More tour. There, the familiar feeling began to make sense. In Yaeji, I recognized an artist who has made a conscious effort to surround herself with a community that values and sees her as much as she sees them.
Her family, who know her as Kathy Yaeji Lee, are behind the back and forth” background that’s let to the culturally diverse character of her music. She was born and raised in America until the age of 5, when her family relocated back to South Korea.
Yaeji: I kind of see being a woman producer in the same way I view Pittsburgh. It’s a small city and there aren’t a ton of people but I think one of the pros you get out of it is that there are all these great people doing very different realms of music that show you there are so many different avenues you can take. And since they’re kind of their own thing because there aren’t as many people here, they dig deep and are experts in it. I think that’s cool. New York is such a different beast. It’s hard to even compare. A lot of things become very numbing there because it’s oversaturated all the time. It definitely made me realize a lot about my gender and race. It’s the most accentuated it’s ever been. It’s such a topic of discussion which is great. This kind of conversation happens a lot which made me learn a lot about it.
I’m relieved when, after showing up late, hungover, and apologetic to the SoHo café where I’m supposed to meet Yaeji , she lets me know that she’s had a late night, too. Yesterday she played a gig in Seattle, immediately flew back to New York, and proceeded to go out dancing at the Bushwick bar Mood Ring with her friends until the early hours of the morning. She smiles sweetly as she tells me this, peering at me through her trademark circular, Grandma-like gold spectacles, her eyes accentuated by subtle brushstrokes of Day-Glo makeup.
It’s definitely something that’s a struggle, especially as the scale is changing, to figure out how to be something so big but make it feel like me. I think the only way I could have done this is because my whole team—my managers (who are like my best friends), my lighting director, front of house sound engineer, and all the people that help with the music videos, and even the BTS photographer—everyone is a homie from New York. Everyone knows me so well. It’s a huge part of what doesn’t make this feel scary or foreign to me, but more natural.