The new record from the Seoul-based producer and DJ Yetsuby is a dazzling display of her powers. 4EVA threads electronic music genres and sensibilities with a hyper-attuned attention to sonic detail. The whole project is coated in a luminescent sonic glaze. There is tempo here, for sure, though 4EVA really comes alive in headphones. It can cut through grey days like a cup of Earl Grey with a lot of sugar. We sent some questions over to the artist, who is also a member of the duo Salamanda and the co-founder of the electronic music crew Computer Music Club—read her responses and listen to 4EVA below. 

Could you talk about the new album 4EVA?

This album is more about capturing the feeling of “What would it be like to express Yetsuby through music?” rather than focusing on genre-specific elements. Instead of creating music that heats up the dance floor, it's more about making music that can turn places like parks, shopping malls, libraries, or even the street into a dance floor. Because of that, it can’t be described with just one genre. It also has a cute structural narrative with an intro and outro, and you can find an interesting collaboration between analog and acoustic elements—like synthesizers and upright piano. It’s a collection of electronic music that condenses the instruments and textures I love.

Over the past five or six years, you’ve put out a fairly large amount of work. Do you have any productivity tips?

I tend to work like crazy during a certain period and then take a complete break once I finish those projects. During my breaks, I spend a lot of time playing Nintendo at home, catching up on comics I missed, and sleeping a lot. I usually rest like that for about two to four days, then gather my energy and get back to work ... and repeat the process. Since I've chosen to be a full-time musician without a day job—basically a freelancer—I used to work every single day without rest, just like office workers go to work every day. But I eventually realized that this routine wasn’t helping my productivity or creativity anymore. After that, I started to practice fully letting go and resting whenever I was given the chance to rest. But I'm not sure if it's a good tip.

Are there any tracks on this new record that stand out to you as being particularly meaningful?

What immediately comes to mind is "I AM 뇌로운 인간," as well as the aaa (Analog and Acoustic) series tracks.

The story behind "I AM 뇌로운 인간" begins when I was a teenager. My younger sibling, who is six years younger than me, once drew a doodle of a human. Next to it, she wrote “나는 뇌로운 인간” (which roughly translates to “I am a brain-ful human”). The writing was crooked and had spelling mistakes—the correct phrase should have been “외로운 인간” (“lonely human”). This piece of music captures the shock I felt in that moment. It made me question, “Is this something a nine-year-old could even feel?” That moment of surprise also led to a bit of self-reflection, wondering if I had done something wrong. At the same time, I found it incredibly poetic, and tried to recall those emotions and imagine what my sibling might have been feeling back then. “aaa1” and “aaa2” are pieces I created while experimenting with my two favorite instruments: the Korg Minilogue synthesizer and an acoustic piano, along with the Elektron Digitone. I would build sequencing layers with the synths, settle on a loop I liked, and then perform acoustic piano over it, miked through the SP404. It felt like the synthesizer was the accompanist, and the piano was singing like a vocalist. In particular, “aaa2” was a homage to my musical mentor, Maurice Ravel, and his “Sonatine M.40 – I. Modéré.”

Can you remember the first track you ever made? What about the recent track you worked on? Can you find any connection between the two?

Wow ... That's a great question. Hmm ... I think there's definitely a connection in terms of harmony. But in terms of style and technique, I've improved so much. You know, the first music I made wasn't even under the name Yetsuby, and it was more like electronica that leaned toward songwriting. I didn't even have a proper microphone back then, so I recorded using the Apple EarPods mic and released music like that. This question feels like I've taken a time machine and briefly traveled back to the past.

What kind of music have you been enjoying playing in your DJ sets lately? Any tracks or more general vibes been resonating with dancers? 

My all-time favorite genres are bass and breaks. But these days, I enjoy playing sets that mix house, leftfield bass, hard drum, and UKG within a BPM range of 100 to 140. The dancers and audience can vary depending on the event and venue, but overall, spicy and intense tracks always seem to work well. I also think edits of popular pop or K-pop tracks with unexpected twists are really fun.

What’s the scene like in Seoul right now? Do you have any favorite clubs? Places to go out to eat?

From what I can tell, many young musicians who emerged after COVID are actively showcasing a wide range of genres—from experimental music to hardcore—through Seoul’s venues and community radio stations. I've noticed that there are more and more people at venues with bizarre and inventive outfits, as well as unique, creative live shows.vI find it interesting because it means that the events and people we encounter every weekend are not homogenized. This impression is especially strong at events featuring exclusively local lineups.

I’ve spent most of my time at venues like Modeci in Hongdae, Cakeshop in Itaewon, ACS in Euljiro, and 신도시. As for my favorite places to eat, I often go to Ferments in Sinyongsan and Yeopgi Tteokbokki in Gocheok. You should definitely check out Ferments—especially if you’re vegan.

You must listen to one song for 24-hours straight. What is it? 

Sakamoto Maaya (Feat.Steve Conte) “The garden of everything ~電氣ロケットに君をつれて(Prod.by Kanno Yoko)”