[друзья, мы знаем, что купить flac из России не получается, так как Bandcamp не принимает к оплате рубли. Когда-нибудь проблема будет решена, но пока это не произошло — не расстраивайтесь, пишите на почту info at kotaerecords.com
и мы все решим. прием.]
Or How To Flow In The Other Side Of The World
Gopchang Leftovers was conceived, composed and produced in april-june 2013, during my period as an Artist in Residency at SeMA Nanji, the Program promoted by the Seoul Museum of Art. The tracks were all composed and produced in Seoul. Mixing, mastering and postproduction were made in Studio Cuarentaytres in São Paulo.
"Gopchang" literally means "intestine", but it’s also the name of a dish. A very fat dish in which grilled pork (or cattle) intestine is served with vegetables and mushrooms. It is, in fact, a very popular dish on the Seoul streets and usually relates to the Korean male working class, who claims to acquire their strength and vitality from this meal.
“Greasy”, “oiled”, “slippery”, “junky”, “chewy”, “streetwise”, “squishy”, “smelly”, “masculine”, “disgusting” — these are some adjectives that this dish could be characterised by and, ironically, it turned out to be my favourite one during my stay in there. I used to go every week to this busy restaurant in Hongdae (a district in Seoul with intense nightlife) where only women were serving food. As far as I heard, it is probably the most traditional restaurant serving this dish for over 50 years now, with long queues lining in the door every night. The Intestine-day was the best day of the week for me then.
In this sense, the concept of the album was always a very personal picture about my Korean experience. One could even name it “Impressions of Seoul”. It is about my personal experience on the other side of the World, in this very rich and peculiar city and society that gave me inspiration to bring up this work.
The tracks are related to some areas/neighborhoods of the city. Sometimes literally by sounds recorded there and sometimes just inspired by atmospheres or stories. The plan was never to limit the work to one technic or approach, but the opposite, to try to gather the diversity that I could notice while wandering around the city. So, field recordings, synthetic sounds, samples, realtime processing, speech and instruments were naturally embraced by the process.