While most artists use lyrics and clever metaphors to relay story and emotion, 250 relies on melodies and sounds.
Whether it's an intricate piano sequence or a simple combination of chimes and whistles, the Korean producer digs deep into the past to create an instrumental album that takes us through the winding roads of the 80s and the 90s through the lens of his own childhood.
"It was a challenge creating an instrumental album with almost no vocals. I wanted to tell mine through sounds that really pulled on the heartstrings, sounds that evoke sentiments and images," 250 on his recently released debut album, PPONG.
BANDWAGON TV
This comes as 250's first solo release in almost four years, during which he's been producing for some of K-pop's biggest stars including BTS, ITZY, and NCT 127.
Following the release of PPONG, Bandwagon caught up with 250 to talk about producing and creating for himself and for other artists.
Hi 250! What have you been up to lately?
I just released my album so right now, I’ve just been dealing with a lot of emotional highs and lows.
Congratulations on the release of your latest album ‘PPONG’! Could you walk us through the vision you had for the record and what story it tells?
Thank you so much. The vision for the album was taking a trip down memory lane, transporting back to when I was a kid in the late 80s, early 90s. I’d come home after school and watch TV until my parents came home. I tried to remember how it must’ve felt, as a little boy, sitting in front of that TV; all alone, quiet and still, heart pounding. And I wanted to retrace these memories and turn it into an album. So I started chasing after sounds from the past that triggered nostalgia and tried to reimagine them through a modern lens.
What was the creative process like working on your first-ever album?
It was a challenge creating an instrumental album with almost no vocals. Unlike rappers or singers who tell their stories through words, I wanted to tell mine through sounds that really pulled on the heartstrings. Sounds that evoke sentiments and images.
The process of finding sounds with that impact wasn’t easy, to be honest. I dug deep into my childhood and accessed these subconscious memories. I tried to remember sounds from a time when I wasn’t even aware of or consciously intaking music. At times, this process became emotionally exhausting and challenging, having to excavate and brush gently the long-lost childhood emotions.
One of the most memorable moments during the album-making was the first time I heard Kim Suil singing ‘It Was All a Dream’. The way his voice resonated in that room, I was dumbstruck. I managed to hit record on the spot because I wanted the moment to last somehow. The voice you hear in ‘It Was All a Dream’ is exactly the way Kim Suil sang in that room that day. No tuning, no polishing, no nothing.
This also comes as your first solo music in four years, did you have worries about releasing new music again after so long?
I worried if the vintage references I used and pulled from were being presented in a way that can live in today’s space of modern sound. Apart from that, the only other worry I had was whether the audience would be able to accurately interpret and resonate with the emotions I was trying to convey throughout the record.
What were some things you learned in the last four years that helped you with PPONG?
PPONG gave me the blueprint of what ‘250’s solo album’ should look like. I know where I stand now and have a better idea of what direction I should be headed in.
Beyond your own music, you’ve also produced a bunch of tracks for acts like BTS, ITZY, Masta Wu, NCT 127, and more. What is it like working with these acts?
Kpop acts have their own regimented and coordinated system with a clear division of labour. Each individual has his or her specific role and responsibility. As long as I play my part as a producer to the best of my ability and trust that others will play theirs, the rest will take care of itself.
Working with rappers, on the other hand, is comparatively more chill. There is more room for open discussions and the free exchange of ideas. It’s a more relaxed and comfortable process.
Does your creative process differ in any way when working on your own music and producing for other artists?
I have way more creative freedom when it comes to my own music. There’s less to compromise. The downside is a lot of the time, it’s just me. There’s not much opportunity to rely on other co-writers or collaborators. So there comes a time where I need to be hard on myself which at times, can be mentally damaging. But seeing how the album came together, it’s definitely worth the journey.
What are some plans you have for the year?
I stayed home almost the entire time I was working on this album. Covid lockdown didn’t make things any better. This is why for the rest of year, I just want to go out, travel, see different places and enjoy life as much as possible.
Listen to 250's PPONG here.
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