There’s a remarkable vitality to January Never Dies, the startlingly good debut album from Seoul-based collective Balming Tiger. It’s a body of work that sounds like nothing else to be released this year. From its first cascading and off-kilter piano jabs and ensuing booming bass in the opener, “BTB” to the anthemic and groove-laden wall of sound that the closer “SOS” possesses, it’s a full-throttle, gloriously pedantic, musically sprawling and lyrically visceral effort. Think early BROCKAMPTON on steroids with an added off-kilter flair and jazz-tinged delicacies.
Sharing the vocal duties between the different members of the collective – once again heralding a BROCKAMPTON comparison – the chemistry between the individuals is imperative to the charm and nuance of the tracks. Musically challenging, forward-thinking and deftly intricate, the immersive soundscapes are masterful in their own right, and act as a striking backdrop for the Tigers to growl atop.
The group are one of the global breakout acts of the year, and have redefined the way K-pop can present itself as a style and movement to a Western audience. Speaking to the collective in the midst of their world tour, we talk the making of January Never Dies, where they sit among the K-pop landscape, and what’s next.
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Hi everyone! Congratulations on the album release. Can you tell us a bit more about the project itself and what your main inspirations were for this album?
Mudd the student: I think it was a challenge for me. My original work style is closed and I don’t share it well with others, but this time, I think I could feel what teamwork is while doing song camps with my team members. It was hard, but there was so much I learned. I think it was one of the processes that I needed. I think the special energy I received from my team members was a big inspiration to me. As this is our first album, I think it’s an album that shows what kind of team Balming Tiger is. It was a project that contained Balming Tiger’s own diversity that could not be defined as one.
How would you define your sound and the essence of your artistic collective?
Unsinkable: It is difficult to explain in any single sentence or word. I can only say that all of our members have different musical tastes, but we seem to know what kind of music we like and what style we are good at. While working on this album, we were able to share our opinions on not only music but also performance and artwork and give feedback on each other’s shortcomings. This is why we are not based on a single genre, but we are naturally connected to each other’s music and visuals.
How did you initially come together as a collective? What’s the story behind Balming Tiger’s early days?
Abyss: San Yawn and I met at an underground radio channel in Seoul. Before the name Balming Tiger was given, there were less than five of us. Then slowly, friends who needed it came in as colleagues. Introduction of members or friends, or direct scouts.. Looking back now, it has gone through a rough process, and I didn’t know it at that time, but it seems to have grown us a lot.
As a collective, how do you navigate the challenges of balancing individual creative expression with the cohesive identity of Balming Tiger? How do you find common ground to create a unified artistic vision for your projects?
Leesuho: I don’t think we’re doing anything particularly to bring balance or color together. I think that if we work naturally, it may or may not be balanced. I don’t think I’ve set any rules for myself, and I don’t think I’ve set my role in working as a team beforehand.
Jan’ Qui: I think there were times when we had a lot of debates over our different opinions in the past. As we went through a lot of meetings and work, we got to know each other more. As an individual who belongs to BT, I think we have developed an intersection by grasping what should be suggested and shown to the team. I think it’s important to have time to build understanding and bonds with each other. I greatly believe in San Yawn’s perspective that made it possible for only people to gather, and I’m sure the members feel the same way.
Balming Tiger describes itself as a “multinational alternative K-pop band.” How do you see the K-Pop landscape in 2023, and what sets you apart from it as an alternative band
San Yawn: We have a lot of similarities with other K-pop groups, but first of all, we’re a little less perfect, right? I think that’s the biggest difference between us and them. So the strategy is to make people care more lol. I think the areas where we try to be a little more complete are just a little different from other groups. I think K-pop in 2023 was very busy like any other year. New groups and issues poured in, and I think everyone was trying to put a lot into expanding their vision in their own way.
The collective includes performers, producers, video directors, a DJ, and a visual artist. Can you share how these diverse roles collaborate in the creative process, from conceptualising a song to bringing it to life visually?
Chanhee Hong: Since we have a lot of members, we tend to create teams within Balming Tiger and divide them efficiently according to what needs to be done. When we need to make videos, sometimes we meet with people who do videos within the team, and when we need to make music, sometimes we meet with people who do music. Also, when we have a meeting about BT’s overall operations, all the members get together. For example, when we made new logos, San Yawn and I got together. When we had a meeting for the artwork and merch for the album, me, San Yawn and Abyss. During the album meeting, we all attended and collaborated. I think we’re still in the process of finding the best way to work together.
“Kamehameha,” is said to simulate the light-headed, overconfident experience of being heavily intoxicated. How did you work on translating this feeling/experience into the soundscape of the song?
bj wnjn: I don’t plan things carefully when I’m working on the track. We don’t really put a lot of meaning here and there. It might sound like a rough answer, but I was just trying to make that feeling into a song, and somehow this song was born.
Balming Tiger is currently on the road touring in the UK, Europe, and the US. How do these touring experiences influence your creative process? Are there any memorable moments you’d like to share with us?
sogumm: All of our performances are great study and inspirational for me. I used to focus on recording, but after the tour, I became more interested in live performance sound and directing. And the most interesting and enjoyable thing for me is that when I’m on a festival tour, I like to see the staff of various artists working in the backstage. Then I can see where they care about how they work. I think it’s a very special and good study opportunity for me to see how a good stage is made while watching the people behind the stage together. Then I think that it would be nice to prepare more of these things next time and get a lot of stimulation!
Looking back, how do you reflect on 2023? What were some pivotal moments for your career and artistry?
Omega Sapien: It was a lot of growth as a team, facing inevitable challenges that weren’t there when we were just starting out. Fuji Rock Festival 2023 was definitely the highlight of the year!
What are you most excited about for 2024? Any projects or collaborations in the pipeline that you’d like to share with us?
Henson Hwang: In 2023, if we focused on our albums and activities as a group, I think we will focus more on our individual activities in 2024. Of course, performances and tours as a group will continue even during individual activities, and you will be able to meet new group works. Maybe it has a different direction from this album. We are looking forward to what will happen next year. Please look forward to it together!