A lot of her lyrics have this thing where she seems to know the words she wants to use but doesn't know that they usually collocate to different things, it makes them a bit confusing but also makes for sometimes very original language. I don't know if this is deliberate or juat a play on her code switching with Korean.
― mfktz (Camaraderie at Arms Length), Thursday, 28 December 2017 00:17 (four months ago) Permalink
Who knows what you’re talking about
― calstars, Thursday, 28 December 2017 00:25 (four months ago) Permalink
i thought yaej produced her own stuff
― flopson, Wednesday, December 27, 2017 5:35 PM (four hours ago) Bookmark Flag Post Permalink
is he A&R-ing or managing or something
― Listen to my homeboy Fantano (D-40), Wednesday, December 27, 2017 5:44 PM (four hours ago) Bookmark Flag Post Permalink
No, from interviews it sounds like she sent him demos and then they would produce/record the real versions together, using his gear etc. To me it definitely shares some sonic DNA with the Shamir record he did.
― change display name (Jordan), Thursday, 28 December 2017 04:04 (four months ago) Permalink
Here you go: https://www.residentadvisor.net/features/3121"The first thing I heard were these tossed-off demos on SoundCloud," Sylvester tells me over the phone from the Godmode studio in Los Angeles. The thing that got him was her voice—raw and untreated, even off-key at times, totally unlike the overproduced vocals you hear on a lot dance music. "There's something almost voyeuristic about it," he says. "And I love her cadences, the way she uses English and Korean lyrics to hide meaning, or obscure it, or create a different meaning. I mean, it was just immediate."
They began collaborating. Sylvester, who's a professional studio musician and engineer, offered his technical know-how to juice up some of the ideas Lee had started in Ableton. When it comes to dance music, the role of an A&R person tends to be limited: they'll tell you which tracks they like, then assemble the individual releases and send them out for mixing and mastering. Sylvester, however, takes a hands-on approach that more closely resembles something you'd see on a big-budget pop record.
"What that means," he says, "is that Kathy often starts with the idea. She'll record something in her room, then shoot the stems over to me. Maybe I'll replace certain parts or rearrange them, or I'll send it back to her and be like, 'I think this could be better.'"
They recorded both of her EPs—Yaeji and EP2—this way. Lee jots down her production ideas along with her lyrics. Then they head to the studio together to reinterpret the whole thing using top-shelf equipment. "Drink I'm Sippin On," the big single from EP2, is actually a beat that Sylvester worked on during a trip to Atlanta, which accounts for its low-slung Southern rap sound. He wrote parts of "Feel It Out" for a song he originally pitched to Beyoncé. When her creative team passed on the instrumental, Lee wrote a whole new arrangement and made it the most memorable track on her first record.
― change display name (Jordan), Thursday, 28 December 2017 04:09 (four months ago) Permalink
That Boiler Room set is all kinds of incredible. So many different beats and moods but such great flow.
― Roz, Monday, 8 January 2018 17:15 (four months ago) Permalink
lol I saw her last night and she just stood in the dj booth and quietly rapped (or lip synced) over her tracks, it was still kinda great tho
― the masseduction of lauryn hill (Stevie D(eux)), Thursday, 5 April 2018 14:05 (one month ago) Permalink