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Seoul-based Trampauline Is Leading The New Wave Of Korean Synth-Pop

A beautiful union of acoustic soul and electronic curiosity, one-woman band Trampauline is the brainchild of singer and songwriter Hyosun Cha. A rarity in the Korean music scene, Cha’s music is completely original in composition and entirely innovative in sound. Her music can be defined as a delicate combination of the digital and analog worlds. We spoke with the young woman about her work and how it playfully blends electropop with her smooth-as-ice vocals, and learned about the personal stories embedded in her songs.

The Creators Project: Who are you and what do you do?
Hyosun Cha:
I am Hyosun Cha, the founder of the one-woman band Trampauline. During my performances, I play the synthesizer, sing and dance.

For your second album, you worked along with guitarist Naeun. What are your impressions about returning to a solo practice?
Although I worked with another member at that time, I didn’t feel much difference as it seemed like an extended parallel from the beginning of my career in music. However, after having worked together for 3 years and becoming a bit dependent on them, it did feel strange to go back to being solo. I felt a little bit weird when I was back alone. I guess that’s how it goes when one returns to “being single” again. Life still goes on.

The last track, Melody B, from your remastered album was an unreleased track from nine years ago? Is there any special reason for that?
While remastering for my first album, I was asked if I wanted to refrain from releasing a particular song. So, I didn’t release that song because it wasn’t quite complete enough, like a demo track. I ended up putting as a bonus track for the melody series of the first album because it definitely felt like an extension of it. You could consider the melody or the music in itself of Melody B as a song that is personifed like a person.

You’ve recently participated in several compilation albums. How do you think you are contributing to the Korean indie scene?
I wouldn’t say I am doing so much. Whenever I’m presented with a new project and I’m into it, I just simply go with the flow of my mind.

Anthropology

The video collaboration you did with RECANDPLAY.NET is pretty awesome. Anything memorable you can recall from that episode?
What remains the most memorable was basically that day we went to the underground pass in Insa-dong. Because my analog synthesizer couldn’t get the power it needed, we went through a lot of shit. Even more, while we were shooting down there, the homeless people residing in that underpass kept warning us not to film. They were acting as if they were the hall monitors of that place. So I remember we tried to consider their warning and get out of there as soon as possible.

Just recently, you were nominated for “Best Electronic/Dance Music” at the 2012 Korean Music Awards for your track Little Animal. How do you feel about that?
It would have been great to have won and said, “Thank you, what a beautiful evening!” But unfortunately, I was merely nominated and that was it. To be honest, I felt pretty bad about coming back without the award. Next time, I don’t want to go unless if I know for sure I’m going to get it. [Laughs]

Little Animal

Regret

Monsoon

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