IU’s Pieces: Subverting The Hustle Of Korean Pop Life

Modern life moves so fast. Some might say too fast to feel actively a part of not just it, but ourselves and what we truly want out of it. With a hefty work schedule, responsibilities, and commitments, the time we actually do have to be appreciative, meditative, reflective, is ever more abbreviated than in times past. An argument against this idea is that we must use our time more effectively, find time where others see none. Keeping up isn’t the impossibility it is portrayed as and felt. As you might expect, the answer is most likely somewhere in the nuanced middle on a general, broad level while still acknowledging that our fatigue is understandable and that it exists for a reason. It shouldn’t be impossible to come to an agreement when necessary that someone needs time to reflect, rewind, decompress the increasing stress of the modern age that we are unequipped to handle.

The minimalist promotion

On December 29th, to the surprise of only me because I’m not as up to date on Korean music news and album releases as I probably should be for someone who writes about it as much as I do, IU, the unofficial leader in Korean female soloist music, released a special EP. A compilation album entitled “Pieces.” An apt description of what you are receiving in terms of songs. Featuring previously unreleased tracks that were recorded throughout her 20s. It falls somewhere in between a collection of demos and a fully realized high production value album. Another middle ground as it were. It was promoted very little, only revealed a week before release, and it still topped the charts in Korea upon release with individual tracks in the album finding spots on their respective chart as well. That will give you some idea of just how much pull IU has within her native land.

If you have been reading my essays (thank you by the way) for some time now, you’ll know that I’ve always appreciated a commitment to minimalism. There is a time and place for throwing the kitchen sink (obviously interspersed with attention to detail), metaphorically speaking. But especially when it comes from the realm of Korean pop, one that is known for explosive sounds, intricate dance routines, and sparkling excitement that commitment is even more so appreciated. Studious deliberative pacing in it’s tempo and delivery of lyrics. Very gentle dynamics throughout, only going as high as a mezzoforte when it is felt necessary. Simple and straightforward instrumentation perfect for a record that consists largely of ballads, only adding in the most unassuming of percussive sounds when the crescendos have fully swelled and taken their place within their respective songs. Not that this was ever a problem in her previous efforts but IU’s voice is given even more license to overtake the listeners soundscape with minimal instrumental interference. There is still nothing quite like it even with the ample amount of impressive vocalists in the Kpop world. She rightfully earns her spot amongst the upper echelon.

A careful examination of this EP’s themes and messages reveal a disappointing yet inevitable truth that comes with the territory of being Korea’s most popular female soloist. Grieving the pieces of her life that she would only be able to give a brief acknowledgement to, lamenting experiences and precious moments in her life that she wasn’t able to give her full appreciation of in the moment and even afterwards. If only we had more time to appreciate it, if only we had the ability to listen to ourselves amidst the sea of unending information that comes with the modern age. Maybe with more adaptation comes a stronger resolve. We can bare responsibility while also admitting our own guilt. A fate she herself would be the first to admit she was all too complicit in giving herself over to the powers that supply the pedestal, once you’ve taken the step up there’s not stepping off, your signature binds you to the throne. A conflicted queen with demanding subjects, and you can bet she’s not the only one in her space.

It’s deeply reflective throughout the album’s composition as a whole. Its modest tempo, its gentle dynamics, its instrumentation reserved and diminutive, but especially in its album artwork. Hastily stacked books, all bearing titles of the previous works she completed, loose papers mixed in for good measure, concepts never fully allowed to be given the time to become realized within an album and upon closer inspection, references to the tracks in the album in their respective places for when she wrote them. No color, no background, no time for either. We have a deadline to meet after all, you have a full schedule, get it done or face the wrath of power you couldn’t even begin to comprehend.

Genuinely one of the better Kpop album covers I've seen in a while

I admire its ability to be measured in its morality and maturity, a common theme amongst IU’s more recent records. Accepting responsibility for her time that could have been better spent elsewhere while also conveying feelings of powerlessness, that even if she wanted, there was nothing she could have done, there were multiple parties that needed to be satisfied, plunging through the exhaustion was all she could realistically do. Maturation. Sound familiar? It sure does in my own personal experiences. I’m as much responsible for my shortcomings as I am a victim of my circumstances. But that doesn’t mean that we can’t both do better and strive for a more healthy and harmonious union of unavoidable collaboration.