[100611] Interview with record producer Yoo Young-jin, parts where he mentioned Super Junior

10: What do you think is most important when it comes to choreography?
Yoo: There is a beginning-to-end flow in a dance routine, just as there is in a song. It is better to tense up and loosen up in certain parts rather than having it stay intense throughout. And in places where you need to go strong, you have to accentuate the moves clearly — for example, the palm-rubbing actions in “Sorry Sorry.” On the other hand, sometimes I take out parts that are too complicated. I take care of such things during the post-production process after I am done producing the song.

10: That aspect of your songwriting is becoming more conspicuous in your recent works. Songs like “Sorry Sorry,” “Ring Ding Dong,” and “Bonamana” have melodies that come straight from the rhythm and makes the listener think of a stage performance right from the start.
Yoo: That is definitely true. For “Ring Ding Dong,” I wrote all the melody after starting with one beat and repeating it. There are notes in a rhythm too and basically if you think of connecting those ‘rhythm notes’ as a chord progression, you can come up with an infinite number of melodies. A rhythm is not a sub-unit of the melody, it is the main unit of a song. Lyrics are important to some songwriters while for others, melody is key. In my case, I think about the rhythm first and add other stuff with the arrangement.

10: But I think you should control that level of shock since you make music to be sung by idol groups. What do you take into consideration when you give them songs?
Yoo: It depends on the team. With Super Junior, I think they’re a team which is better to go for their mass appeal by mixing in a bit of wit into their performances. I wanted create a song which is both equally fun and easy to listen to which is when I came up with “Sorry Sorry.” f(x) is just a year into their debut but the first time I heard “Nu ABO,” I thought it was very shocking and advanced. So while commercial success is important, I thought people would be shocked if we took on a new and erratic attempt. The company thought the same way about it too.

10: I think you’ve been making new attempts in that sense too. “BONAMANA” is made in a similar way as “Sorry Sorry” but I think you purposely meant to add in a Korean style of melodic structure to it.
Yoo: You’re right. To start with, I wasn’t intending on making something completely different from “Sorry Sorry.” It suited them and the singers had liked the song a lot too. So instead of thinking I would divert from it completely, I expanded on it. My wife did a bit of traditional Korean music when she was in college so when I asked for her recommendation for a samulnori beat, I came across a drum beat which I thought could be used as the melody. That’s how I came up with the melody in the beginning of “BONAMANA.” There’s definitely a limit to how much I can do because I’m a pop music composer but I want to do more specialized music. The melody in “BONAMANA” may repeat in a very simple way but I wanted to give various changes to it within that flow. I’m trying hard in my own way. (laugh)

10: Is that why you absorb music through rhythm and not through melody?
Yoo: When my senior musicians asked me why I consider vocals as rhythm, I told them to look at Michael Jackson. Why he would add in sounds like “Ah!” in the middle [of his songs]. I think one should be able to think of such things simultaneously with the choreography. I think that’s where my ideas stemmed from. From Kang-ta in H.O.T. to Donghae or U-Know Yunho, there are many singers in SM who want to do music. And I tell them that no matter how hard they practice from now on, they will never become better than pianist Yiruma. But I tell them to instead create something that they can be good at. It’s necessary to come up with a new approach even if it may make you look like a fool. Everything that can be done with the existing 12 scales is being done so you need absurd ideas from now on to make songs. You never know when they day will come when you throw a computer at the window and that sound is used for rhythm. So I don’t know until when I’ll be working but I keep trying to come up with absurd ideas.

full interview here: 1 | 2 | 3 if you’re interested
yyj is awesome

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