DICKPUNKS Interview: The Band Discuss Their Career “Second Chapter,” ‘Ordinary Days’, and More

For DICKPUNKS, Ordinary Days, their first EP in five years, marks a new chapter in their career. More sonically mature, it’s a step forward for the band born out of the famous Hongdae scene, and a showcase of the artist growth the foursome have undertaken throughout their near-fifteen year career.

“Man on the Moon,” the lead-single, particularly excels. Syringed with ‘40s inspired grooves and jazz-tinged instrumentals, it’s undeniably melodically charming, bouncing along steadily until its frantic, brassy climax delivers a perfect conclusion.

Elsewhere, tracks like “pointless” breeze through their runtimes, elevated by vivid piano melodies and warm, sincere vocal performances. It’s a truly excellent five-track offering, and one that cements the band as one who have genuinely continued to get better with experience.

In the midst of this new release, we were fortunate enough to speak to DICKPUNKS about Ordinary Days, their new sound, and their unique lineup.

Nathan Sartain: Firstly, congratulations on the release of Ordinary Days. How does it feel to have released your first mini album in 5 years?

DICKPUNKS: Thanks so much. It’s especially great to hear congratulations from outside of Korea. We’re thinking of the album as a way to announce the second chapter for DICKPUNKS.

It’s led by the title-track “Man On the Moon.” Can you talk us through what the song means, and how the recording process for it went?

The song was partly inspired by the film, “Man on the Moon.” The Jim Carrey character does all sorts of crazy things for love and attention but a lot of it backfires on him and he ends up alienating people. The song lyrics aimed to capture his feelings. We originally planned to release the album this past Spring or Summer but faced some setbacks with the covid-19 situation. We had no clue that the pandemic would stretch out for this long and only released three singles along the way. But then we decided we couldn’t put it off any longer and so went with the mini-album now. “Man on the Moon” feels like a winter song so we decided to go with it (as the title-track).  

Given that, as mentioned before, it is your first mini-album in five years, did you feel any added pressure to how you had to approach this, or to try and make sure it’s a memorable release?

Actually, we didn’t really realize it had been so long. We’d been releasing singles since all the band members finished up military service and it might be that an album release seemed a little daunting. The kind of music we made in our 20s and the kind of music we make and are going for in our 30s is very different, and we think that is pretty well reflected in this album. In the past, when we were developing songs we’d often do so separately and then come together to play them for each other. But now we do things together. We meet almost every day. It might be that we’re taking music more seriously now.

To add to that, 2020 has been such a tough year for people, so what made this the right time to release a new record, and were there any challenges presented by the pandemic for the recording and writing process?

We actually never once thought this was the right time to release this album. In fact, it’s a really tough time. All the festivals and other events have been cancelled. There isn’t a stage anywhere where we could vibe with audiences and fans, and it’s not at all clear when we’ll be able do so. Things are really hard now.

Even though this is your first mini-album in half a decade, you’ve still been active with releasing singles throughout the year, and running your YouTube channel. How important is it that you are continuously releasing material to your fans, and finding fresh and innovative ways to interact with them as you progress through your career?

We think these platforms are essential, especially now. The YouTube channel is produced by our management company, but even before YouTube took off our bassist Kim Jaeheung filmed clips and posted them online. He really liked filming and we had a lot of fun with it too. And since the fans seemed to enjoy it all we just became more committed to doing them (videos). The band plans out online contents in meetings and we live-stream every Wednesday on YouTube. It’s sort of like a radio show where we dole out advice to our fans, play some music and even play games.

Moving on, across the EP, there’s a strong, mature sound to it. Given you’ve now been active for almost 15 years, how has your music changed and shaped into what it is today?

Oh wow it’s exactly this sense of a “strong, mature sound” that we were hoping to hear. Thanks so much. Compared to our older work, we’ve taken the force down a notch and tried to develop a deeper and more mature sound. If that comes across then we’ve pulled it out with our second chapter!

Talking more generally, some of your releases are rather fun, almost playful, in their composition and lyrical content. What is the inspiration behind that?

Honestly, we’ve never consciously gone for comedy in our music. It could be that the punkishness and supercharged energy of the DICKPUNKS of our 20s projected a sort of comic image for us. Or maybe it’s the style of our YouTube channel that gives us a comic feel? Of course, that’s really all us. But, musically, we’ve never tried to be comedic. Our music is inspired by all sorts of things in daily life and our lyrics are reflective of that. We tend to put into our music the sorts of stories that could happen to pretty much anyone.

Furthermore, you compose and produce your own music too. What benefit does that give you, and how does the creative freedom allow you to truly cement your own style?

Each of the members of the band writes music and lyrics, and when we’re collaborating it’s really clear that our individual musical styles are really different from one another. In the past we used to squeeze all those differences into an album. But now we’re working to join and articulate them together. Thankfully, there aren’t any major differences of opinion within the band, but because the band is centred musically around the piano, our pianist Kim Hyonwoo tends to have the most the most influence over the process.

You’ve always been a piano-driven band too, and never had a lead guitarist amongst your ranks. Given the fact that this is unique, do you feel that has benefited you in your career, particularly in separating your music from other acts amongst the rock genre?

It’s honestly sort of challenging not to have a guitarist in our band. We’ve often worried that our sound might be a little weak or less than full by having the piano fill in for the guitar. And there’s the kind of flamboyance that a guitarist can bring to a performance. That’s why Kim Hyonwoo is so physically active when he’s on stage playing the piano. When we first started playing he used to really smash the keyboard when he played. He even kicked it once. Not having a guitar has lent our band a sort of distinctiveness and may have even helped us along the way. But it’s also presented us with a lot of challenges.

And of course, you were part of the famous Hongdae live music scene when you initially formed. What experiences did that give you? And are there any stories from that time you’d like to share?

If it wasn’t for the Hongdae live music scene, there wouldn’t have been a DICKPUNKS at all. When we were in college we all wanted to do something fun and that’s when Kim Hyonwoo recruited each of us for the band. We started by busking in the Hongdae area. It was our dream to play in Hongdae. It’s when we first made it onto the club stage and the club owner saw us and took a liking to us, that we were able to perform regularly. And it’s also then that we started picking up fans one by one. That first thrill of fans singing along with our songs—it’s that thrill that’s been the biggest force driving us to this day.

Looking back now, when you recall your days as a band when you were starting out, what’s the biggest difference in how the music scene in Korea operates between then and now?

When we first started out, Korean music wasn’t all that well known in the world. The change since then, with people around the world following and loving K-pop, has been enormous. But if we’re thinking about bands, the music of the Hongdae era was more dynamic. There were so many stages for bands to play back then. Now, you can count the clubs on one hand. And even those are closing. It’s quite sad.

And, in a similar vein, if you could offer your younger selves some advice, what would you say?

We’re still not quite ready to be offering advice. So, more than advice, we’d offer encouragement. Good music isn’t a single thing. Good music is whatever music you’re really driven to make.

Just before we wrap up, what song from ‘Ordinary Days’ should any readers of this interview listen to, and why?

It’s probably obvious but that would be title track, “Man on the Moon.” It’s winter here in Korea and the song somehow fits with the season. And listeners might just be intrigued by the very title of the song. 

Thank you. Finally, is there anything else you’d like to say?

First, a big shout out to VOCAL media and to your readers for taking an interest in us. We’re going to keep working like mad to make music to play for everyone. Please keep looking out for DICKPUNKS and our music. We’re counting down the days until we can get on a stage and rock out with our fans.