Very rarely do you get a chance to talk to a producer. Truly delve within the craft of creating the music of the artists you love. However, when you do get those opportunities, they can truly be some of the most enlightening experiences. Producer dress has made a name for himself as one of the most creative among hip-hop artists. But his scope and vision make him so much more. A true artist with a hand in every aspect of the music business. He took some time to answer a few questions for us.
Musical Interests
Could you introduce yourself to our HiphopKR readers?
DRESS: Hello, this is “DRESS,” working as a Korean producer.
How did you become interested in music?
D: I think I was interested in music naturally through my parents, who usually liked music. Since I was young, I majored in classical piano and vocal, so I chose a job as a composer more naturally.
Originally you wanted to be a singer. What stopped you from going that route at first?
D: As I ran with the dream of becoming a singer, I thought that dreams would come true. But as you know, dreams don’t always come true. As soon as I saw failure in my vision, I recognized it. So, I gave up and turned right away to building up my career in producing. I think life is all about timing.
How did you become interested in the business side of music?
D: The term business seems to be a bit high-end, and in Korea, it’s called politics. It’s funny that the word politics is in music, but it’s real. I just took pride in the music that I do, and I tried my best to find something different from other people. I don’t know if that’s the stepping stone to my music politics/career. If you look at the company or career I’ve been in; it will help you understand a little bit about what kind of business they and I were doing.
Beyond Hip Hop
You’ve said that you’re a fan of Max Martin. I grew up on his music (Backstreet Boys, Britney Spears, etc.). What about his production style do you admire?
D: The big picture of my producer’s life is always pop. I think it’s an inadequate assessment of pop if you only talk about pop with popularity. Pop requires a lot of thought and a lot of musical techniques. I think the producer and the beat maker are entirely working in different areas. I’ve always wanted to be a producer, and on that path, Max Martin is my hero. The artists you mentioned, Backstreet Boys and other singers, worked with Max Martin, and now we have The Weekend, Arianna Grande, and Katy Perry.
You mentioned you don’t want to be labeled as a hip-hop producer. That you don’t want to restrict yourself. Your respect for Emile Haynie and Max Martin seems to point to you appreciating pop. What other genres are you eager to try?
D: There’s no objection in a particular genre. But I’m not the most interested in hip-hop. I like hip-hop sometimes when I play in a club, but I’m really into mixing a lot, and I also like to mix genres in music. These days, I am very into techno and rock music.
What besides music inspires you?
D: I like watching movies a lot. I participated in the movie music a while ago, and it was such an honor to work for it. When I watch a movie, I look for almost every staff credit, from the director, writer, and every staff member of the film. I think this is because I admired a job as an actor when I was young. I’m into writers’ exhibitions and e-books, which I keep listening to them these days. I also think YouTube is the best, since it provides every information in a single click.
The YG Years
You were with YBN Ent. for a year before moving on to YG Entertainment‘s Black Label. You were successful working at YG, but you say you still felt empty. Looking back, do you know why you felt that way?
D: When I reached the stage of joining a company called YG, and I was building a successful moment in a musical career, there was no one around me. Except for my family. It was my dream to be successful, but I was alone. There were no friends and lovers to celebrate for me. There were many celebrities and producers around, but we ended up seeing each other in society. Well, I hope you’ll feel this feeling if you have a chance. It’s hard to express in words, but it’s sad, and there’s a joy.
What are some of the most memorable moments about working for YG and the Black Label?
I always remember the first time I went to a meeting: I was eating kimchi stew with my friend at 2 a.m. in Gangnam, and I got a call from the phone that said to come now and have a meeting. I remember thinking they were calling me late at night.
After YG
What was the most important thing you learned from your time at YG?
D: I learned the field of producing. Even though I was just a beat-maker before, I learned how to paint musically as a producer. And that’s where I’m proud of my current field.
You said in an interview with HipHopPlaya that you regretted leaving YG. What ultimately made you leave?
D: It was easy. I couldn’t make money.
You produced music for Show Me The Money and School Rapper (Team SM). How was the experience working on SMTM? What did that experience teach you?
D: I wrote four songs a week. And yet if the songs don’t get confirmed, I dumped and rewrote it. Now, if I think about it, it’s true that the work at that time has made me work for the music/make songs incredibly fast.
After SMTM and School Rapper, you signed on with Highline Entertainment. What made you choose Highline Ent.?
D: The contract with HIGHLINE Ent. didn’t require much thought. I had a good feeling from the time of the meeting, and as a composer who has experienced various companies, I thought it was perfect for my life and my next music career.
Creative Control
You’ve worked with so many artists. What was the first artist you worked with, and how do you remember that experience?
D: Of course, I remember. It was a hip-hop track with Brand New Music‘s artist, “HANHAE” and other artists. I don’t think I have special memories.
You seem to want to have control over all aspects of the music-making process, including the business side. Why is this important to you?
D: I want to provide a singer something called producing. The singer has to be fluidly imbued with the style I want, and it has to be controlled when I’m producing him/her. I don’t fit the singer well. But I would like to show them that there’s a better answer to follow my opinion than if they didn’t follow my idea. That’s one of the reasons why I’m going to go to a pop career where hip-hop producers try to follow different path. My music and my words need to be powerful, and I also need to prove them.
Many producers see making music with other artists as a collaborative effort. But you take a different approach and are very steadfast in your vision. Do you think this will make it hard for you to work with artists who are as strong-willed as you are?
D: I don’t have a firm approach. There are a lot of ways to work with artists. I don’t have any standards when I open the door to work, and I’m confident that I’ll make a good song in any way in one session.
Motivation
Are there any young artists you’re interested in?
D: “sogumm” and a band called “Nosea.” Especially, there are a vocalist, “Hanwoong Kim” and a producer, “Kibum Kim” in Nosea. I think it’s good to keep an eye on these guys.
Do you think you’ll eventually only want to make music for yourself, or do you enjoy working with other artists?
D: I think I’m in my 40s making pop music like now, and I might walk on the path of a film musician and idol producer. To do that, I might be working with not only artists, but also working with people from different fields.
What sounds keep you excited about creating music? How do you keep pushing yourself to create outside of genre boundaries?
D: First of all, I try to listen to music without any resistance to the genre. Of course, I have a taste, but I listen to all music by obligation. I’m sitting in my seat for a long time for these processes. Always sitting at the desk with your eyes and ears open for inspiration will be a helpful tip that I can give it to you. Also, try not to say, “I’m going to write a perfect/great song,” Just put your hand on the mouse with a mind that says, “I’m going to write any songs that follow my mind today.”
Eyes Toward the Future
Your work definitely has variety (is eclectic). With Haynie and the 239726 single, your sound is very similar to Europop/techno-house of the late-90s, early-2000s. Not My Fault, meanwhile, could be more closely classified as alternative R&B with psychadelic electronica undertones (Tyler the Creator meets Clarence Clarity). What’s the next genre you want to tackle (or do you think about genres at all)?
D: There is always concern about the genre. “How do I write new and good songs?” I’m not joking. I always concerned about this before I go to sleep. Well, the trend of the genre keeps changing, so I’m going to have to make sure I try to make a good genre/style that will come in 2020 and play it to the public. I think I know what it is, but it’s just a ballad on the Korean chart.
What do you have in store for 2020?
D: First of all, the project with the artist, “sogumm” is ongoing. I will continue to release singles with sogumm in 2020. I am also preparing project EP with my friend, Meego.
Any final thoughts?
D: Thank you very much for asking me for an interview. I’ll visit you next time with more better ideas.
dress has given his entire career to create outside of expectation. His music and the work he does with other artists is a testament to his ability to give the genres he works within scope. With all of his future endeavors, it’s safe to say 2020 is going to be an interesting year.
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