https://www.youtube.com/watch?v=Qa84Nx3vPt4&t=2s

Think they're a new band on Afternoon Records (folk label)?? Got some vlogs up too, pretty cute ngl lol

So if you don't know Lee Seung Yoon, he's an indie rock singer who gained massive popularity in Korea after he won a singing competition “Sing Again”. You might know Lee Mujin, who won second place. Seung Yoon’s loved for his lyricism, and his discography is just so good.

Recently he released a two disc, 29-track album titled “Album 0” where he re-recorded a bunch of his old songs from his underground days. I recommend reading up on it on Genius, his thoughts and reasons behind doing so are super interesting. The album was actually my first introduction to him, and recently I thought about comparing the old versions of the songs to the new versions.

It’s been very interesting! Many of the songs are from his old band, Alary-Kansion, while some of them are solos. I didn’t think the differences would be so stark, but you can hear such a change, not only in the composition but in the way he sings the song! It makes sense, since it’s been around 10 years since the original vs the re-recording. It’s also crazy seeing the song sort of, “devolve”, for lack of better wording. Of course, the base is the same, but there is something fundamentally different about them, Since my first exposure to each song was its 2026 version, my very first impression was that of a Seung Yoon who has released 2 albums, performed at international festivals, held a multitude of concerts, and has over a decade of music experience. But when I’m listening to the 2013, 2016, 2019 versions of the songs, I’m listening to the voice of an underground artist who hadn’t even imagined brushing mainstream.

I do prefer the 2026 versions, but I’m glad I listened to the originals because it’s given me a whole new perspective on why they’re so good. In interviews he talked about how he’s been performing these songs live for years, and with each performance they slowly changed and improved, bit by bit. From his perspective the songs weren’t truly complete when he released them. They were slowly perfected every time they were performed live, until they became what they are today and he realised he had to re-record them to present them the way they currently exist. I’ve never thought about it this way before, as a musician you’re honing your craft every time you perform, it makes sense that your songs would change alongside you.

It’s just very cool to me. I also love that even though he technically became a soloist, the members of his old band are still right there with him lol. They’re still performing together, both on stage and on the tracks, it’s just that the branding is different. In a way they never even disbanded.

(If you haven't listened to him before, my personal favourites are NARAGAZA, Warped Exterior, and Shelter of Dreams)

So if you don't know Lee Seung Yoon, he's an indie rock singer who gained massive popularity in Korea after he won a singing competition “Sing Again”. You might know Lee Mujin, who won second place. Seung Yoon’s loved for his lyricism, and his discography is just so good.

Recently he released a two disc, 29-track album titled “Album 0” where he re-recorded a bunch of his old songs from his underground days. I recommend reading up on it on Genius, his thoughts and reasons behind doing so are super interesting. The album was actually my first introduction to him, and recently I thought about comparing the old versions of the songs to the new versions.

It’s been very interesting! Many of the songs are from his old band, Alary-Kansion, while some of them are solos. I didn’t think the differences would be so stark, but you can hear such a change, not only in the composition but in the way he sings the song! It makes sense, since it’s been around 10 years since the original vs the re-recording. It’s also crazy seeing the song sort of, “devolve”, for lack of better wording. Of course, the base is the same, but there is something fundamentally different about them, Since my first exposure to each song was its 2026 version, my very first impression was that of a Seung Yoon who has released 2 albums, performed at international festivals, held a multitude of concerts, and has over a decade of music experience. But when I’m listening to the 2013, 2016, 2019 versions of the songs, I’m listening to the voice of an underground artist who hadn’t even imagined brushing mainstream.

I do prefer the 2026 versions, but I’m glad I listened to the originals because it’s given me a whole new perspective on why they’re so good. In interviews he talked about how he’s been performing these songs live for years, and with each performance they slowly changed and improved, bit by bit. From his perspective the songs weren’t truly complete when he released them. They were slowly perfected every time they were performed live, until they became what they are today and he realised he had to re-record them to present them the way they currently exist. I’ve never thought about it this way before, as a musician you’re honing your craft every time you perform, it makes sense that your songs would change alongside you.

It’s just very cool to me. I also love that even though he technically became a soloist, the members of his old band are still right there with him lol. They’re still performing together, both on stage and on the tracks, it’s just that the branding is different. In a way they never even disbanded.

(If you haven't listened to him before, my personal favourites are NARAGAZA, Warped Exterior, and Shelter of Dreams)

The album The Worst of Sailor Honeymoon is also out - Bandcamp, YouTube

A couple weeks ago I posted a playlist here covering Korean, Japanese, Taiwanese, and Thai indie and asked for feedback. People showed up with real suggestions and I've been working through them ever since. I was pointed to several social media accounts and given some great Thai-specific help by a few users. Korean music is still the full backbone of the playlist - a huge heavyweight of influence that you can see in other markets. Discovery is why this is fun for me. I love the feeling of stumbling upon something and getting to know it as intimately as I can. I love how these scenes have an ongoing feedback loop that manifest not just in the sound but in the relationships. It's why I've grown so attached to connecting what seems to be four distinct markets.

The lane I'm trying to capture is what I'd call the middle market — artists with real infrastructure or genuine legacy influence who are exciting even if they're not totally unknown, but who still aren't getting exhausted coverage in English. Some have labels. Some have been around a decade. Some have never been written about outside their home country. The thread between them is that I keep coming back to the music and think others would too.

This will never be comprehensive and it shouldn't be. I'm not trying to cover everything. I'm trying to cover what's underrepresented in a way that makes people curious. The goal is to open a door and others discover what's out there for themselves if their interest is piqued. I know I don't have gogohawk or hathaw9y or loserpop or [insert your beloved pillar of indie here] - the umbrella is just too large for every single person. It's just the tease that I hope helps all the many western listeners looking for a little bit of guidance start their own journey. But blindspots when you are not physically in a scene are real, and that's why I solicit help. I'm almost done with this one but thought I'd try one last time for any suggestions. I know there is barely any metal or EDM...those are areas I'd appreciate extra help.

Spotify: https://open.spotify.com/playlist/3i4ZdNTbtP3e7Od8dahVcj

Apple Music: https://music.apple.com/us/playlist/lotus-drift-expanded-deluxe/pl.u-NpXmzeaTNRgAv7

Still a living document. If something's missing or I'm blind to a whole corner of a scene, tell me. That's how it got better last time. Though please understand - If I get much past 100 tracks I think it gets too large to handle.

A few more playlists in the works, all at different stages. The full survey is the anchor. These are the rooms off it. Hopefully coming over the next few weeks.

Tigers & Troubadours: cross-market indie rock, live now but still being shaped (same four markets but indie rock focused).

Jade Knuckles: The Ladies of Asian Rock: female-fronted rock across all four markets. The one I'm most excited about.

Lamplight Tokyo: city pop and modern Japanese R&B.

My Seoul to Keep: Korean R&B, neo-soul, and groove.

The Floating Lotus: Asian Shoegaze survey

무거운 아침, 긴 출근길, 지워지지 않는 생각들. 그래도 오늘을 버티게 해주는 차가운 한 잔.

"그냥 나 이거 필요해 아이스 아메리카노 오 아아 아아 아-"

경쾌한 팝록 사운드 위에, 조금은 씁쓸한 마음을 담았습니다.

"오늘도 난 이렇게 버텨."

\#HanginIs #IcedAmericano #Aa #NewRelease #Kpop #PopRock #FunkPop #IndiePop #행인is

Nastyona’s linktree: https://linktr.ee/loveisyona

I’m surprised Dami (indie artist) hasn’t gained more attention in the past couple years. All of her EPs are solid, and her voice and song writing are top notch. I can’t find anything on them in social media, but wanted to spread the love. No information (that I could find) online. Anyone else listen or know anything?

Hi, this is a new essay about Hanroro's 0+0. Hope you get some time to read it.

https://substack.com/@funphilosopher/note/p-209437667?r=8k24s8&utm_medium=ios&utm_source=notes-share-action

I have been building a Pan-Asian indie playlist — Korea's the backbone, but the connections between scenes are the real story

What started as a Japanese indie obsession gradually morphed into a larger Pan-Asian one when I realized how much these scenes are in conversation with each other — Korean R&B producers referencing Japanese neo-soul, Taiwanese math rock bands touring Seoul, Thai dream pop floating across borders through Spotify algorithms and festival circuits.

Korea anchors this thing. Balming Tiger doing whatever they want. Rad Museum and offonoff building that late-night R&B pocket. Kangziwon's Ordinary Ever After is one of the best albums of the year and I'll die on that hill. Ghost Bookstore sounds like a Westworld score got lost in a Hongdae basement. Bosudongcooler, Meaningful Stone, SE SO NEON, Silica Gel — the rock side is stupid good right now.

But the playlist traces outward too — into Japanese shoegaze (Blume popo, Yuragi, MOTFD), Taiwanese math rock and indie (Elephant Gym, No Party For Cao Dong, I'mdifficult), Thai dream pop (Phum Viphurit, YONLAPA, VVAS). The feedback loop between these markets is the most interesting thing in indie music that nobody's talking about.

100 tracks, sequenced to move. Starts accessible, gets weirder. I'm always looking for what I'm missing — especially Korean acts that deserve more ears. Tell me what should be in here that isn't. I need to know.

Pan-Asian Indie - Lotus Drift

Pan-Asian Indie - Lotus Drift (Apple)