* Release dates and product specifications may change due to production reasons.
* All products are non-refundable/exchangeable/returnable once opened.
* In case of product defects or missing components, a recorded video from the moment the delivery box is opened until the components are checked after opening the packaging is required for re-delivery/returns/refunds.
* Please note that defects or missing components cannot be acknowledged without a recorded video.
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* Minor scratches, dents, or discoloration may occur on the exterior during product packaging/delivery, and these are not grounds for exchange.
* Random components included in this album are arranged with equal probability.
This also is Sal [flesh/meat]. If 'yeokmasal' (the spirit of wandering, or misfortune of travel) is a destiny of nomadism and flight, forced to endlessly roam in search of a settled abode (thus, Sal is always an endless journey, predestined for failure, yet one must ultimately embrace that failure and walk through it), then the dwelling where that destiny resides is also the 'sal' (flesh) of the body that we must inescapably bear as long as we live. And so, Sal (煞, misfortune) also becomes Sal [year/age] that Sal [flesh/meat] experiences. The tree rings accumulated year after year reveal the noble yet shabby traces of paths left by life's failures, which masqueraded as successes. This is why the path of all these 'sals' becomes a landscape of 'sal-puri' (exorcising misfortune), 'sal-seokkgi' (mixing sals), 'sal-meogeum' (absorbing sals), 'sal-namgim' (leaving sals), and 'sal-beoseonam' (shedding sals) – in short, the reason it inevitably becomes the stage where the verb 'to live' (살다) is performed. The house where 'sal' resides is, therefore, first the body's skin and a prison of fate, but precisely at the point where the glass ceiling of that house becomes a closed barrier indicating an insurmountable height, the glass also becomes another path, hinting at the transparency of departure through which light permeates. The music that follows the drama of 'living' is also like that. In the music, the sound and silence of that glass are heard. Kim Kwang-soon (Richgold)'s attempted 'background music' for an unfamiliar play reveals that music is both background and foreground, a battlefield of sound, and simultaneously the face of Sal—an intangible performer acting out the fact that there is something it cannot represent itself. Music is drawn to Sal and also leads Sal, thus becoming the Sal of sound itself. Music that springs from the drama, continues only through consecutive tracks, and conversely creates its own separate drama, returning to complete the overall drama differently. Music thus emerges from the sea to the land, sheds the body of Sal, and returns to another sea—an acoustic image that shows how sound becomes non-sound in the speed of a human festival, and how one can be most human when trying to escape humanity. Thus, within a familiar loop where birth and death repeat anew, it becomes the sound of Sal whispering what unfamiliar ordinariness, that usual strangeness, can be. Listen to this Sal, and turn your eyes to this darkness.
- Choi Jung-woo, Namhon (Ragged Soul), offered with clasped hands.
[Credit]
All Music Composed, Arranged, Performed, Mixed by Richgold
Voices (Tracks 2, 6, 7, 8, 9) Kyungwon Sun, Sanghee Lee, Hayeon Cho, YunKyung Hong
Mastering Seunghee Kang (Sonic Korea Seoul Forest)
Photography & Album Design Shingu Kang (A Layer)
Distribution Mirrorball Music
All Music is Composed, Performed, Mixed by Richgold
Voices on Track 2, 6, 7, 8, 9 Kyungwon Sun, Sanghee Lee, Hayeon Cho, YunKyung Hong
Mastering Seunghee Kang (Sonic Korea Seoul Forest)
Photography & Album Design Shingu Kang (A Layer)
Distribution Mirrorball Music
