[Album introduction]
A patchwork where YB and Daybreak, April and Lunar New Year, Kotoba and sentimentalism coexist. An unprecedented variety of compilations have been released. This was crocheted using an ingenious crochet needle called Sanullim. A table set like a ‘fresh, old-fashioned restaurant’ where the scent of old classics meets the new century writing style with simple melodies. Where else can I get it?
The long journey of the Sanullim 50th anniversary remake project, a series of singles that set sail in September 2023, has now reached the halfway point. This project, led by Kim Chang-hoon, Sanullim's bassist and singer-songwriter, was carried out 'as if breaking down' almost one song a month. The year 2027, the year Sanullim celebrates its 50th debut anniversary, is fast approaching next year.
Among the large-scale projects that are currently in progress, the 10 songs in the middle were collected and released [Sanullim 50th Anniversary Regular Album Vol. 3] is […] Vol. 2] appeared about a year after it was released. This is a compilation of ten songs, from the twenty-first song to the thirtieth song, that were previously released as singles.
The spectrum of the ‘3rd album’ that has arrived here is as vast and vast as ever. Under the direction of Captain Kim Chang-hoon, various genres across the universe of popular music, from Kotoba's math rock to Maytree's a cappella, YB's hard rock, and emotional trot crossover, intersect and explode here like a space show.
We cannot help but mention YB’s ‘Heukseok-dong’ first, which was completed as a masterpiece lasting 6 minutes and 53 seconds. This song, included in Kim Chang-hoon's 4th solo album, depicts a faint longing for Heukseok-dong, Dongjak-gu, Seoul, the neighborhood that became the roots of Sanullim. YB builds and builds to a climax like a building, with the heavy ultra-low riff of a drop A tuning 7-string guitar and Yoon Do-hyun's screams. They mobilize all heavy equipment and rebuild this black stone village in their own way.
On the other side of YB's rough and heavy roar, Aktung's 'Choya' and Maytree's 'Grandpa Mountain', which are like refreshing sherbet, lurk as if it were no big deal. This world of contradictory coexistence is [Sanullim 50th Anniversary Regular Album Vol. 3] territory. Maytree’s ‘Mountain Grandfather’ is like a lemon-flavored dessert thrown in the middle of an album. The fresh and refreshing a cappella amplifies the acidity of the original song and makes it even more explosive. It looks like a golden traditional medicine reinterpreted as a pastel-colored macaron. The refreshing feeling provided by Aktung’s ‘Choya’ is also quite impressive. The original song from Kim Chang-wan's first album in 1983 was converted into a modern folk song that appeared in the beginning of a youth film.
‘Reminiscence’, one of Sanullim’s four famous ballads, was created by Daybreak. The neighborhood's alleys have been replaced with city streets, but the saturation of solitude has been heightened.
While Broken Valentine, Transfiction, and Kotoba create hot rock with YB, Maytree and Aktung are in charge of refreshing cold water with Daybreak. Next, while Awol and Seol cast a shadow with their chic funkiness, Jeong Seong-ju spreads a faint fog on the final road with a Korean ballad. After listening to ten songs, it feels like you have walked a unique path where the rocky ground stimulates your feet. The brain is refreshed like a pleasant trek.
These days, the music industry is flooded with remake music. If you look closely, it looks like a dessert. In the current trend of rediscovering ballads and pop rock from the end of the century and the beginning of the century, there are a lot of projects aimed at profiting by simple remodeling and viral marketing. Despite these waves, the Sanullim 50th Anniversary Project stands tall without jumping on the bandwagon. We aim for a ‘remake with meaning’ rather than a ‘remake that makes money.’ This is due to the will of perfumer Kim Chang-hoon, who, as the project leader and overall producer, not only selects songs, but also selects and recruits remake musicians and cover artists. Even after half a century, what drives him to go out early in the morning to catch good and fresh music. It’s not a sugar coat, it’s a necessity. It is not a justification for packaging music that sells, but a justification for pursuing good art.
