Casker does Tribute90; Sanullim Reborn with Art of Parties

There’s a couple of cover projects ongoing right now that I find particularly interesting, both offering new digital singles within the last couple of days:

The Reborn 산울림 project, honoring the 35th anniversary since the release of the first Sanullim album, saw Reborn 산울림 Track.2 released on August 31. This time Kim Bada‘s Art of Parties took on the popular 아마 늦은 여름이었을 거야.

As much as I love me some Korean 70s rock, there are few things closer to my heart than 90s K-pop so I’m much too happy about the Tribute90 project. Following a weekly release schedule, Part.2 released last Thursday and Part.1 the Thursday before that, this Thursday, September 1, brings us ‘Tribute90’ Part.3 – 천생연분 where Casker tackles Solid classic 천생연분. Check out Casker’s Music Bar Tribute 90 video here.

3 Comments Casker does Tribute90; Sanullim Reborn with Art of Parties

  1. helikoppter

    That’s probably my only problem with this project. Since the original songs are so irreplaceable it doesn’t really matter how good the cover is…

    It kinda hurt a bit, reading the comments at Omona after part 2 where people were dissing E.O.S in favor of The Koxx – not even mentioning E.O.S by name but instead putting “embarrassing 90s band” in the post title…

    Did you see that the same people also have a 유재하 tribute series going? Gonna try to make a post about it this weekend.

  2. refresh_daemon

    I try not think of it as a replacement, but just a fun supplement. I find it fun how the Casker cover replicates the synth melody line behind the vocal, just like the original and actually feels closer to the original in arrangement, despite the heavy electronics, than Kim Johan’s own new arrangement for 나는 가수다.

    But 90’s era kpop is one of those things that can be a bit divisive, especially for modern kpop listeners and less mainstream music fans. When I revisited much of the old 90’s kpop in my collection, I really found a lot of the music quite grating and had to purge my collection of several discs, some survived simply because of strong nostalgic value, even though I didn’t find the music any better than the albums I got removed.

    On the other hand, even as this kind of tribute might draw some negative comparisons, I also think it has the potential for bringing a much younger generation of music listeners to appreciate the music of the past as well. I’ve found that the many tribute albums that seem to be getting released in Korea almost inevitably drive me to buy albums from their sources and are one of the main ways I get introduced to older Korean music.


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