An introspective journey into identity and unseen lives, Garbage Garden crafts “busy. being. Real.” as a raw, emotional exploration of individuality, societal pressure, and the quiet resilience of unclassifiable human experiences.
1.
“busy. being. Real.” has been described as a “sonic hymn” for those living in
their own reality. What personal or emotional starting point led you to create
this track?
I am originally from Korea, but I am married to a Japanese partner and live in Japan. My partner belongs exactly to the 'Lost Generation.' Observing their lives for 20 years, I’ve tried to understand their struggles, and I eventually realized that this 'loss' isn't exclusive to Japan. It’s an impression I gathered while traveling the world in my late 20s and 30s, connecting with diverse people. I personally dislike categorizing humans into 'generations' because every individual life is uniquely 'Real.' I wanted to give voice to those distinct, unclassifiable realities.
2. Your sound blends alternative metalcore with psychedelic digital
textures. How did you develop this unique sonic identity, and what draws you to
this contrast?
The core of the sound lies in Math Rock elements, subtly infused with Peruvian Huayno rhythms to create a sense of 'odd-meter' instability. I added Hyper-trap textures to achieve a chaotic atmosphere, layered with a 'detached' vocal style. The goal was to use the technical precision of Math Rock to provide a sharp contrast to the moments where raw emotion finally breaks through.
3. The track explores liberation from societal expectations. Do you feel
this is something more people are struggling with today than in the past?
I believe people have always struggled with this, regardless of the era. While our current reality feels the most daunting, I don't believe in dismissing today's pain just because the past was also difficult. Everyone carries a different weight based on their own internal scale. Therefore, comparing the pain of the past, present, or future feels meaningless to me.
4. Critics have highlighted the emotional climax around the 2-minute mark.
Can you walk us through how that moment came together creatively?
The climax specifically hits around 02:08 ('the waiting ghost') and 02:18 ('the gears will snap again'). This was a very deliberate directorial choice. While the vocals are mostly cold and restrained, they bare their emotions directly in these segments and the final 'Real.' It represents the moment where the suppressed realization—that past tragedies aren't just relics but cycles waiting to repeat—finally boils over. It’s the eruption of emotions that have been held back until they can no longer be contained.
5. The phrase “sad but not mournful” is a powerful way to describe your
aesthetic. What does that balance mean to you artistically?
As an observer and an introvert, I find that music which forces sadness through overtly mournful melodies can feel manipulative. In my work, I ensure that emotion does not dominate the track. By doing so, I create an 'emotional void' that invites the listener to explore their own depth. A track that sounds intense on the surface but reveals fragility underneath, or sounds playful but carries a hidden sorrow—this contrast amplifies the sincerity of the message.
6. You mention inspiration from Japan’s “Lost Generation.” What aspects of
that theme resonated with you, and how did you translate it into sound?
When the 'Lost Generation' was first named in Japan, they were people swept away by a collapsing society, losing opportunities their predecessors took for granted. Now in their late 40s and 50s, they are often treated as a 'social problem' by the government or media, rather than as individual human beings. I wanted to capture the feeling of being an 'unobserved' individual within a mass phenomenon. While there are many songs about this theme in Japan, I avoided direct descriptions to ensure the track remained a universal embrace rather than a specific grievance.
7. Garbage Garden seems less about making statements and more about
observing overlooked realities. How do you approach storytelling without being
didactic?
It’s easy to tell people 'how to live' with a strong tone, but I prefer to tell stories that align with my own quiet values. I’m not someone who can strictly follow a moral code myself, so I have no right to be didactic. My nature is to observe and stay beside people quietly. That observant, non-judgmental attitude is what naturally flows into my music.
8. Your project began with “Tabula Яasa,” focusing on Childhood Emotional Neglect.
How does “busy. being. Real.” continue or expand that narrative?
This isn't a direct expansion, but part of a personal project I call 'Not to be Lost.' It’s about things and concepts that exist among us but are treated as if they are forgotten. While 'Tabula Яasa' was deeply personal, I believe an artist can't create out of nothing—even when I tell 'the story of others,' it inevitably overlaps with my own life. In that sense, both tracks are connected by my 'involvement' in the narrative.
9. There’s a strong sense of intimacy in your music, almost like a private
conversation. Is that intentional, and how do you achieve that atmosphere
sonically?
I love deep conversations. In my music communities, I’m known as the person who leaves 'comments as long as a thesis.' Music is the perfect medium for sharing thoughts, and because I prefer dialogue over a one-way lecture, my music naturally takes on the tone of an intimate, private conversation.
10. The production feels raw and unpolished in a very deliberate way. What
role does imperfection play in expressing your message?
The chaotic and unpolished production is the Lost Generation itself. I wanted the sound to feel 'raw' to emphasize that conversational intimacy. I directed the track so that the instrumental itself—not just the lyrics—becomes the embodiment of someone trapped in those chaotic circumstances.
11. The name Garbage Garden is intriguing—what does it symbolize in relation
to your music and themes?
I have a track actually titled 'Garbage Garden.' ( open.spotify.com...mkHv1q ) It reflects my philosophy: I believe there is beauty in things people despise and call 'garbage.' Who gets to decide what is trash and what isn't? My project is a 'Garden' where these discarded perspectives and forgotten thoughts are gathered and allowed to bloom.
12. Looking ahead, do you see this project as an ongoing exploration of
“invisible lives,” or are there new directions you’re already beginning to
explore?
I will
continue to observe and explore, not just for the sake of making music, but for
my own spiritual growth. I deeply respect the Japanese singer Shogo Hamada. In
his 2023 concert, he mentioned that while his early songs were about his own
life, he eventually began to tell the stories of others. He said a singer is
someone who speaks for those who lack the courage or the situation to speak
out. I don’t consider myself some grand representative of the people, but as an
observer, I want to be someone who stays by their side for as long as I can.
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