2020-2022 by Other Life
“2020-2022” by Other Life is a jazz rock fusion album with a dark, uncertain theme, reflective of the common experience during the COVID-19 pandemic that sent many people’s lives into stark upheaval. Other Life’s sound is in the same lane as The Bad Plus with a bit of covet and Aaron Parks, which makes for a unique and intriguing amalgamation. All of the ten songs on the album are well-written and well-performed; there are no filler tracks. So, “2020-2022” is one of those albums that warrants a full listen though from top to bottom.
Since all the songs are good, it is difficult to pick a favorite track. After much deliberation, I’ve picked four favorites to spotlight (which is almost half the album - I know).
The third track “Uphill” was written by the pianist Himchan Park, and the concept is about letting go of hardships and submitting to God in death. The song starts off with a dark toned piano that is both somber and elegant. This is balanced by the entrance of vocalist Youngmi Kim’s brightness in tone. The vocal melody’s dissonance and emphasis on minor notes, combined with the legato texture, feed into the theme of the lyrics. Further into the song, there is a piano solo. During the solo, there are exciting bass bends and drum cross sticks, but bassist Hyunggun Ryu and drummer Yedarm Pak do not overshadow the piano. Himchan Park’s piano solos are enchanting because of his focus on delivering well-crafted, emotionally infused melodies rather than flaunting technical skill and licks (although he certainly has them, too). After the solo, the band relaxes back into another verse. This time, the vocal is delivered with a slightly warmer tone and is more full-bodied than before. This makes it feel more comfortable and at ease. The beautiful piano embellishments around the vocals during this part also add to the feeling of comfort, as if solace has been found in the l'appel du vide, or ‘Call of the Void'.
Following “Uphill” is “Isolate,” also written by Himchan Park. This track is about the loneliness and frustrations of isolation from the pandemic. Park told me that, “I wrote it while imagining a remote island. In the pandemic era, when people and the world are disconnected, people’s ties and everything is becoming increasingly distant and lonely. I drew a picture of myself promising a future that will recover after a strong storm of mind.” This frazzled state of mind is introduced first through the frantic right hand arpeggios in the piano. This contrasts with the simple left hand work, which is supported by the bass, creating a very dim and dramatic mood. Then the vocals enter delicately and softly. It builds to a halftime head-banging rock rhythm with the whole band in synch. The second time through the progression, the piano strikes dissonant chords, shocking our expectations. This also represents the cognitive disconnection from isolation. Then it turns back to a bright verse with vocals, with the rock foundation underneath. During the verses, the guitar by Sangjun Ahn alternately adds decoration around the melodies and mirrors it, creating balance between busy and emphasis. There is a powerful vocal note, which feels like a climax, but because it carries over the start of a guitar solo, we are not let down from the climax and instead stay on the high. Sangjun Ahn, like Himchan Park, also focuses more on melody than flashing chops during his soloing. Hearing the two trade solos is wonderful. After the solo section, we return to the chaotic dissonance section with great drum fills before the final verse and an accented unison ending. The sonic symbolism in this track is really well done, and the chaotic sections give a taste of experimentalism that music nerds will thoroughly enjoy without scaring off the average listener.
Track seven, “Nothing Left,” was written by vocalist Youngmi Kim and follows along the experimental path like “Isolate.” The song start out like a ballad, but turns almost predatory. The beginning is like a sad pop piano ballad, but it builds tension and then there is unison halt. Then, there are foley-like sounds in the background, creepy vocal delivery, drum rolls, dry bowed slides in the bass, and a crescendo to some chaotic noise, which all contribute to the predatory feeling. Towards the end of this section, there is a build with some structured rhythms in the drums, and then we return to the ballad for a brief moment before suddenly being left without a feeling of resolution.
The second to last song is “Sokcho Trip,” written by guitarist Sangjun Ahn. Like the coastal town the song is titled for, this song is like taking a rejuvenating vacation to the beach to de-stress. Appropriately, there are some ocean atmospheric sounds in the background. The guitar tones are very warm and soft, like the sun, and the vocal lines feel like a lullaby. The light piano intermingles around the guitar in a way that feels like sun rays peeking through the shade of leaves underneath a tree. The bass and drums are light and simple. The use of brushes keep the drums soft as well. It is just enough to give some rhythmic coherency without taking away from the relaxation. Unfortunately, our moment of peace is interrupted by some lurking stress. A heavier and slightly distorted guitar builds tension with steady downstrokes as the drums and piano also get busier. It climaxes in a moment of silence that explodes into declarative persistence. This is my favorite moment of the song because it makes me want to stand atop a seaside cliff with my arms spread wide open, feel the wind rush against my body, feel the waves spray on my face, and yell. After this empowering moment, the relief of the soft guitar arpeggios and quiet waves reenter, and the song comes to a slow ending.
Overall, Other Life’s sophomore album “2020-2022” is sonically varied but still conceptually coherent, making it pleasant and interesting to listen through multiple times. It ranges from rock influenced tunes, odd-metered jazz, ballad, contemporary, instrumentals, and Americana. The writing and performances are all exceptional, including the features of Youngwoo Lee (synth on “Liar” and “Odd 3”) and Hachul Song (clarinet on “Autumn Wind”). I am looking forward to future projects from this band, and I recommend them to anyone who likes a variety of genres and unique sounding artists.