A beautiful orchestral collaboration led by the piano, accompanied by the heart-pounding beats of the kkwaenggwari (traditional small gong) and the soul-piercing melodies of the taepyeongso (traditional double-reed wind instrument). Crossover musician Yang Bang-ean, who has expanded the horizons of Korean music through uplifting and popular "fusion Gugak" that makes the heart soar as if flying to the sky, is celebrating the 30th anniversary of his solo debut.

Since rising to stardom in 2002 with "Frontier!", the official theme song for the Busan Asian Games, Yang has established himself as a master of event music, serving as the music director for the opening and closing ceremonies of the 2018 PyeongChang Winter Olympics and performing at the official welcoming concert for the 2026 Korea-Japan Summit. On the 27th, he will release his solo album New Horizon, marking his first personal and intimate music collection in 11 years. On the 28th and 29th, he will also hold a commemorative concert at the Haeoreum Grand Theater of the National Theater of Korea, featuring guest vocalist Ha Hyun-woo and a 26-piece orchestra.

Reflecting on his milestone, Yang shared, "When realizing it's been 30 years, it made me re-examine how I’ve made music. I feel a deep sense of gratitude for being able to create so much music. None of this would have been possible without meeting and communicating with so many people. I don’t think I’ll be staying in one place moving forward."

A former physician of Zainichi Korean descent who worked as a producer for a time, Yang’s music career truly took off after he released his debut solo album The Gate of Dreams in 1996 and stepped foot in South Korea in 1998. He went on to take charge of soundtracks for visually striking media imbued with Eastern sentiment and progressive energy, including the film Beyond the Years and documentaries like Ceramics and The Silk Road. He also served for three years as the artistic director of the National Theater of Korea's prominent traditional music festival, Yeowoorak Festival, collaborating with musicians worldwide.

Grand Projects and Personal Introspection

Included in the new album are grand-scale pieces that showcased his unique expansive vision through various major projects, such as Sayu Thoughts for the National Museum of Korea Cultural Foundation’s "Sayu" project, We, Hope, Peace dedicated to UNESCO, and Dragon's Panorama for the digital reconstruction project of the Silla royal capital. He re-produced and included these tracks for the new release.

"Since my previous solo album Embrace (2015), I’ve worked on many large-scale projects. Those project works cannot be separated from my growth, and since I steadily ran solo performances in parallel, I believe those experiences naturally influenced my solo tracks. 'Unified' through external communication is one of the key pillars of my music. However, centered around the piano, I also want to express my personal inner self. Combining everything that has influenced me thus far, I will present what Yang Bang-ean is looking at right now—my New Horizon."
The track symbolizing Yang's 30-year musical journey is unexpectedly Nomadesk, featuring vocals by Guckkasten's Ha Hyun-woo. This song captures his inner world—his unique identity as a Korean born in Japan, traversing through the UK, China, and Asian world music across his musical life—and serves as the core message of the new album.

"I always travel to many places," Yang explained. "However, I live deep in the mountains at an altitude of 1,000 meters in Karuizawa, Nagano, and I mostly make my music right there. I came up with the word 'nomad' to signify that I have lived by absorbing many things while traveling and turning them into music. While the inability to settle in one place brings both sorrow and pain, it allows me to meet many people, which feels closest to my inner self. That’s why I named it Nomadesk—not quite a full nomad, but 'nomad-esque.' You can also hear the voice of my longtime colleague Ha Hyun-woo. This upcoming concert will be the premiere."

Embracing Korean DNA and Seeking Connections

Composed this year for the 60th anniversary of the Yeongwol Danjong Cultural Festival, Rebirth subtly features the melody of Arirang. Given his extensive work using Arirang as a motif, such as Jeongseon Arirang Op. 1, Arirang Fantasy, and Arirang Harmony, he noted it was a natural choice.

"Yeongwol asked me to bring back the atmosphere of Frontier!" he said. "I brightened it up with the hope of sublimating the sorrow and pain of King Danjong into a rebirth. I wrote the track before the release of the film The King's Affection, but after watching the movie later, I shed many tears. I wonder if I might have made it a bit differently had I seen it beforehand. With BTS and others, Arirang is in the spotlight these days. I'm curious to see how far Arirang can go, and if given the chance, I’d love to take it on again. While I don't have a specific ambition solely for Gugak, as a musician, I want to bring out Korea's DNA and deliver it effectively to people—that's my style."

The most intriguing track on the album is The Wind Telephone. Inspired by the disconnected public telephone booth known as the "Wind Telephone" in Otsuchi, Iwate Prefecture, Japan, the piece captures themes of loss and longing. Can sorrow truly dwell in music that elevates even the tragedy of King Danjong into bright, uplifting energy?

"Around 2010, someone built it in their garden to yearn for a departed loved one, and it became famous after the Great East Japan Earthquake, drawing countless visitors," Yang shared. "It spread internationally, and about 550 similar ones have been made worldwide. I heard there's even a phone booth in the middle of a desert. The song captures the desire to find a connection with someone you miss. I have someone like that, too."

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