KARDI has quickly risen as one of the most exciting bands in the Korean music scene, blending modern pop-rock with traditional Korean instruments like the geomungo. Since their formation on SuperBand 2, they’ve been pushing the limits of genre and sound, delivering fresh and unexpected music that stands out in a highly competitive industry. With their interesting approach to combining the old with the new, KARDI has earned a reputation for creating energetic, genre-defying tracks.

We recently spoke to KARDI and discussed their innovative sound, and how they continue to evolve as artists. We also explored their creative process, the challenges of incorporating traditional instruments into a modern band, and what fans can expect from their upcoming EP and concert.

View of the Arts: How did your experience on SuperBand 2 shape your approach to creating and performing music as a group? And how did you guys meet and decide to form a band?

Hwang Leen: As you saw on the show, we were formed during the final round and have continued working together since then, though our drummer, Seongbae, has left the band.

Kim Yeji: I was originally working as a solo artist, but after meeting KARDI through SuperBand 2, I started making music that’s completely different from what I used to do. I used to create more sentimental music, but now, after joining KARDI, I find myself making more energetic and rock-influenced music.

VOA: Your recent music video for Havin’ Good Time is filled with a sense of joy and freedom, and it seems to touch on themes of love and self-expression beautifully. Can you tell us more about the inspiration behind the video and the message you hope to convey to your fans through it?

Hwang Leen: We wanted to expand the scope of love mentioned in the song. We wanted to show that love isn’t just between a man and a woman but can take many forms.

VOA: Your music features a unique blend of modern and traditional sounds, particularly with the use of the geomungo. Can you tell us more about how you decided to incorporate such a diverse instrument into your music?

Hwang Leen: When KARDI first formed and started making songs, we were all a bit lost. We had different tastes, and we didn’t even know much about the geomungo. Even now, we’re still experimenting. Our focus is on creating music that uses traditional instruments but reflects the present.

VOA: You’ve had some big performances recently, including shows in Germany, the Incheon Pentaport Festival, and the upcoming Busan International Rock Festival. How has performing at these major events influenced your growth as a band?

Hwang Leen: As we continue to perform, the thought of “I want to share my music with more people” naturally grows. Every time we achieve these big performances, it feels like a dream coming true.

Kim Yeji: I get really nervous before stepping on stage, but with these bigger performances, I’m slowly getting more used to it. I’ve learned to enjoy the experience a bit more each time, and now, I can even hear my bandmates’ instruments and see them more clearly.

VOA: WatchOut has been a fan favourite since its release. What was the inspiration behind this track, and did you expect it to resonate so strongly with listeners?

Kim Yeji: We wanted to show a different identity from what we presented on SuperBand 2. We wanted to proudly show that KARDI is here.

Hwang Leen: For smoother production of KARDI’s music, I created a virtual geomungo instrument. I used it to create a bass line similar to electronic house music, and that became the main theme of the song.

VOA: How do you approach the songwriting process, and where do you feel the most creative?

Hwang Leen: Our approach is usually split into two ways – either Yeji brings a melody first, or we start with an instrumental base. When there’s a good starting point, everyone brings out more ideas.

Kim Yeji: I mostly write melodies, and I think about the emotions or feelings I have at the moment. I don’t compose melodies by calculation but more spontaneously.

VOA: Kim Yeji’s vocals and the use of traditional instruments like the geomungo add a unique texture to your sound. How do you balance traditional and contemporary elements in your music?

Hwang Leen: We produce our music based on modern pop. Just because we use traditional instruments doesn’t mean we have to take a traditional approach. The presence of traditional instruments is enough to make it feel new and fresh, given that we’re living in 2024.

VOA: How do you all manage the creative process together? Is there a specific way you divide roles in songwriting and production?

Hwang Leen: We all participate in songwriting, and we gather as many ideas as possible. I usually organize and produce the final version.

Kim Yeji: Each member brings their own ideas, and we combine them. We don’t have a set method for doing this.

VOA: You have a mix of individual artists coming together with their unique styles. How do you ensure everyone’s individual artistry is represented in your music?

Hwang Leen: We try to have as many conversations as possible, respecting each other’s opinions while keeping certain boundaries.

Kim Yeji: I think my individuality comes from my voice’s tone, which naturally fits the melody. I don’t consciously try to stand out.

VOA: For Kim Yeji (Vocals) – Your vocals have been described as powerful and full. How did you develop your vocal style, and who are some of your biggest influences?

Kim Yeji: I didn’t consciously develop my style—it just happened over time while singing. As a vocalist, the artists who have influenced me the most are Ariana Grande, Beyoncé, and Bruno Mars.

VOA: For Hwang Leen (Guitar and Vocals) – You play both guitar and contribute vocals to KARDI. How do you approach balancing these roles during live performances and in the studio?

Hwang Leen: Sometimes I fail to balance both roles. I’m still figuring it out through trial and error.

VOA: Hwang Inkyu (bass): The bass lines in your music provide a strong foundation for KARDI’s sound. How do you approach creating bass parts that blend modern and traditional elements?

Hwang Inkyu: The geomungo and guitar have such a strong presence, so I try to step back and give them more space. When I do step forward with bass lines, I aim for a pentatonic scale.

VOA: For Park Dawool (Geomungo/Korean Harp) – What challenges have you faced incorporating the geomungo into a band setting, and how have you overcome them?

Park Dawool: This has been an incredible challenge. I’m not sure if perfect resolution is possible, but we are always working hard to find solutions. When creating, I either move my body to the foundational sounds or, conversely, imagine a certain image while making the sounds. Starting from there usually increases the chances of producing something good.

VOA: Besides the upcoming festival performances, what are your future plans? Are there any new projects in progress?

KARDI: Our new EP is set to be released on November 13th, and on November 30th and December 1st, we will be holding our biggest solo concert to date under our name.

Written and interviewed by Maggie Gogler

_{View of the Arts is an online publication that chiefly deals with films, music, and art, with an emphasis on the Asian entertainment industry. We hope our audience will grow with us as we explore new platforms such as K-pop / K-music, and Asian music in general, and continue to dive into the talented and ever-growing scene of film, music, and arts, worldwide.}