California-based composer Lucy Liyou synthesizes field recordings, text-to-speech readings, poetry, and elements from Korean folk opera into sonic narratives that explore the implications of Orientalism and Westernization. Her latest work, MR COBRA, represents Liyou’s most audacious and mercurial work yet, conceived as both an album and a solo theatrical performance piece, Mister Cobra, which sold out its premiere at Performance Space New York. Liyou’s work has earned acclaim from Pitchfork, Paste, The Needle Drop, The Guardian, Bandcamp Daily, The Quietus, Them, Tone Glow, Wire Magazine, Mixmag Asia, The FADER, and NPR Music, among others.
Hi. My name is Lucy Liyou. How are you? I made a playlist of all the things I’m listening to right now, working on my next thing … I hope you like it. Thanks.
“Great Is Thy Faithfulness” by Sharon Udoh
Sharon’s understanding of hymnology as an improvisational practice is something that’s been really inspiring me with more of the “song work” that I’ve been working on for parts of this next record. What are the melodies, songs, and phrases that come to mind while I just meander on the piano and feel the wish to sing? Why? What is that saying about what I’m doing and creating?
“Taki Rari” by Yma Sumac
I’ve been listening to a lot of exotica recently. I’ve been so interested in how Yma’s virtuosity somehow refracts the Western fantasy by creating something that truly goes over the colonizer’s head/ear/mind. Her unreachable, extraordinary technique is so bewildering it seems to belie the “exotic.” When and how does exotic caricature become so unrecognizable to the Westerner’s eye?
“The Judy Garland Christmas Show” by Judy Garland
I was talking to one of my closest friends, Borana Ramizi, about how I’ve been constantly thinking about this idea of “theater-music;” as in, music that exists to direct, block, and assist in the dramaturgical aspects of a piece. I’ve been paying close attention to the transitions between Christmas songs on “The Judy Garland Christmas Show.” Notice how Judy interacts with her children when cued with certain sounds. Notice the tension in timing between each character’s actions and the “background” music!
“Flowers” by Terrace Brothers + Asa
I love music that pisses me off! There are so many elements in this song that I just don’t get, and I think it’s amazing to find music that evokes this kind of “distrust” in an artist’s decisions. I want to think of these decisions as more than just “failures” on the part of the artist. “What am I failing to notice?” That question starts some of the most fruitful analysis for me.
“Cherish The Forest” (Sade x Donkey Kong Country 2) by Sade and David Wise
I remember talking with a friend about how mashups are some of my biggest inspirations. This Sade and Donkey Kong mashup is an incredible reminder for me: that new affects/interpretations can emerge from songs that feel so “set in stone” to me (such as Sade’s “Cherish The Day”) when juxtaposed against other fully formed ideas/pieces.
“Hall Of Fame” by Chxrry
Not much I can say about “Hall Of Fame” besides that it’s my most listened to song of the year. I love it. It makes me feel like I’m 14 again, and by that I mean it makes me feel invincible. I feel like my music does the opposite … so I need this shit! “Badder than your top 10, I know you a fan now, I’mma make you stand up, show you how to stand out!!!”
“Babygirl” by Lucy Liyou
I really believe in listening to your past work to remember not only what you’re capable of but what you want to challenge in your next work. The humorous/humorless mercuriality of this “opener” is something I’m so proud of. But with this new work, I want there to be a strangeness that doesn’t depend on laughter or a sonic reaction from the audience. I’m still figuring out what that means, but I keep coming back to this song as a reference for what I don’t want to do to open this next one.
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