DAY6 cross genres and borders with first US magazine cover
Making their first appearance on the cover of an American music magazine, these Korean pop-rock upstarts have confounded the highly controlled industry that spawned them, critics who can’t slot them and Western fans who love them.December 20, 2019
In another AP first, we’re pointing our telescope toward the East to explore the universe of K-pop sensations DAY6. There are plenty of elements to what these five young men have accomplished, and they’re very similar to the steadfast DIY mindset prevalent in AP’s community.
The quintet have been creating their own way around the machinations of the highly controlled K-pop industry. More importantly, DAY6 have been navigating their own course with regards to the kind of music they want to make. Which means you could’ve heard them on a Warped Tour stage (“Sweet Chaos”), opening for Andrew McMahon In The Wilderness (“Time Of Our Life”) or right next to Demi Lovato on your (not) guilty pleasures playlists (“Cover”).
The members of DAY6 would be the last people on Earth to describe themselves as purely one genre or another. After all, the current musical landscape has been dictated by artists as diverse as Billie Eilish, the Driver Era and Chase Atlantic preaching the no-genre gospel. DAY6 routinely embody that stance. Minus the penthouse suite in an ivory tower. Because as many historical figures in music have stated, there are only two types of music.
“What is good music?” bassist/vocalist Young K asks (full name Brian Kang). “We don’t know. Whatever we wanted to do at that moment? And we’re probably going to do that with the next album and the one after and so on. We don’t even know which kind of songs are going to do well on the charts.” He laughs. “And if we knew, we would have done better! So, we’re just going to do whatever we want.”
Likewise, their attitude toward their craft has also seeped into their attitudes offstage and away from celebrity spotlights. DAY6’s world is as inclusionary as the most incongruent playlist you could ever come up with. Because they are well versed in being human.
“There’s cultural differences no matter where you go in the world,” guitarist Jae shares. “Americans, or English speakers in general, when they come to Korea, I feel like I vibe [with them], and I can really understand where they’re coming from, what they’re dealing with and what things they may have trouble with. So, I feel like I try to help—I don’t know if it does help, but I try.”
DAY6 took the road less predictable and came out ahead of the crowded pack. It’s a story with a multifaceted soundtrack, for sure. And it’s guaranteed to be a milestone in the history of AP.
ALSO IN NEXT MONTH’S ISSUE:
As the frontman of SUPER WHATEVR, Skyler McKee’s goal was to exorcise his inner conflicts in the hopes that listeners could feel solace in their personal travails. Despite his best intentions, he was hounded constantly about everything. Now slimmed down to a duo, Super Whatevr are changing their sound to accommodate where McKee’s head is currently. Did we mention the new album is wonderful?
British dark-rock outfit CREEPER could’ve stuck around for months playing every dive bar in America to “pay dues.” Instead, they broke up onstage back home. But it was all part of leader Will Gould’s plan. The backstory involves a small California town lost in time, David Bowie, an image makeover and writing songs with your BFF via FaceTime––because you can’t be near his hospital bed. A powerful record made by strong people.
It seems like everybody has been talking about British hardcore outfit HIGHER POWER. And for good reason: On their major-label debut, they’re ready to move forward with their influences in ways they may have been afraid to. Be very, very psyched.
IT GETS BETTER, and Mixi Demner, the heart and soul of STITCHED UP HEART, knows it. She shares her truth, one that will make you want to hug her like a friend presumed missing, the tears burning your eyes.
We’re also celebrating THE RAWRING ’20S, honoring records that helped usher in the joyful noise of the past decade. We know you have these records from MY CHEMICAL ROMANCE, BRING ME THE HORIZON, CIRCA SURVIVE, FOUR YEAR STRONG and more.
Paige Owens introduces us to the era-splicing rock of GLASS TIDES, who draw direct lines from Nirvana to the Used at their darkest. Rachel Campbell corrals the best tracks from bands who reunited in 2019 in a group of 10 ESSENTIAL. Our scribes share their new obsessions in 12 BANDS, while AP ARCHIVES catches the reunion virus with MOTION CITY SOUNDTRACK, WE ARE THE IN CROWD and YOU, ME, AND EVERYONE WE KNOW. Plus sweet, sweet fan art and live photos to make you go “yessssss…”
From Korea to the U.K. to Orange County, it’s the new issue of AP, with 100% more emotional spectrum (and visa stamps) than other music mags.