The harshest critic of ’s music happens to be the person who makes it. Just read the quotes the anonymous Seoul artist posts to their Bandcamp page: “I think these are some kind of magic, that will shine bright for a while and then lights out, like nothing happened”; “He believes he is talented..
.his singing skills are fucking awful, and is below average in height and appearance and everything.” Even as they’ve emerged as a figurehead of and a leading light in an exploding online shoegaze scene, Parannoul are imagining backlash.
Though 2023’s upgraded their blown-out, lower-than-lo-fi digital shoegaze with stunning results, trades that deep blue for scorching red—a loud-as-fuck rock record that would be called “back to basics” if Parannoul had ever once sounded like a typical rock band. In contrast to its lush and collaborative predecessor, is credited entirely to Parannoul. Guitars strum slightly out of time, drums tumble in imperfect rhythms, and on “암전고백 (Lights Off Repentance),” Parannoul play at approximately twice their typical tempo, working up a folk-punk froth that resembles way more than Is Parannoul working on MIDI with next-generation humanizer settings or were they able to play all of these analog instruments in isolation? Not that is exactly organic; the “piano” motif on “시계 (Backwards)” is reminiscent of a Skype ringtone.
But whereas previous Parannoul songs added or removed layers,.