【Cover Story】Lee Seung-Yoon’s Quiet Rebellion: Writing His Name in the Night/ 李承允的易姓革命 在夜裡寫下自己的名字
- Dylan Tang
- Jun 5
- 5 min read
Lee Seung-Yoon says he prefers to create and reflect at night—that’s his time to converse with himself. Before gaining prominence through the Korean music programme Sing Again, he was already a songwriter. His voice isn’t forceful, yet in the quietest hours, it draws you into a world beyond words. The day before his performance in Taipei, we met him in a small, quiet flat in the city centre. The afternoon was neither too hot nor too cold; sunlight slanted into the room. He opened the door with a gentle smile, his movements calm and warm, as if welcoming an old friend.
His presence isn’t ostentatious, much like every track on his album YEOK SEONG. You might not recall every twist in the melody, but you’ll remember the sense of undisturbed companionship.
When I asked for his thoughts on “Wonderful Tonight,” he smiled and said, “I don’t think I truly have the ability to give others a ‘Wonderful Tonight.’ But if I’m there, with the music, and with those who listen, then perhaps I do have a bit of that ability.” At that moment, his tone was calm, his eyes carrying a steady assurance, not trying to persuade anyone, but as if he had long been at peace with his own answer.
The Silent Border Between Night and Language
For Lee Seung-Yoon, this album isn’t merely a collection of songs. He has said that he never aims to predetermine an outcome in his creations; instead, he allows emotions to emerge during the process. Rather than focusing on high notes or climaxes, he cares more about the authenticity within each song. That authenticity might come from a tranquil melody or from something unspoken within a sound.
Starting with the name YEOK SEONG, he intended this album to serve as a kind of record. He didn’t explicitly call it a confession, but the melodies and fragments indeed resemble late-night memos, written for himself and for those still searching for themselves.
A Quiet Revolution: Changing Even Just a Habit
“It doesn’t have to be grand or ceremonious. Sometimes, when you want to change certain thoughts in your mind or things around you, that requires revolutionary courage,” he said. He described the spark for this album as a small “quiet revolution” within his heart.
“Even changing a habit takes courage,” he added with a smile. “For instance, I always open doors with my right hand. One day, I used my left hand instead, and I found my body hesitating because my brain was conditioned by habit. But choosing to use the left hand that day, that’s a small revolution.”
“I’m not saying I’m brave, but I’m trying to change.” This album is his attempt, not to define or showcase, but to rediscover intuition within music.
He spoke with a steady yet firm tone: “This album isn’t meant to change the world; it’s more like a signal. If someone is struggling or needs a bit of courage, I hope this album can ignite that spark.”
The Air of Prague and the Rhythm of Seoul
Lee Seung-Yoon said he chose to record in Prague because it allowed him to “expand the music.” He wasn’t seeking external literary symbolism but hoped to achieve breakthroughs in sound production through collaboration with a symphony orchestra. This journey deepened his understanding of sound.
In contrast, recording back in Seoul felt like returning to the everyday. He noted that the pace there is faster and more familiar; precisely because of this, he pays more attention to infusing emotion and softness into his music. He dislikes excessive design and arrangement. “I don’t want to prepare too much in advance; I prefer to discover emotions genuinely during the recording session.”
Beyond Genres: Music as a Vessel of Time
Lee Seung-Yoon says he doesn’t wish to be defined by a particular musical style. He believes that music is more like a vessel of time rather than a specific genre. This has always been his approach to creation.
Since Sing Again, he has viewed the identity of a “singer-songwriter” with more caution. In the interview, he mentioned that he doesn’t particularly label himself as a certain type of musician, nor does he want to limit his creative direction due to market categories. He stated that if the audience is willing to quietly listen to one of his slow songs, he hopes that time carries weight.
YEOK SEONG is precisely such a work. It’s not an album that you’ll hum along to immediately, but one that makes you want to slow down and savour, a record of the night.
Writing Songs for Others or Speaking for Oneself
In recent years, Lee Seung-Yoon described himself as acting like an actor. “You have to fit into others’ scenarios, wear their language and emotions.” But when creating for himself, he said, “I don’t want to act; I want to speak genuine words.”
Many songs initially existed only as voice memos on his phone, with melodies and vague humming. “I don’t like making things just for show,” he mentioned. “Even if no one listens, I’ll still write because that’s how I remember things.”
YEOK SEONG includes fragments from these processes. He said, “It’s not a diary, nor an autobiography, but if you’ve ever thought about many things at night, you might understand.”
A Solo Stage, A Shared Night
The first time he performed in Taipei, the atmosphere was unforgettable. The audience seemed not just to watch a performance but to participate in an experience together. Lee Seung-Yoon cherished such live reactions and expressed gratitude. This atmosphere was entirely different from the audience rhythms he usually encountered in Korea or other cities, making this meeting in Taipei even more memorable.
He said he didn’t particularly rehearse before this performance but tried to relax. On the day of the interview, he indeed didn’t convey any tension. He mentioned that he would drink some beer on the balcony in the evening, enjoying Taipei’s air, much like his habit of walking alone at night, quietly letting the city’s breath surround him.
“I want to return to a natural state. Music isn’t a performance; it’s sharing.”
I asked him, “After this, do you feel closer to having the ability for a ‘Wonderful Tonight’?”
He thought for a moment and said, “I don’t know if I have that ability, but if someone tonight feels, ‘Ah, today wasn’t bad’ because they heard my music, that’s enough.”
Lee Seung-Yoon’s music isn’t confined by style, nor does it aim for flashy packaging. His voice often whispers, yet within that restraint lies a firm presence. This brings to mind how Asian creators in recent years have reinterpreted solitude. It’s no longer just a sign of alienation but the background colour of creation, a way to release authenticity within a safe distance.
Between language and melody, he prefers to convey emotions through melody. In the interview, he mentioned that creation, for him, is a form of recording, a form of companionship, and a way to let others know, “I’m still here.”
At that time, the sky was turning dark but not yet dark. There was wind outside the window, and the sunlight had already retreated to the street corner. He lowered his head and smiled, as if listening to a melody not yet written.
EDITOR-IN-CHIEF/ @dylan_sy_tang
PHOTOGRAPHER/ @lu.ziheng
STYLIST/ @l85149
MUA/ Kim hyunkyun
HAIR/ Kim soochul
VIDEOGRAPHER/ @shyangru
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