Blending the firepower of progressive rock with the freedom of modern jazz, Seoul-based quintet yonglee & the DOLTANG are fast becoming a bold new voice in Korea’s creative music scene—and beyond. With their debut album Invisible Worker now released on Unit Records, the group sets out on a European tour that includes a stop at London’s iconic Ronnie Scott’s. At the heart of it all is pianist and composer Yonglee, whose writing is equal parts satire, sincerity and sonic experimentation. We caught up with him to dig into the story behind the band, the themes that fuel their music, and what it means to speak up for the “invisibles” through distorted guitars, retro synths and raw improvisation.
1. The band’s name—yonglee & the DOLTANG—has a unique ring to it. What’s the story behind it?
Yonglee is me—I’m the leader of the band. DOLTANG is a shortened Korean phrase that loosely translates to “return of the prodigal sons.” We formed the band not long after many of the members had returned to Korea from abroad. We chose the name just because it felt fun and unique, without much deeper meaning at the time. Interestingly, the reactions from people around us weren’t very positive—but somehow, that made me like the name even more.
2. You describe the album as a “satirical exploration of modern society.” Can you expand on that—what themes or contradictions were you most drawn to highlight?
The songs on this album mainly explore themes such as the struggles of musicians and music workers in Korean society, the isolation experienced by today’s youth, and a nostalgic longing for dreams and passion that seem to be slipping away. I’d like to leave the interpretation of the expression and message up to each listener’s personal experience with the music.
3. There’s a strong visual element to some of your track titles—like Do Plastic Bags Dream About Sunset. What role does imagery play in your composition process?
t plays a crucial role in shaping the mood and identity of a piece. During the composition process, having a clear image in mind—whether abstract or concrete, symbolic or literal—serves as a strong guiding force. In our band especially, we consider tone and the texture of sound to be key elements in songwriting, and imagining these images greatly helps us define those aspects as well.
4. The track March of the Invisibles suggests a kind of quiet protest. Who are the “invisibles” for you?
As a musician, I approached these themes from an artist’s perspective, but I believe they reflect the experiences of all those who feel marginalized in our society.
5. You’ve included nostalgic 1990s/2000s synth sounds in the mix. What inspired that retro nod?
Before choosing the path of a professional musician, I went through a time when I listened to music with what was perhaps the purest heart. The music I loved back then had a big influence on me, and through paying homage to the artists and songs I cherished during that time, I found myself longing to return to that sense of innocence—especially after feeling worn out by the labor of making music. I’m grateful that Youngwoo, who plays synthesizer in our band, really understood and captured that emotion in his expression.
6. How do you see Invisible Worker sitting within the Korean jazz/prog scene—and what’s the reaction been like so far at home?
We’ve been fortunate to have listeners who not only take the time to engage with our music, but also share it with others—along with fellow musicians and people in the media who have supported us. Thankfully, we haven’t heard any harsh criticism about the album yet (at least not publicly). Even though this kind of music doesn’t have a large mainstream following, it’s incredibly reassuring to see so many people showing genuine interest and support.
7. Performing live at venues like Bimhuis and Ronnie Scotts is a big statement. How are you adapting the album for the stage?
Because of the unique nature of an album, some things inevitably get condensed and shortened. However, our goal was to capture what we can authentically deliver in our live performances. You can think of the album as a kind of snapshot or sample of our live shows. Even richer and more expressive moments await you on stage, so we truly hope you’ll come see us perform live.
8. In a sentence: what do you hope someone feels after listening to the album in full?
“I have to watch this band live”
9. For readers unfamiliar with the Korean jazz scene, how would you describe it?
I believe this scene is one of the youngest audiences in the world. While there’s still plenty of room for growth in terms of diversity and musical depth, I think many remarkable experiments have been happening among young musicians, especially since the pandemic. If you want to explore Korean jazz musicians who are pushing boundaries with these efforts, I recommend checking out artists like Soojin Suh, Deepmind, and Soojung Lee.
10. What’s next for Yonglee & The DOLTANG?
We’re really looking forward to meeting new audiences throughout all 11 shows on our Europe tour, but I’m especially excited about our performance at Ronnie Scott’s in London on June 19th. We hope you’ll join us for our very first show in the UK! After returning to Korea, we have a showcase planned for June and a collaborative concert in August. By late autumn, we might even be sharing some new songs with you.
