Woosung x Wonderland Interview
Wonderland connect with the rising star to discuss the release of his album, 4444, and creating music that reflects his own personal journey.
Woosung is a man of many sounds – a trait he proves once more through the genre-bending world of 4444, his second full-length album. From his earlier days of tentative experimentation on 2021’s GENRE to the 2022 EP “MOTH” (the home of his viral hit single “Phase Me”), hints of EDM have rippled through Woosung’s past solo material. This time, with 4444, Woosung’s elevating that ripple into a wave, centring his curiosity for electronic music in a new, cutting-edge sound that’s reflective and layered like the record’s messages.
As 4444 unfolds, it’s clear that Woosung thrives on exploration in both a sonic and lyrical capacity. An evolution of his experimental artistry, introspection meets festival-ready energy on cuts like “44 (Forget Forever)”, “Never Let Go” and “Before We Die”, while diving deep into themes of self-revelation, introspection, and clarity. Meanwhile, with its rockier tones, “Found You” brings us slightly closer in sound to The Rose: the widely acclaimed South Korean rock band, where many will have first encountered Woosung in his role as the band’s charming and engaging lead vocalist. A sharp highlight on the new record, “Found You” is also poised as a standout moment on Woosung’s ongoing B4 WE DIE World Tour, one he says “will resonate more than what people expect in a live setting.”
At the heart of it all is, of course, that voice; one which keeps on winning over listeners across the globe. Raspy and smoky yet piercing with emotion, Woosung has perfected the art of pulling us in deeper in all the right ways through his vocals – a styling that’s clearer than ever on the roaring piano ballad “Day That I Died”, a navigation through the burning heartache of loss. Symbolised by the number four, which holds personal significance for the artist, 4444 is also its own living, breathing entity existing in the physical realm via the ‘Archives’ wristband. An exclusive portal into intimate content, the wristband helps to forge deeper connections with the album’s vulnerability and escapism: “Since this is a newer sound for me, I wanted the fans to experience the album in a newer way as well,” Woosung explains of the Archives.
Now also lending his signature voice to the Netflix animated series Jentry Chau vs. The Underworld, it’s never been more obvious that Woosung is a thrilling, unpredictable star who was born for the spotlight. We caught up with Woosung after the release of 4444 to talk through his post-release feelings, bringing the album to life through the ‘Archives’ and his B4 WE DIE World Tour, and how he’s creating music that reflects his own personal journey.
Read the interview…
Congratulations on the release of 4444! How have you been feeling about the responses to the album now that it’s out into the world?
Thank you. I have been feeling a little empty now that a big chunk of me has left and is out into the world. But the people’s responses to the album are filling the void in a perfect way.
Sonically, 4444 hears you experimenting with EDM sounds and you also worked with EDM icon Martin Garrix. What inspired you to lean into those sounds for 4444? How do you feel these sounds impact the lyrical themes of the record?
Honestly, I have always found EDM quite interesting. If you listen to my older albums, you can hear that the essence of EDM was there but not yet fully developed. Working with amazing producers like Dojoon, Brian, Stu, and Wilkinson, I believe that we created a sound that fits the message I had.
Fans were especially excited about the ‘4444 Archives’ wristband, which allows us to experience 4444 as a living project. How did this idea come to fruition and why do you feel it’s important to merge tech and music in ways like this?
Since this is a newer sound for me, I wanted the fans to experience the album in a newer way as well. Fans who bought the ‘4444 Archives’ wristband got to listen to a couple of songs before the actual release, some inside scoops on my writing and production process, and early access to some events we’re throwing. Music has always been merged with technology and also changing together. I’m just trying my best to find the right balance.
This is your second full-length album as a solo artist. Can you walk us through the differences in your approach to songwriting and production when working on solo projects versus music with The Rose?
Solo projects are more personal for me, allowing me to dive deeper into my own thoughts, feelings, and experiences. They offer a space for self-expression where I can explore my individual identity and create music that reflects my personal journey. On the other hand, The Rose projects carry a more collective message. When we come together as a group, it’s not just about one person’s perspective—it’s about blending our voices and ideas to create something more unified.
Your solo music seems to have more of a genre-fluid approach, compared to The Rose’s more pop-rock style. How do you balance genre fluidity while still being consistent as an artist?
Honestly, I’m not trying to balance anything deliberately. As I grow and my understanding of the world shifts, my music naturally evolves with me. Instead of forcing it into a particular direction, I let it reflect where I am in life, allowing the music to flow freely and authentically.
You’re taking this album on the road via the B4 WE DIE world tour, hitting cities such as Melbourne, London, Paris, Brooklyn and Los Angeles. Is there a particular song from the album which you think might resonate the most in a live setting?
More than listening on headphones, I think ‘Found You’ will resonate more than what people expect in a live setting.
Touring as a solo artist means it’s all on you to create the vibe and atmosphere. What are some key differences in the way you’ll be approaching your solo shows on this tour compared to your shows with The Rose?
I think the main difference between The Rose’s tour and this tour will be the absence of the instruments. The guitars, piano, bass, and drums, they’re like extra members of the band and add an extra element to each of our performances that we don’t really need any of the extra theatrics. I think for this tour, it’s going to be like an intimate party with the fans and I, and of course Dojoon. The production will play a big part, just like any electronic dance show, but I’ll be at the forefront of it all, vibing and singing with the fans.
You are also lending your voice to the upcoming Netflix animated series, Jentry Chau vs. The Underworld. How did the experience of voicing a character for an animated series differ from your musical performances? Were there any challenges in switching between music and voice acting?
Since I spent so much time in the studio and the booth, it felt like I was right at home when recording lines for Jentry. Although the booth was familiar, there was much more to voice acting than just reading lines. It involved understanding the character, projecting emotion, and incorporating sounds that convey movement and acting. The real challenge was to be okay with making weird noises that I had never made.
Was there anything unexpected about working on an animated show that surprised you or challenged your perception of voice acting?
Similar to singing, voice actors bring the words to life. I really had to dig deep into my emotions to give my character the substance that he has.
Looking ahead, what are your hopes for your solo career? Is there a particular legacy you’d like to leave, or a dream you’re working towards that you’d like to share with your fans?
Honestly, I had so many dreams and things I wanted to achieve. But at this point, I’m just going with the flow.
