On this obscure punk track, all-female band Rule Destroyer brought enough energy to power a small nation.
On the live version of their song "Drunken, Drunken," released last February, the fascinating South Korean rock group Electric Samulnori exemplify the tradition of music as a collaborative act.
While Coreyah's energetic single "Born Wrong,is immediately engaging, it does not even begin to sum up Seoul-based band's potential.
Before they went metal, Seoul band Samchung were making hardcore classics like 1999's "Crucified."
The seething 2009 track "Ravenouz Ritual," by South Korean thrash metal band Necramyth, is a prime example of how kickass music-making knows no bounds.
On the 2011 track "Satanic War Metal," Korean black metal act Nocturnal Damnation explore how bad can actually sound pretty good.
On their 2010 cut "Their Bodies Covered in Flames," Korean death metal band Seed's insistence on making tight and taut music illustrates that metal is, in fact, a music of restraint.
On South Korean musician-composer Jin Hi Kim's beautiful composition "Yalu Delta," a collaboration with American multi-instrumentalist Elliott Sharp, the two artists find the perfect blend.
On 2013's "The Crow Flew After Yi Sang," cellist and composer Okkyung Lee deftly navigates the intersection between noise and melody in a way that is inviting rather than alienating.
If there's one thing Shin Ji Ho does perfectly; it's creating an auditory journey that takes you from the start to finish of a turbulent story-line. And all of this, is done without words.
On their 2010 album "The Paragon of Animals," Korean thrash metal band Crash penned a furious return to form with their song "Crashday."
On their 2004 song "70's Once More," Zzzaam prove that music doesn't need to be active, or even assertive, to be effective.