Deb Never Thanks You

Deb Never, the LA-based Korean artist, just dropped her third and final EP — THANK YOU FOR ATTENDING. If you shudder at the thought of this being Deb’s last contribution to the world, worry not  —this is her final EP before she moves onto her debut album. Full of sparkle, glitter, and earth-shattering beats, TYFA is transparently emotional and requires the listener to embrace their own vulnerability. 

Listening to the EP felt like watching a short film. "5 o’clock" sets the tone for a thrilling adventure that allows you to let your hair down and escape from your obligations as if to say “fuck it let’s party.” “Mania and Bliss” cArries you to the peak of the party with its spinning, flashy beat that makes you want to headbang along (I told Deb that it reminded me of the drug scenes in the british series Skins, and she agreed). However, the comedown lies within “Paper Houses," which is melancholic and symbolic of the low following the high. Deb is no stranger to conveying undeniable emotions and grand imagery, as showcased in her short film Where Have All The Flowers Gone?

Now she is proving her readiness to join the ranks of her collaborators including Dominic Fike, Brockhampton, Tommy Genesis, and Omar Apollo, with upcoming shows in NYC, LA, and the UK.

Read our exclusive interview with Deb below. 

I was listening to the EP and it was very cinematic. You can tell that there's a very clear storyline. Was that intentional? 

Not necessarily a storyline but more of just a feeling. And I think that’s such good feedback to hear because I’ve had [the EP] for so long, so I don’t even know what it sounds like anymore. But from a new listener, hearing that it sounds cinematic is satisfying for me because that’s what I wanted to go for more than anything. Not much of a storyline but more a feeling — like you’re in this world, like you could see a scene of a movie with the song, you know what I mean? I think that’s super important to me.

What’s the world you want people to see?

I guess it depends for each song. There’s this journey — it does feel [like it’s] all in one world and it just reflects where I was [when] I wrote all of it. It has this party aspect where it’s high energy — you have those moments, but then you have “Paper Houses” where it’s like this ending. And then you have “Momentary Sweetheart” and “Open Season” where it’s like a love story… So it has all these elements that maybe a movie or show would have and I think that, with the EP, every song services every different moment of that movie.

Tell me about your inspiration behind the project, specific lyrics... certain instrumentals

It’s mostly to do with growth. I initially wasn’t going to put out a third EP and I wanted to go straight into album. But since my last release, there’s so many things I’ve learned in music and in life throughout the years that I felt like I needed to put it out. I want everyone who’s listened to grow with me and to understand my process and steps, and I feel like this EP was important to put out in order to make sense of the album… I wish I could be somebody who puts out music very scarcely but I also think it’s very important for everyone to be a part of the process and to see growth. That’s what this EP really is and I’m putting in a lot more musicality and I’m stripping back on production and experimenting still. That’s still something I wanted to show.

Give me some examples of the experimentation you’ve done. Between this EP and your project before, musically, what’s changed?

I’d say in the last project, I learned a lot in making the production sound bigger and clean and [I added] a lot more guitars and I used to shy away from that a lot, especially in the first project I’ve ever done. And with this, even vocally, [I’m] focusing more on timing and my vocals and making it sound a certain away. Or, even on “Momentary” where I kind of belt a little bit more, which I haven’t really done as often… Or with “Paper Houses” — going more into the songwriting, very simple, stripping back the production so you hear every word I’m saying. Or “Open Season” is a little bit more R&B, which is the music I listened to growing up — like I don’t just make rock music. So it’s a lot of different aspects. Every song has something in there that I feel like I've learned and put in. I’m really proud of it and I wanted to share that.

Deb's musical range is undeniably impressive, showcased perfectly by the opening track "Momentary Sweetheart." This tidal wave of a song begins with vulnerable vocals before exploding into a hailstorm of electric guitar and harmonies, catching listeners off guard and refusing to give them a chance to catch their breath. The momentum continues into "5 o'clock," a trance-inducing electronic track that practically begs listeners to dance and kiss strangers under flashing lights and pounding bass.

Contrastingly, "Say" is a cute and bashful charm of a song, with bouncing lyrics that feel like bubblegum and spilled lemonade. "Open Season" invites listeners to float and kiss in midair with its shimmering guitars and magical vocal harmonies, while "Mania and Bliss" is an exploding, euphoric party anthem that leaves us breathless and stumbling in joy. Finally, "Paper Houses" brings us down to earth with its honest and vulnerable lyrics, gentle vocals, and swelling strings, grounding listeners in the power of truth and leaving nowhere to hide.

You didn't write the songs chronologically, so how’d you decide on the order? Because it flows very well.

I like to make every song just [in] the moment and then look back at everything I’ve made and try to make it make sense — almost like a DJ making a mix. What makes sense of the mood and how can I take you through an emotional journey? That’s what I did with this EP — that’s what I do with every project. It’s really important to me. Even though I feel like now people listen to songs on their own, I’m still a person who really respects and enjoys listening to a full project in order, so it’s important to me — no matter how you listen to it… that's just me being anal or whatever [laughs].

I don’t think you’re being anal.

I like for it to make sense in order and to take you through a journey, because some of my favorite projects do that.

Say more about that — you say people listen to songs as one-offs of EPs — why do you think that is and what’s your opinion of it?

It’s just the time now, I think there’s just a lot of music that gets put out — and it’s not a bad thing! I think it’s great that everyone is able to create and express and put out whatever they want... I’ll find myself doing that sometimes — where I’ll only listen to one song and not realize there’s a whole project behind it... And I think — not to be nostalgic for like [laughs] "back in the day," but back in the day, projects were albums and EPs on CDs and you had no choice but to listen to it in chronological order. The way we digest music affects how we listen to it. I appreciate the slow burn of [having] to listen to it all the way through, even if you don’t like every single song… But it’s just for me personally. I don’t want to tell people how to listen to the music. If you want to listen to it not in order that’s totally fine too! But it’s just for me to feel good about what I make.

So, I know you don’t want to tell people how to listen to your album. But what should people take away from the EP?

Maybe being able to relate to it and some sort of anticipation… You know, I think the relating part is pretty self-explanatory but I think the anticipation part comes from this being the last EP before going into album, which I’m really excited about. That’s the whole point! THANK YOU FOR ATTENDING is the third and final act of this journey and anyone who’s grown with me and listened to all three projects, I hope they’d feel ready for the next thing.

What’s next? Tight lips — for now. Although, in the interview, Deb did say that we (or I) would be the first to know, and as we all know, zoom-recorded interviews are legally binding. 

So, rapid fire. One word to describe each song off the EP? “Momentary Sweetheart”

Fling.

“5 o’clock”

Partyyyy [hesitantly]… party.

“Say”

Telephone, I don’t know why… Oh — it’s because there’s this little drrring drrring in the bridge.

“Open Season”

Summer.

That makes sense…“Mania and Bliss”

Drugs. Sounds like drugs.

Oh "DRUGS" — I thought you said "rugs."

RUGS??!! [laughs]

And “Paper Houses”

Finale.

“Letting go of the finished product is the hardest part,” says Deb. Because once it’s out there, it’s not really yours.

[Liv, office intern and long-time friend of Deb's, comes crashing in] 

Liv Solomon— Wait wait wait! I had one question. If you were a basketball player how tall would you be?

I’d still be 5’4….5’5…