Mowg (composer)

Lee Sung-hyun found his way into the music world quite naturally. His parents, who were often busy, enrolled him in a piano academy, which ultimately fostered his passion for music. He also discovered joy in films aired on Saturday Night Movie. He distinctly remembers two pieces: Joaquín Rodrigo's "Aranjuez Concerto," the signal music for The Masterpiece of Saturday, and Exodus, the theme music of the same program.^[1]

His diverse taste in movies and music extended to radio programs, where he listened to various genres, including jazz, blues, pop, rock, new country, and new wave. He recorded these on cassette tapes and memorized their stories. The music and films he encountered provided him strength during his sensitive adolescence.^[1]

Lee's parents weren't supportive of his musical interests. His father, a former rugby player, encouraged him to join the school rugby team, believing it would distract him from music and help him manage his emotions. To build his physique, he was required to eat two slices of tofu each morning and pushed himself to the limit during training sessions. Over time, he developed a rugby player's physique. However, during this period, his personality exhibited contrasting traits—sometimes quiet and withdrawn, at other times outgoing and energetic, reminiscent of manic-depressive tendencies.^[1]

By the time he graduated from high school, Lee was immersed in the local jazz scene, performing at "All That Jazz" in Itaewon. Jazz pianist Lee Young-gyeong, a prominent figure at the venue, encouraged him to pursue his musical aspirations in New York. Despite his family's objections, Lee was determined. He stated, "I couldn't live in a system that opposed my love for music. When faced with the choice of giving up on myself or my family, I ultimately chose to leave my family behind." In 1993, he prioritized his passion for music over his family's disapproval and moved to New York.^[10]

For Lee Sung-hyun, New York represented freedom. He enrolled in school to maintain legal residency in the U.S., though he had little interest in studying. He led a vibrant life and longed for freedom, but his difficulty communicating may have hindered his adjustment to school. Music in New York was not just a dream for him; it was a matter of survival. He collaborated with various artists across genres, including jazz, and participated in Broadway shows. He was nicknamed Mowg due to his resemblance to Mowgli from The Jungle Book.^[1]

Proficient in multiple instruments, such as bass, guitar, keyboard, and drums, living in Harlem exposed Lee to a diverse cultural environment that influenced his music.^[1] Although Mowg can play several instruments, he is most recognized as a jazz bassist, often playing a 7-string bass, which distinguishes him from the typical 4-string bass players. He has been referred to as "the greatest star of fusion jazz."^[11] As a session player and producer, he frequently traveled between Seoul, New York, and Los Angeles.^[1]

In 2004, Mowg released his first bass-only album, titled "Desire,"^[12] making him the first Korean to release a bass performance album. The album "Desire" consists of two CDs, with all 16 songs being his original works except for two covers: Antonio Carlos Jobim's "How Insensitive" and Jeff Beck's "Cause We've Ended as Lovers." He was praised for his excellent composition skills. He also expanded his musical horizons by performing on stage with Kim Deok-su's Samulnori band and modern dancer Ahn Eun-mi. He won the Best Performance Award at the 2nd Korean Music Awards.^[7][13]

Mowg began working in the film industry in 2006 with the anthology film Doomsday Book, which was released in 2011. This three-part anthology was directed by Kim Jee-woon and Yim Pil-sung. Lee received the opportunity from his friend, director Yim Pil-sung, whom he met in Los Angeles in the mid-1990s when Yim was an aspiring director. They connected over their shared passion for film and became friends.^[14] Upon returning to Korea, Lee was introduced to several directors by Yim Pil-sung, including director Kim Jee-woon, Bong Joon-ho and Park Chan-wook.^[1][14]

In 2007, Mowg worked with Woody Pak and IAMISEE on the film score for Benson Lee's documentary Planet B-Boy.^[15]

In 2009, Mowg was acclaimed as Korea's best bassist. To celebrate the release of his third album, Nite's Secret, which debuted in April, he held a concert as part of the "Space Sympathy" series. Set in a "modern lounge" atmosphere, Mowg opened with tracks such as "Agent W," "Old Brazilian Jam," and "Gaudi," creating a vibrant mood. He showcased lounge music through several pieces from his album, including "Rodrigo," "Lament," "Suffer," and "Together." A standout moment of the concert was "Can U Hear Me," a tribute to his late grandmother, Ian, who died the previous year. The performance began with her image displayed on a screen. The performance was noted for its lasting impression on the audience. This concert marked Mowg's first domestic performance in three years and was attended by directors Kim Jee-woon and Yim Pil-sung. Additionally, the concert was broadcast on EBS at 12:05 AM on Tuesday, June 16.^[15]

Director Kim Jee-woon became one of his most frequent collaborators. They have since worked together on several other works, including I Saw the Devil (2010). In just four years, Lee established himself as a prominent music director in Chungmuro, crediting Kim Jee-woon for helping him grow as a composer.^[1][16]

In 2015, Mowg work with director Yim Pil-sung and choreographer Choi Jin-wook. They adapted move the story of 'Red Shoes' to the late Joseon Dynasty. His role was to express the primitive energy of stirring desire through music. As it is a work by the National Dance Company, music with a Korean traditional music feel is inserted, but there is not a single piece of music using Korean traditional instruments. The play is divided into five acts, and the music also accompanies each act with its own breath. To achieve this, the plan is to present minimal music that slightly varies one theme. The music developed by repeating and combining simple motifs and chords, similar to the music of Steve Reich, a representative American minimalist composer.^[17][18]

Mowg expresses admiration for several composers, including David Shire, known for his work in Coppola's The Conversation (1974), Saturday Night Fever (1977), and Zodiac (2007). He also appreciates Lalo Shiffrin for his versatility and extensive filmography, as well as Cliff Martinez, a frequent collaborator of Steven Soderbergh. Additionally, Mowg holds Sakamoto Ryuichi and Xavier Jamaux [fr] in high regard.^[19][20]

Mowg's initial interest in film music was sparked by Lee Byung-woo, a prominent guitarist and music director in the South Korean film industry. Lee, who was closely associated with director Kim Jee-woon since childhood, influenced Mowg significantly. Through this connection, Mowg learned about Lee's development as a composer, noting his deep knowledge of classical music and musicality. Mowg also admires Shin Byung-ha, a bassist active in many 1970s and 80s films, whom he met through a family friend when he was young.^[19]

Director Kim Jee-woon has provided Mowg with substantial guidance, particularly regarding film scoring. Kim often considers how music can enhance a film's mood during production. Their collaboration typically begins with the script, where Kim shares his musical ideas and asks questions about various genres. For example, The Age of Shadows music was inspired by Tinker Tailor Soldier Spy, aiming for a "cool" spy film with cold melodies and harmonies to create a dynamic soundtrack. As Mowg puts it, "Musician acts and music directors react," highlighting the difference between these two roles.^[19]

Mowg is known for his ability to handle diverse musical styles, earning consistent praise from collaborating directors and producers. They often remark that "Mowg provides a great deal of inspiration when working on scenarios." Mowg humbly responds, "It’s not that grand," attributing his wide range of ideas to his diverse life experiences, which directors find appealing.^[1]

Mowg collaborated with Kim Jun-seong on the music for Masquerade. Working with Kim, who has studied classical music since a young age, has also significantly contributed to Mowg's growth as a composer.^[12]

For the film Deliver Us from Evil, Mowg drew heavily from 1980s French New Wave films. He incorporated the artificial yet aesthetic approach seen in films like Leos Carax's Boy Meets Girl, Jean-Jacques Beineix's Betty Blue, and Luc Besson's The Big Blue. This stylish work presented a creative challenge but also a valuable opportunity for an experimental project.^[21]

Mowg leads Filmuziker, a music team specializing in film scores.^[22] The team's motto is: "We must work faster than any other team and produce a significant amount of music." This philosophy stems from Mowg's belief in the power of a strong team. He compares it to baseball: if the opposing team's closer can throw only 20 pitches, his team must be ready to throw 50, focusing on both speed and variety. This competitive approach has earned Mowg the reputation of being "a music director who approaches his work like an athlete."^[1] As the team leader at Filmuziker, Mowg works closely with his mentees, music directors Lee Eun-joo^[22][23] and Na-rae.^[24]

In 2011, Mowg was appointed as a full-time professor in the Department of Applied Music and Arts, specifically the Department of Instrumental Music, at the Seoul Institute of the Arts.^[25][26]

After becoming a film score director, he has been busy and rarely performs as a musician. However, he occasionally appears at film festivals. In 2010, he participated in the congratulatory performance for the Director's Cut Award.^[27] In 2015, he performed at the 3rd Muju Mountain Film Festival.^[28] In 2015, he performed at the 3rd Muju Mountain Film Festival. In 2019, Mowg's band played the original soundtrack for director Lee Chang-dong's Burning (2018) at the opening ceremony of the 20th Jeonju International Film Festival.^[29] In 2021, he took part in Incheon Film Week.^[30]

In April 2013, Mowg was appointed as the Public Relations Ambassador for the KT&G Sangsangmadang Music Film Festival.^[31] Mowg is also a faculty member of the Jecheon Film Music Academy, a talent development program where participants produce film music through a practical work process and receive one-on-one mentoring from leading music directors in South Korea. This program has been held at the Jecheon International Music & Film Festival since 2006. Alongside Mowg, the faculty includes music directors Shim Hyun-jung, Kim Jun-seong, Han Jae-kwon, Kim Bo-hyeon, Kim Tae-seong, Park Ki-heon, and Choi Won-seop. Director Yoo Young-min oversees the film music division at Netflix.^[32]

In 2024, Mowg became a composer evaluator for the open recruitment of film projects and composers at the 2024 Jecheon International Music & Film Festival's Music Film Market, celebrating its 20th anniversary. He was part of a judging panel consisting of six experts—three from the film sector and three from the music sector.^[33]

Mowg made his directorial debut with his first short film, Force of Love, using the alias Sung Yi-hyun. He also served as the music director for the film. The title is inspired by the love aria sung by the god of love and portrays a comical standoff between two men competing for one woman, with the famous aria "Habanera" from Bizet's opera Carmen as its motif. In a virtual café setting, the three characters in the love triangle are each immersed in their own illusions. Similar to the lyrics of "Habanera," which depict fickle love, the childish power struggle between the two men may reveal the true nature of desire, often disguised as love.^[34][35]