15. Where Is My Friend? - Ahn Dayoung

Ahn Dayoung's (안다영) second full length album sheds light into dark spaces as we enter the summer season

Jun 15, 2025

The weather in New York City teeters between dreary, soul burning heat and chilly, windy, rainy gray days that leave the spirit insipid and burnt out. I grew up with the Souther California phenomenon of June Gloom, so perhaps I associate all such fluctuations with this term, as incorrect as it is. But what does lift the spirit in such a time when the weather is mirroring the highs and lows of the global news feed and the world around us?

I’m a firm believer in music coming to us where and when we need it. Perhaps a new, popular release doesn’t mesh with you the way it is with everyone around you, but maybe it hits you days, months, weeks, even years later. That is, in some way, what makes music timeless. The same can be said for a body of work being exactly what you need at the time you find it. Something to meet you where you are, and what you are willing to receive.

I came across a post for this Where Is My Friend by Ahn Dayoung on my Instagram timeline, through one of the many music accounts I follow yet inevitably don’t pay attention to through the timeline slop I breeze through absentmindedly. The album cover intrigued me, the visuals from the music videos were interesting, and the small clip playing over the post was enticing. I went to listen and immediately felt whisked away into the world Ahn Dayoung created.

Ahn’s voice drew me in as it felt warm yet airy, deep yet drawn out, familiar yet new. When putting together this piece, I came to learn that she voiced a band project, In the endless zanhyang we are (끝없는잔향속에서우리는), whose sole 2017 album was one I came across algorithmically last year and really enjoyed. While that album can be filed away in a more soft indie genre, Ahn’s solo music leans into more experimental alt-pop, with her 2020 album ANTIHERO piecing together more electronic and rock elements.

On her second full length album, Ahn took her time to put every detail together, making it her first self producing album.1 Filled with songs that fall into a more somber sound (tunnel, orange sunrise) with other tracks that are more upbeat styles of indie pop (YA!, came from the mattress, echoborn), this album was the perfect remedy for the times. Exploring various genres of indie pop, rock, city pop, psychedelic, and soft singer songwriter, Ahn compiled a body of work that touches on various aspects of humanity from the self to community, and the ways we simply exist in our space. Dreamlike yet grounded, airy yet rooted — this album leans into the push and pull of multiple directions while still remaining true to its core concepts.

The opening track, intro (spell), is aptly named — the dreamlike 3 minute opening instrumental pulls you in with building and swelling tracks overlaying a constant drum cymbal in the background that almost seems like it mirrors the rush of a car. Hypnotic,

Grave of Light is a midtempo city pop/psychedlic song where Ahn lays into more emotional and soulful vocals. The way the instrumentals build up and more of the electric guitar comes out with vocal layering is a really interesting production touch. yawn/survive 101 is a true indie rock song with roaring vocal melodies, a funky guitar riff, and acting as a sort of genre bridge through the album (aptly placed in the center of the tracklist as well).

Speaking about the meaning and concepts behind the album, Ahn discusses wanting to incorporate the feelings surrounding the interactions with the people around her, friends, and the overall world around us

“The friends I wanted to talk about are those who look in the same direction or have similar attitudes toward the world. So I wanted to tell a story about solidarity with such people and the power of living together. As I live, I feel that my personal life is becoming more and more inevitable, but at the same time, I feel more strongly that I cannot live alone.”2

Themes of hopelessness and small comforts in life also permeate through this album, in a way that really brings home the ultimate idea that there is a light in the spaces we build for ourselves. Regarding came from the mattress, Ahn stated:

“I think the track that gave me the most dramatic joy was 'came from the mattress'. The song itself had power, and it was completed more quickly than the other songs. … It was like finding a small bit of hope in a state of near-desperation. So that song was ultimately something I wanted to say to myself, and I think I felt a great sense of liberation when I finished it.”3

Maybe it was a coincidence to see this album on my timeline. Or maybe the timing of seeing and listening to this album was a way to remind myself that ultimately, our communities and the spaces we build up and create around us are what will keep us going in hard times. I found myself leaning into this and looping it through out the week, returning to it when I wasn’t sure what else to listen to when I did not want to exist in silence (though is there ever truly silence when you live in New York City?). I hope you find some gems for yourself in this album.

Thank you for tuning in.

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