The new moon marks the beginning of the lunar cycle. It is a moment of darkness that, across centuries of folklore and superstition, has become synonymous with rebirth, renewal and the possibility of starting over. Tabber introduces Modern Goth through that very idea. Its pre-release single, “New Moon”, draws from an ancient symbol of transformation while embracing a sonic language rooted in the 1980s. Synth textures, layered vocals, and a sense of nostalgic futurism collide, producing what the artist himself calls “music for 2026”.
To describe the record as music for the now is a bold proposition, especially at a time when Korean music itself is undergoing a profound transformation. Since the Hallyu wave of the early 2000s to late 2010s, led by acts like Girls’ Generation, BIGBANG, BTS, and BLACKPINK, the global appetite for Korean culture has expanded far beyond pop music itself. The international success of these artists opened new pathways for Korean hip-hop, R&B, indie, and alternative sounds to find audiences outside the country, while producers and creatives from around the world increasingly became part of the ecosystem.
Korean music now finds itself in a liminal space of its own. If there is a defining characteristic of this moment, it is exploration. Artists are searching for new emotional registers, new aesthetics, and new ways to interpret inherited influences. In that sense, Modern Goth fits into this mould. The project was built through an entirely different creative process, one driven by experimentation and discovery, allowing Tabber to push beyond the contours of the world he has cultivated since his debut album, Madness Always Turns to Sadness (2023).
Modern Goth itself carries borrowed meaning. Goth, as both a subculture and an aesthetic language, emerged from Britain’s post-punk movement in the early 1980s. It embraced melancholy, romanticism, and the beauty found within darkness. In this album, Tabber explores what the word can mean through emotional resonance rather than historical accuracy. It functions as a self-imposed identity, a framework through which he can articulate the tension that has always existed within his music.
You performed at Seoul Jazz Festival in May and will be performing at Summer Sonic in August. How does performing live differ from making music in the studio for you?
In the studio, everything is internal. It is a private process where I am building something alone, almost like creating a world that only exists in my head. On stage, that world is opened up and shared with other people. It becomes something alive and reactive. The audience changes how the music feels in real time. So the studio is about creation, while the stage is about connection.
Why was “New Moon” chosen as a pre-release track to introduce Modern Goth?
Among the tracks, it is one of the more immediate and easy to listen to, but it still carries a certain nocturnal weight. It works both ways. You can play it in the background during the day, but it also changes when you hear it alone at night, especially when you are walking around after midnight. That contrast made it the clearest starting point for the project without explaining too much upfront.
What does “Goth” mean within the framework of this piece of record?
I wasn’t really interested in “goth” as a fixed style or a visual reference. People usually associate the label with certain looks or subculture codes, but for me it’s more of a mood or a state of mind. There are two reasons I chose the title. The first is personal. When I look at the emotions I naturally return to when I’m making music, there’s always this pull toward darkness and introspection. The second is more about the world around us. The general mood today feels more muted, both visually and emotionally. People feel a bit less openly expressive than before. Because of that, “goth” doesn’t feel like something specific any more. It feels like it’s in the air. Modern Goth sits somewhere between those two things, personal emotion and the atmosphere of the time.
What should listeners expect from Modern Goth beyond “New Moon”, sonically and visually?
This project pushes my sound further. I experimented more than I have in the past, so both the music and the visuals move away from what people might expect from me. It focuses on exploring textures and moods I have not fully gone into before, rather than reshaping everything at once. I think people will still recognise me in it, but in a different form, with a clearer sense of direction.
Photography Lily Lee
Images courtesy of Hatchingroom, you.will.knovv & INSIDE FILM
Once you are done with this story, click here to catch up with our August 2026 issue.