Born KANG Ki-yeong in 1966, DAL Pa-lan first made his name as the bassist of the legendary heavy metal group Sinawi on their second album, Down And Up, released in 1987. He later played bass with the alternative rock band H2O and founded in 1995 the ground-breaking punk band Pippi Band, which quickly draw attention for its eccentric songs. After taking his actual artist name of DAL Pa-lan, he became a pioneer in Korea’s electronic scene by releasing a couple of techno musi...More

Born KANG Ki-yeong in 1966, DAL Pa-lan first made his name as the bassist of the legendary heavy metal group Sinawi on their second album, Down And Up, released in 1987. He later played bass with the alternative rock band H2O and founded in 1995 the ground-breaking punk band Pippi Band, which quickly draw attention for its eccentric songs. After taking his actual artist name of DAL Pa-lan, he became a pioneer in Korea’s electronic scene by releasing a couple of techno music albums in the late 1990s. His first work as a film composer was for JANG Sun-woo's <Timeless, Bottomless> (1997), his musical repertoire being in line with the underground youth cultured explored in the film. Later, he imparted his musical experiments to the soundtracks of the critically acclaimed melodrama <Lies> (1999) and JANG’s final film <Resurrection of the Little Match Girl> (2002). Minimal patterns and intentionally frivolous sounds in the movies elicited polarizing reactions. In 2002, he formed Peach Project, a group of film composers, with JANG Yeong-kyu, BANG Jun-seok, and LEE Byeong-hoon. Most notable among his many credits are KIM Jee-woon’s <A Bittersweet Life> (2004), for which he won Best Music at the Sitges Film Festival, NA Hong-jin’s <The Yellow Sea> (2010) and <THE WAILING> (2016), CHOI Dong-hoon’s <The Thieves> (2012), and Hong Sangsoo’s <Claire’s Camera> (2016) and <Hotel by the River> (2018). His music work on LEE Hae-young’s <Believer> (2017) earned him Best Music from the Korean Film Producers Association and the Blue Dragon Awards, and was also named Best OST at the Jecheon International Music & Film Festival.
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