This is the pitchfork review. I'm Pooja Patel, the editor-in-chief, and today we're talking about Yeji, an artist known for her electronic production and bringing her Korean and American worlds together.

After releasing a few EPs and a mixtape, she is finally out with her debut album called With a Hammer. And it's very personal, overflowing

with reflections on rage, suppressed emotions, and declarations of solidarity. And today, I'm

joined by Associate Editor Kat Zeng and contributing writer Julianne Escobedo Shepard to get into

all of it. Hello, friends.

Hey, hey.

Hi.

Are we armed with our hammers?

Yes.

I feel like Julianne and I were talking right before this, and we got exceedingly angry

about colonialism before entering this podcast recording.

So she and I most certainly are. Yeah, we were typing in all cap. right before entering this podcast recording.

So she and I most certainly are.

Yeah, we were typing in all caps, enraging.

So speaking of rage, which is a kind of subtle central theme of this record, Kat, I know that you recently went to a rage room with Yeiji. It's true.

But first I kind of want to talk about how Yeji has been considered musically, and like,

she has become kind of this poster child of a young club girl and, like, a DJ as much as she is a recording artist. And I think that part of that

is because her two biggest songs are like kind of clubby anthems, Rain Girl and the cover that

she did of Drake's Passion Fruit. But those aren't actually representative of her work. Kat,

can you kind of give us the background, the lowdown on Yeji

and what she's been up to? So Yiji had a really migratory childhood. She sort of circled around

Queens, Atlanta. She spent some time in Seoul. And as a result, as a child, she was really

...