J: 經歷十多年的音樂發行、製作以及臺北與柏林的活動策劃經驗後，我最近開始經營黑膠音樂聆聽空間。音樂在我生活中一直扮演著核心角色，帶來了無數快樂與各種不確定性。我很好奇你的「聆聽旅程」，以及你對電子音樂和廠牌經營的看法。
Jongmin Lee: 首先，聽到你的職業經歷我感到非常興奮。我們一直期待與東亞音樂場景充滿熱情、 活力且專業的朋友合作。我的旅程始於中學，當時我對音樂充滿興趣，並立志成為一名唱片藏家和創作人。20歲之後，我參與過幾組搖滾樂團。2006年退伍後，開始接觸DJ和電子音樂。接下來十年，我在國內外都獲得不錯且寶貴的經驗，最終促成我創立廠牌。2016年，我開始Oslated計劃，這是我信念和願景的延展與實踐。雖說我幾乎是獨自經營，但沒有一起合作的設計師、工程師、藝術家、與其他朋友夥伴，以及支持者的熱情，我想這一切都無法實現。他們是Oslated的支柱，我對他們深表感謝。
J: Oslated的DJ混音系列近年深具影響。你如何選擇藝術家和DJ?
Jongmin Lee: 創立廠牌並策劃DJ podcast近十年，我意識到有些特質比DJ的音樂性更為重要，例如互相尊重、維持禮節以及相互信任。雖然我可以承認一些缺乏禮貌和無視規則的人是「DJ」，但我無法認同他們擁有真正的「靈魂」。
J: 作為亞洲電子音樂的倡導者，你如何看待韓國與亞洲音樂人在全球電子音樂場景中的角色和潛力?你對亞洲或韓國獨立電子音樂場景的發展有什麼觀察?
Jongmin Lee: 說實話，我不再想過多地關注音樂人的「角色」或「潛力」。近年的體悟是，廠牌最美的狀態，就是「作個純粹的廠牌」，而不帶有多餘的期待。「潛力」是一個很美好想法，但如果幾十年來都只停留在「潛力」的階段，那未必是一件好事。 我喜歡跟自重、且了解自我的創作者合作，這通常會使合作更加靈活且有意義。這並不意味他們必須很有名，那是一種不需多說便能感覺到的特質。音樂人要跳脫被動狀態，不須僅依賴夜店或舞廳。如果所有場地都消失，音樂人就會不存在嗎?疫情期間，我們看到這個問題的答案。我希望看到能獨立於夜店、舞廳之外的音樂創作者。我給他們的真心建議是：如果你認為自己是一位藝術家，或渴望成為一位藝術家，請拓展你的範疇，探索DJ以外的形式。
J: 你認為在數位時代唱片店還有更多發展空間嗎?
Jongmin Lee: 我認為音樂市場中不應對數位和實體格式有所區分。真正的音樂愛好者和藏家，會樂於支持並擁有音樂，無論是數位還是實體。這種觀點讓我認為，實體唱片店透過整合善用數位媒體，會有很大的成長空間。
J: 最近我一直在思考「離開城市(和人群)」的想法。你從首爾搬到濟州島是否反映生活觀念的轉變?這對廠牌的方向有影響嗎?
Jongmin Lee: 其實，我現在已不住在濟州島，而是居住在一個沒有夜店的內陸城市，但我們廠牌的總部仍設在濟州。我搬離首爾的決定源於想要遠離典型的場景，沉浸在全新的環境，讓自己成長、 創作，並重新連結更純粹的自我。多年來我一直很喜歡濟州島，曾造訪過無數次。廠牌駐場DJ S- Pill也是當地人，濟州自然而然是主要基地和創意總部。將廠牌搬到濟州島，我想也展現我們的適應性和靈活性。
J: 最後，從廠牌經營者的角度，你對新興的DJ和製作人有什麼建議和鼓勵?
Jongmin Lee: 不要追隨或沉迷於場景的動態——創造屬於你自己的動態氛圍。一位藝術家不應該害怕場景，而應該讓場景害怕。
J: With over a decade in music distribution, production, and event curation across Taipei and Berlin, I recently transitioned to creating a vinyl listening space. Music has been a central part of my life, bringing both joy and uncertainty. I'm curious about your "listening journey" and your views on electronic music and label management.
Jongmin Lee: First, let me say how thrilled I am to hear about your career. We are always open to collaborating with passionate, energetic, and professional individuals interested in the East Asian music scene. My own journey began in middle school when I first developed a deep interest in music, sparking my aspirations to become a collector and musician. After turning 20, I formed and joined several rock bands. Following my discharge from the army in 2006, I delved into DJing and electronic music projects. Over the next decade, I gained valuable experiences both locally and internationally, which eventually led to the founding of my label. The Oslated project, launched in 2016, is a natural outgrowth of my beliefs and vision.
While it wouldn't be an exaggeration to say that I manage the label independently, this journey wouldn't have been possible without the support of our exclusive designers, mastering engineers, artists, friends, partners, and, of course, our esteemed followers. Together, they are the backbone of Oslated, and I am deeply grateful for their contributions in helping me run the label here in South Korea.
J: The guest DJ mix series by Oslated has gained considerable popularity. What is your approach to selecting artists and DJs for these mixes?
Jongmin Lee: After founding the label and curating DJ podcasts for nearly a decade, I’ve come to realize that there are qualities more important than a DJ's musicality—qualities like respectful etiquette, maintaining order, and mutual trust. While I can acknowledge those who lack manners and disregard systems as "DJs," I cannot recognize them as having true "soul."
J: As an advocate for Asian electronic music, how do you view the role and potential of Korean and Asian musicians in the global electronic music scene, and what are your observations on the development of the independent electronic music scene in Asia or Korea?
Jongmin Lee: To be honest, I prefer not to focus too much on the "role" or "potential" of musicians anymore. I’ve realized that a label is most beautiful when it simply exists as a label, without unnecessary expectations. While "potential" is a lovely word, decades of potential without realization isn’t necessarily a good thing.
I value musicians who have a well-organized sense of self, as it makes collaborations more flexible and meaningful. By this, I don’t mean they have to be well-known; it’s something you can sense without needing explanation. Musicians need to move beyond passivity and stop relying solely on clubs. Do you believe that if all venues disappeared, musicians would cease to exist? We saw a glimpse of this during the pandemic.
I hope for artists who can stand on their own, independent of club reliance. My key message to them is this: if you see yourself as an artist or aspire to be one, broaden your range and explore formats beyond just DJing.
J: In the digital age, do you think record stores have more room to evolve?
Jongmin Lee: I believe there shouldn't be a strict distinction between digital and physical formats in the music market. True music lovers and collectors will gladly support and own music, whether in digital or physical form. This perspective leads me to think that physical record stores have significant potential for growth by actively integrating and utilizing digital media.
J: Recently, I've been reflecting on the idea of "leaving the city (and crowds)." Does your move from Seoul to Jeju Island reflect a shift in your life perspective? Has it influenced your label's direction?
Jongmin Lee: Actually, I don’t live on Jeju Island anymore—I now reside in a quiet inland city with no clubs, though our label’s base remains in Jeju. My decision to leave Seoul was driven by a desire to step away from the typical scene and immerse myself in a new environment where I could grow, create, and reconnect with a purer version of myself.
I’ve loved Jeju Island for years and visited it countless times. Our resident DJ, S-Pill, is also a local there, so it naturally became our main base and creative camp. Relocating the label's base to Jeju Island has highlighted how adaptable and flexible our operations can be.
J: Lastly, from a label owner’s perspective, what advice and encouragement would you give to emerging DJs and producers?
Jongmin Lee: Don’t follow or obsess over the movements of the scene—create your own movement and vibe. An artist shouldn’t fear the scene; the scene should fear the artist.
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