Madmans Espirit is rapidly becoming a fan favorite in the visual kei scene. Initially a solo project of vocalist Kyuho, Madmans Esprit has evolved monumentally with guitarists Juho and Somyul, bassist Geon, and drummer Limu officially being recognized as part of the band.

With every new release, the Madmans Esprit explores new horizons. The latest album “Dandelion; Danjeol”, marks the first full release created as a collaborative unit. We had the opportunity to speak with all members about the creation of “Dandelion; Danjeol”, as well as catching up on their recent live activities.

: Vocalist Kyuho

: Guitarist Somyul

: Guitarist Juho

: Bassist Geon

: Drummer Limu

Congratulations on the release of “Dandelion; Danzetsu”. Previous Madmans Esprit projects were largely driven by Kyuho as a solo effort. How did the transition to a collaborative effort shape the new album?

Kyuho: First, I’d like to clarify that it’s “Danjeol”, not “Danzetsu”. Just because something is written in Hanja (Chinese characters) doesn’t mean it’s Japanese. Korea has a long history of using Hanja before Hangul was created; even until the 80s, it was common to use both, and today it’s still very standard to use Hanja for important events or artistic works. So, it’s correct to read it as “Danjeol”. Regarding the collaboration, every member’s touch and color were incorporated. Since it wasn’t just me working alone, we were able to develop areas I couldn’t have reached by myself.

Geon: I think the ideas stemming from our mutual influence on one another created a real synergy.

Somyul: Each of our individual playing styles is heavily reflected in this work.

How did each member’s influence show up in the final record?

Juho: I think our individual colors are clearly visible in the sound.

Limu: I feel like we are still in the process of “blending” together.

Kyuho: I think a song like “jangnimgwa kokkili” (장님과 코끼리) showcases this well. I originally wrote the guitar riff, but then Somyul suggested changing it in a certain way. From there, Limu arranged the basic drum rhythms, and Geon moved the bass lines around and layered them. Then Juho added clean guitar parts and various other elements on top of the established riff. If I had been alone, it would have been a completely different song, but Juho’s guitar playing gave it a whole new form. That song really highlights the influence of each member.

Geon: Instead of just sticking to our own styles, we focused on coordinating our directions while working together. I think that resulted in something more positive compared to when Kyuho recorded all the string instruments alone. I have a desire to exert even more influence in the future.

Beyond the collaborative approach, how does this album differ from your earlier releases?

Juho: Compared to the third album, this one feels a bit heavier and darker.

Limu: I think the “dynamics” of each member are what differentiate this from previous works.

Somyul: As an album, it has a darker vibe than the last one. I believe the members’ influences contributed to this outcome.

Geon: This album seems to have much more emotional depth and elements that provoke feelings.

Kyuho: Compared to the third album, which dealt with various emotions, this album has more overall unity and feels more “mature”. I think it’s an album that focuses much more on a “band sound” to express musical dynamics.

In what ways have you grown as a musician through the process of writing this album?

Juho: I started thinking more deeply about “touch”. I began to care more about how my touch harmonizes with other instruments and fits the overall atmosphere and emotion.

Limu: It was a process of melting into Madmans Esprit and thinking about what kind of performance best suits this band.

Kyuho: As a vocalist, there were parts I considered “weaknesses”, but this album had songs that were difficult to express without addressing those areas. I think I’ve grown as a vocalist because of that. I also learned how to harmonize our individual characters as band members.

Geon: It felt like I was forming my own identity. Before, I mostly played existing songs, so I didn’t notice my own subtle characteristics, even if others did. But through the creation process, I realized what I like and what I find cool. My worldview as a bassist and a performer has expanded, which I consider my greatest growth.

Somyul: While playing this music, I experienced a range of emotions that I wouldn’t normally encounter. That was a very new experience for me.

Did you experiment with any new techniques, tools, or approaches while writing or recording this album?

Kyuho: Honestly, we struggled the most with the guitar tone. Limu worked incredibly hard from the start to the end of drum recording, but we already knew what kit and cymbals to use—my goal was just to capture Limu’s natural drum sound.

But for the guitars, even before recording, I was constantly buying pedals and trying out different sounds. I bought a new amp, and we eventually got a new bass amp too. I used countless analog and digital effects, though we ended up returning to a very simple setup in the end. That process of finding the tone was a major experiment.

As for vocals, I approached it differently. In the past, I’d dedicate a whole day to one song, following the emotions from the first verse to the end. This time, due to time constraints and varying throat conditions, I had to be efficient. On days when my voice was good, I tackled the difficult parts; on days it wasn’t, I recorded less demanding sections. For guitars, we didn’t record everything in one place—some parts were recorded as DI and re-amped later. We tried a lot of new, efficient methods.

Were there any non-musical influences that helped shape this album?

Kyuho: There are many personal experiences first and foremost, but also figures like Vladimir Putin, Donald Trump, and Yoon Suk-yeol.

As for the title, it’s an interesting story. I originally just had “Danjeol” in mind. We used to call the song “Dandelion” by the working title “Chaos”. The change happened when the photographer, 寫眞館GELATIN, came to Korea for our jacket and profile shoot. When we all gathered in the studio to look at the photos, we saw that photo of the dandelion—the one that is now the cover—and everyone immediately knew, “This is it”. That dandelion photo left such a strong impact that it became both the song and album title.

“Dandelion; Danjeol” jacket

If you had to choose one track that best defines the album, which would it be, and why?

Limu: “Dandelion” Because of the emotional lines we hold and the performance power we vent out. It’s a song over 10 minutes long, but I personally feel we succeeded in telling the story so well that it doesn’t feel that long.

Kyuho: “Dandelion”, or perhaps “ije geuman jugja” (이제 그만 죽자). They aren’t the same story, but they share a similar kind of emotion. “Dandelion” is the long, drawn-out version of that feeling, while “Let’s Just Die Now” is the short version. They’re on the same “gradation”.

Geon: From my perspective, not just musically, I think “jangnimgwa kokkili” (장님과 코끼리) defines the album. It’s the song where all members’ colors were most present and the harmony was the strongest during the working process.

Somyul: I think the emotional line of the album is best represented in “insaengeun aleumdawo” (인생은 아름다워). It captures the band’s unique blend of melancholy and madness.

You toured Europe earlier this year. What was it like reconnecting with your international audience? Were there any fun or unique experiences?

Juho: The most moving moment for me was when it started snowing right after the final performance ended.

Limu: I made many mistakes during the Finland show and honestly just wanted to go home. I couldn’t sleep that night, apologizing to the members and resolving to do better. In the next show, I poured all my know-how into it and overcame it. I actually cried because I felt like I had surpassed my own limits.

Kyuho: We went back after a year, and I saw a fan who had come to the previous tour. They were teenagers then, but they had grown so much—they looked like a completely different person, almost an adult. It made me realize that a year is a long time in adolescence. It was a strange feeling to realize we are part of someone’s youth. Even though we aren’t friends, I recognized their faces instantly. Also, during the Romania show, I was watching Somyul’s guitar solo from behind. The lighting hit Somyul just right, and I suddenly burst into tears. I just kept crying while looking at Somyul’s back on stage.

Geon: When the music played after the show ended and the crowd sang along together… it was so moving. It made me realize, “This is why I’m here”.

Somyul: We brought a new system of gear for this tour. Actively utilizing that hardware and making it stable was a major stepping stone for the band’s growth.

You’ve performed with a range of visual kei acts, such as DAMNED, NETH PRIERE CAIN, DRUGS and Fukuro. How have those different touring experiences changed you or shaped your perspective?

Limu: I didn’t know much about visual kei, but seeing how professional they are made me respect them. It was also a chance to learn the exact definition of the genre.

Somyul: It’s a great opportunity to experience different cultures.

Juho: I feel a sense of accomplishment seeing the visual kei scene being formed.

Geon: In Korea, it’s hard to find bands that match our musicality, but in Japan, there are fans and bands we can share a stage with. It feels like we finally have “comrades”.

Kyuho: Basically, my feelings toward visual kei are a “love-hate” relationship. I was clearly influenced by bands like X JAPAN, hide, early LUNA SEA, and DIR EN GREY. But honestly, I think many modern, active visual kei bands are, for lack of a better word, “trash” compared to the ones I admired.

For a long time, I hesitated to call myself a visual kei musician because I didn’t want to be lumped in with them. To explain why, I have to talk about “idol culture.” It’s not that I hate the music or the people, but the profit model of idol culture is very distorted. It turns people into tools and objects, building “pseudo-romantic” relationships with fans to generate unhealthy amounts of profit. This approach has seeped into the band scene too. Listeners often consume band members as objects rather than respecting them as individuals, and some bands actively exploit this. Their music might be terrible, but they use these tactics under the “visual kei” tag. I didn’t want to be a part of that.

However, working with bands like DAMNED, NETH PRIERE CAIN, DRUGS, Fukuro, and MUMIMUNI, I met people who are truly sincere about their music. Even if they are part of that industry, they are struggling to avoid being consumed by it and to do what they want. This helped dissolve my prejudice. It gave me time to redefine what “visual” means to me and what kind of visual kei I want to pursue.

What do you have in store for fans as Madmans Esprit moves forward?

Limu: I’m working hard to lose weight. I’ve realized that the external look is part of being professional. I’m also trying to take better care of my mental state when performing.

Kyuho: I don’t really “do” things for the fans, so I don’t know.

Geon: I’m doing cardio so that I don’t have to cut back on performance due to a lack of physical stamina.

Somyul: I’m taking good care of my hair.

Thanks so much for your interview with us! Please leave a closing message.

All: Thank you so much for always supporting us and loving our music. We hope to be with you for a long, long time. Please enjoy the new album, “Dandelion; Danjeol” (Dandelion; 斷絕).

JROCK NEWS would like to thank Madmans Esprit and Killing Daze Management for this interview. To dive even deeper into Madmans Esprit’s latest album, check out our review, here.