One of the most interesting things about DPR is their ability to cross independent music with mainstream Hallyu. This collaboration between DPR’s LIVE, Loco and Jay Park is one that will send you flying! Released as the third track to his debut EP “Coming To You Live” released on 15th March 2017, LIVE gives us the MV for his track ‘Right Here Right Now’, an MV that send goosebumps up your spine.
Unlike ‘Laputa’, the MV for ‘Right Here Right Now’ plays on a lot of symbolism: the constant return back to the statue of a Spartan warrior, black cats, books, gambling, smoke and fire in particular. All these images—whilst individually seemingly harmless—convey something tantalising, forbidden, magnetic, and bewitching when put together with the scenes of the beautiful and stunning female protagonist. Whatever her story is, it’s one that we are immediately interested by.
Interestingly, most of the MV has been produced as black-and-white, except for when it draws our ears to something: whether it’s the empty painting frames, fire, or the yellowed cards, our sense of colour—that was so powerful in ‘Laputa’—has been totally reserved to give us a very different feel. It’s an incredibly enigmatic and mysterious setting, and one that we can’t entirely get our heads around.
Notable appearances are of course by Loco and Jay Park in particular, who enters halfway through the MV and completely stops the course of events, bringing us to focus on LIVE, himself, and of course the mysterious female lead. It’s an interestingly constructed MV that is not as jarring as you might think, despite all the twists and turns we go through. Whatever they want to do ‘right here right now’, they’re obviously not going to go according to their plans given the gun pointed at us at the end of the MV!
‘Right Here Right Now’ is stunningly filmed: it’s incredibly beautiful but also beautiful in a more developed and sophisticated sense. We don’t get a single scene that we’re attached to but that’s precisely what makes us so attached: we want to hold onto at least one scene to root ourselves to the track and setting, but it’s impossible. When we—as a species—latch onto experience through colour, a monochrome is incredibly jarring. But what the MV triggers in us as an audience is the desire to find at least something familiar and tenable, to help us make sense of it. It’s a wonderfully crafted MV and one that deserves a lot of credit. Well done, DPR!
Review written by Tariq