BASEMENTZEROFLOOR Drift Between Weight and Absence on Laplace
From Daegu, South Korea, BASEMENTZEROFLOOR, often stylised as 비제로, unveil Laplace, their first full-length album released on January 16, 2026. Sitting at the intersection of punk rock, shoegaze, post-rock, and indie, the record establishes the band as a quietly compelling presence within Korea’s alternative underground, blending intensity and introspection with a strong sense of atmosphere.
The name BASEMENTZEROFLOOR itself suggests a liminal state, neither fully grounded nor entirely elevated, and Laplace inhabits that space with intention. The album unfolds like a meditation on impermanence, examining what fades and what endures as time moves forward. Rather than offering direct answers, the record lingers in emotional in-betweens, where light and solitude coexist and meaning emerges slowly.
Sonically, Laplace leans heavily into shoegaze and post-rock textures. Guitars stretch and shimmer, forming hypnotic layers that ebb and flow across the album. These moments of softness are frequently interrupted by surges of energy, where punk and post-punk impulses push through the haze, adding urgency and friction. The band’s strength lies in this dynamic control, allowing songs to transition naturally from restraint to release without losing cohesion.
The album carries a strong introspective tone. Melodies feel suspended, vocals drift between presence and distance, and arrangements leave space for emotion to settle rather than overwhelm. There is a sense of patience throughout Laplace, as if the band are less concerned with immediacy than with immersion, inviting listeners to stay within the sound rather than chase peaks.
BASEMENTZEROFLOOR operate as a five-piece. JOTAC handles guitar and vocals, SEOHYUN anchors the drums, POLAR YUN provides bass, and YUJIN contributes vocals, while an additional layer is brought in by synthesizer member 녹광 (nk). This expanded lineup adds further depth to the band’s emotional and sonic palette, with the synth textures subtly enriching the atmosphere and reinforcing the album’s sense of suspension and space. Instrumentally, the rhythm section remains grounded and deliberate, anchoring the more expansive guitar and synth work and ensuring the album never drifts into abstraction.
Laplace builds on foundations laid by earlier releases, including the 2025 single or EP 일렁일렁 and the standalone track HI, released in April of that year. Those works hinted at the band’s ability to balance atmosphere with structure, and the album expands that vision across a longer format. What once felt exploratory now feels considered, as if the band have settled into their identity without closing off future possibilities.
Beyond recordings, BASEMENTZEROFLOOR are active within their local scene. Showcases in Daegu and other cities, along with physical releases and merchandise, underline a commitment to live performance and community building. Online videos and audio releases, including HI on YouTube, further document a band steadily shaping their presence both onstage and online.
Within the broader shoegaze and post-rock landscape, Laplace stands out for its emotional clarity and restraint. It does not rely on excess or volume alone, instead trusting texture, repetition, and gradual movement to convey meaning. The album feels contemplative rather than dramatic, but never static, constantly shifting between softness and force.
As a debut full-length, Laplace feels assured and purposeful. It captures BASEMENTZEROFLOOR at a moment of definition, presenting a band attentive to time, memory, and emotional residue. The record does not demand attention loudly, but it rewards those willing to sink into its layers, offering a sound that lingers quietly long after it ends.
© Thusblog
