If you were among the 265 million viewers who made Squid Game Netflix’s most-watched series so far, you were likely left mentally and aurally scarred by first season’s end, traumatised by the discordant whistle of a child’s recorder; the sheer banality of a primary school music room reimagined as a herald of human carnage.
That sound was the work of composer Jung Jae-il, whose career has been defined by this sort of strange and unsettling contradiction; he is a master in the art of subverting all that is musically familiar – recasting the naive, the genteel and the elegant into the chilling harbingers of horror.
