The term samul originally comes from Korean Buddhism, where it referred to four instruments considered essential for ritual use in temples: the wooden fish, the temple bell, the dharma drum (법고; 法鼓; beopgo), and bronze drum unpan (운판; 雲板).

[1][2] In a later interview, Kim Duk-soo, the founder and artistic director of the group, claimed that the choice to adapt traditional music to indoor venues was due to political circumstances at the time.

During that time, large public gatherings were restricted, and Korean traditional music was associated with the student protest movement.

[1][4] The group received immediate critical and popular acclaim, especially amongst the urban youth, and by the 1980s became reportedly ubiquitously featured in prominent settings.

To this end, they collaborated with Korean shamans from around South Korea, and even trained with them in camps in order to learn the music.