Do I like K-pop? Well, I can respond – on behalf of many of my K-obsessed comrades – by saying that this is a much broader question than you think. That’s like asking me if I like rock music, pop music, R&B, or alternative indie-infused bongo playing. What I mean is that K-Pop is often wrongly perceived as a singular musical genre . Enjoying ‘K-Pop’ can be stigmatised, often treated as a fad or the mere obsession of listeners termed ‘Koreaboos’ (yes, even being a fan of the bongo genres will subject you to less social shame). Yet this South Korean phenomenon should be taken seriously and recognised for its potential to produce critically-acclaimed music.
First of all, what actually is K-pop? Wikipedia calls it “a genre of popular music originating in South Korea”. That’s it. Popular music. Pop music from South Korea. There doesn’t seem to be a stigma attached to enjoying western pop music, but K-pop? Different story. Of course, we have already seen that ‘K-pop’ is defined in an all-encompassing manner – in other words, it refers to literally any popular music originating from South Korea. Yet I, like many Western folk, had a restricted impression of what this expanding industry was, before familiarising myself with its many nooks and crannies: bubblegum pop bops with earworm-like hooks, aurally heightened by electronic beats, glitch-y autotune and cheesy synths. Visually accompanied by ‘idols’ (as K-pop artists are dubbed) wearing sexually provocative outfits, their hair dyed multiple colours, and performing synchronized dance routines. Indeed, when I was but a K-pop novice back in 2012, I was transported to this alternate universe for the first time with the viral hit ‘Gangnam Style’ by PSY – a pop-rap banger, with its catchy quality and amusing choreography soon blossoming into a worldwide phenomenon. The larger-than-life (and seemingly nonsensical) visuals of its music video partly lead to it becoming the first YouTube video to hit a billion views. I based my limited understanding of K-pop on this one global hit for about five years. Of course, some K-pop songs do conform to the stereotypes that I have outlined above, and yes, K-pop fans may be known for their obsession with this seemingly manufactured industry that produces “trashy” and “over-the-top” music (direct quotations from people I know). Yet with hundreds of active musicians, past and present, is it not fair to assume that there may be some diversity in this field?
Some of you may be familiar with the boy group Big Bang, a dynamic quintet who have frequently been labelled “The Kings of K-pop”, and who have contributed hugely to the rise of K-pop and the Korean Wave in the West. (See featured image!) According to American news channel CNN, “Big Bang have been praised for their individuality and ability to fuse a pop sound with rap, R&B and dance elements”. It is interesting to consider how K-pop is continually undermined as an industry that releases material that “all sounds the same”, while these reigning K-pop veterans are praised for their diverse sound.
The challenging, synchronised choreography that K-pop stars showcase is the result of hours of practise that they endure endlessly. Renowned as being a notoriously perfectionist industry, many idols spend several years as ‘trainees’, preparing for the ‘debut’ on the worldwide stage – as soloists or, more commonly, as groups. Group members live together in dorms for the duration of their career. Their increased time together develops a chemistry that appeals to the audience as much as their magnetic stage presence. Therefore, it seems slightly insulting that all K-pop acts remain strongly affiliated with a single impression of pop music – which for the record (pun completely intended) only resembles a handful of K-pop tracks.
Furthermore, taking a look at several ‘K-pop’ acts can demonstrate how diverse the talent is that South Korea can offer – far from our preconceived notions of a genre spewing out unoriginal and critically-panned music. Groups which have gained notable attention in the West include Girls’ Generation and Epik High, yet, the Western popularity of these groups, and their categorisation as ‘K-pop’ acts, are really all they share in common. Girls’ Generation may adhere more to traditional ‘K-pop’ conventions, with their style being described by media outlets like Pitchfork as “cutesy bubblegum pop”. However, they have received acclaim for their experimental use of EDM, dubstep and R&B. By contrast, Epik High are recognised less for complex dance routines and eye-catching visuals, and more for their alternative hip-hop style and lyrically-rich raps.
BTS is another Korean boy group who have been phenomenally successful in the West, garnering worldwide attention for their passionate pop releases with socially-conscious lyrics and catchy melodies. Their visually-exciting music videos propel an alternative universe storyline crafted by the septet themselves. Did I forget to mention their effortlessly smooth choreography and strong onstage energy? Okay, I need to stop myself from getting sidetracked. The point being, while BTS are increasingly esteemed for their exceptional creativity by Western musical organisations such as Billboard. BTS have released six studio albums, five compilation albums and five EPs over the course of their five-year career. Yet it is difficult to draw musical similarities between these works; their music has displayed stylistic development and diversity. Their earlier releases feature elements of hip-hop, R & B, and dance-pop. Later releases prove much more musically complex – they incorporate their previously-used hip-hop alongside genres like neo-soul, piano-rap, and even elements of gospel. Yet, this eclectic musical experimentation is still too often generalised as ‘K-pop’.
Perhaps the reason why being a K-pop fan can be likened to being enticed into some kind of mouse-trap is due to its growing success across the globe. It is slowly filtering into the Western mainstream, which is a sensational feat for non-English language music. Indeed, its wonderfully zig-zaggy sound may transcend the boundaries of the listener’s auditory comfort zone. I believe limited impressions can act like chains, confining many listeners and preventing them from experiencing something new and exciting. The aim of this article was not to force anybody to like K-pop. Rather, I wanted to awaken some to the reality that it is a more versatile industry than many believe. Additionally, it is providing real competition to non-Korean pop artists, as its unique sound encroaches upon Western territory. K-pop offers a multi-faceted array of musicians and therefore, a kaleidoscope of potential.
