Plus Magazine

| Written by Han Seong Hyun (Editor for the music webzine IZM)

In a time when everyone is expected to show off their individuality, K-pop is no exception. This is especially true now that the so-called “4th generation” girl groups have arrived. From ITZY, who shout “Dalla(Different)” from others, and cyber warriors aespa leading the way, to IVE, who thoroughly sing about themselves, LE SSERAFIM with fierce ambitions, and NMIXX, who are at the forefront of K-pop music production with the title ‘MIXX POP’. In an era where every group claims to be an “alternative” to the existing idol trend, being “different” has ironically become the mainstream.

Considering the size of the Korean music market and the inherently commercial orientation that K-pop must inevitably adopt, it may seem that the K-pop ecosystem and the keyword “non-mainstream” cannot coexist. However, there have been groups in K-pop that have taken the non-mainstream route, whether intentionally or unintentionally, and a consumer base that has consistently shown special love for them has always existed. This unique phenomenon can be summed up in one word: “Hipster.”

The term “hipster,” referring to those who reject uniform trends and seek to build their own unique taste, was widely used in Korea in the early to mid-2010s after its introduction. Hipsters, who sought slightly different and unique content, were soon considered synonymous with indie culture. However, as even rare tastes inevitably accumulate and become mainstream, hipsters turned their attention back to K-pop. “Disliking mainstream has become mainstream itself.” Admitting to genuinely enjoying K-pop idol music, which is almost synonymous with mainstream, has become a means to be considered an “authentic” hipster, a level above the rest.

It’s not to say that their taste was entirely false. On the flip side of musical pretension, there were genuine innovation and expansion in K-pop. SM Entertainment’s f(x) was a prime example. Of course, there were consistently groups like YG Entertainment’s 2NE1 and Cube Entertainment’s 4minute that tried to shed the conventional colors of girl groups. However, f(x) maintained a proper level of the typical girl image while actively seeking a fusion with electronic genres in their music, pursuing unique and sometimes radical sounds.

Gradually gaining attention from critics with [NU ABO](2010), [Pinocchio](2011), and [Electric Shock](2012), f(x) successfully changed the paradigm of girl groups with their 2013 album [Pink Tape]. They managed to gain substantial support even from critics who always preferred singer-songwriters and auteurism and looked down on commercially-produced idol music made under a strict division of labor. This marked an important turning point, proving that albums in the K-pop idol market could achieve excellent results.

The influence of f(x) extended to subsequent girl groups like Red Velvet. Although the genre shifted from electronic to R&B, the spirit of not hesitating to experiment with music remained intact. Their songs ‘’Ice Cream Cake,’ ‘Automatic,’and the album [Perfect Velvet] were appealing enough to attract hipsters who didn’t want to consume idol culture in a conventional way. The girl group NewJeans, created by the same producer, has also gained popularity with minimalistic music, collaborating with hip-hop producers like 250 and FRNK. This follows the same logic, leading to numerous self-produced remixes by fans today.

Unlike girl groups from large-scale labels that debut with a certain level of guaranteed success, even smaller labels without any assurances have actively embraced the forefront of such musical experimentation. As a result, since 2015, the K-pop landscape has become significantly more intriguing. A prime example of this is the girl group OH MY GIRL. Debuting in 2015 with the catchy drum rhythm of ‘CUPID,’ they unexpectedly released the poetic and dreamy track ‘CLOSER’ in the same year, showing promising signs. Collaborating with overseas songwriters allowed the song to absorb the ethereal vibes of Nordic pop, thereby proving that even girl groups from smaller labels can effectively embody an alternative model.

OH MY GIRL’s pursuit never ceased. ‘LIAR LIAR,’ which incorporated a sparkling tone of synthesizers and a cheerleader-like chorus, transplanted the atmosphere of 2010s indie pop into K-pop with an unpredictable beat progression, defying easy predictions. In the title track of their repackaged album, ‘WINDY DAY,’ they delivered a powerful impact by suddenly adding an Indian musical vibe to the swaying vocals within the song.

With their active embrace of the tropical house trend in ‘Nonstop,’ they garnered significant attention from the mainstream audience. However, since then, OH MY GIRL’s unique qualities have become somewhat blurred. Nevertheless, with the comeback of the unit OH MY GIRL BANHANA, they showcased unique storytelling in songs like [Banana Allergy Monkey] and presented dynamic synth-pop in ‘Remember Me,’ as well as an acoustic guitar-infused sound in ‘Dolphin’. The diverse range of music that adorned their career established them as one of the most intriguing teams in K-pop history.

There are girl groups like Dreamcatcher who have built their unique character by actively venturing into niche markets from the beginning. Unlike other groups that typically present electronic-based music, Dreamcatcher attracted attention by putting rock and metal genres, which are not easily attempted in Korea, at the forefront. Although their music did not gain significant popularity in the domestic mainstream, they successfully captured the interest of Japanese rock music enthusiasts, including Babymetal, and secured a strong fan base, thanks to their solid consumer base. Their dark and distinctive concept allowed them to form a larger fandom in the international market rather than domestically. This pioneering case demonstrates that the popularity of idol groups can expand globally, independent of their domestic success, as they gain greater recognition on the global stage.

The girl group LADIES’ CODE evoked a profound resonance by combining their own narrative with their music. They initially debuted as a five-member group, rapidly gaining recognition. However, due to a tragic accident, they had to reorganize as a three-member group. Upon their comeback in 2016, instead of immediately reverting to the typical idol concept, they took a unique direction with their image. The title track ‘Galaxy’ from [MYST3RY], which was the first puzzle piece of the unfinished ‘Healing Trilogy,’ presented a remarkably bold approach and an unexpected exemplary solution for a group facing adversity by adopting a highly uncommon jazz genre in the idol market.

The lyrics of the song ‘Jane Doe’ from their follow-up album [STRANG3R] are particularly impressive. The lyrics include the lines, “I’m crooked in your standards / I’m like a dotted line, I’m nothing, nothing / If I’m that kind of existence that can’t fit in anywhere with anyone/Will you pretend you didn’t see?” These lines perfectly express the contradictory psychology of an idol group that relies on the love of the masses while choosing a path that is distant from the preferences of many. These lyrics can also be seen as representing their role as an alternative girl group.

The inherent nature of idol groups, who must dream of mainstream success, but at the same time strive to be different from others, led to the explosive emergence of the girl group LOONA. Their somewhat perplexing concept of revealing members sequentially every month along with solo singles, combining them into units, and ultimately debuting as a full team garnered significant attention from the start.

Music has captivated people’s curiosity. The second unit of LOONA, ODD EYE CIRCLE, consisting of Kim Lip, JinSoul, and Choerry, received consistent praise for their EP [Mix & Match] and its repackaged version [Max & Match], along with Eve’s solo single ‘new,’ which bears resemblance to CHVRCHES’ synth-pop, and the full group song ‘Butterfly’. They have emerged as the new muses for hipsters, garnering positive evaluations. It is already well-known that LOONA’s albums have achieved remarkably high scores on Rate Your Music, a renowned music evaluation site among the hipster community.

Their own universe played a significant role as well. They brought forth the complex universe, storytelling, various symbols, and imagery that were once considered exclusive to male groups like EXO, enabling the formation of a steadfast international fandom. LOONA gained substantial popularity in Europe, including reaching the 2nd spot on the US iTunes chart. They became a group that was “discovered overseas before gaining recognition domestically”. The ‘Stan LOONA’ meme, which encourages fans, particularly within the LGBTQ+ fandom, to become passionate supporters, is even mentioned in the group’s Apple Music artist bio.

Following the temporary suspension of LOONA’s activities due to various issues, producer Jaden Jeongembarked on creating a new group, tripleS, to continue their legacy. With an enormous number of members gradually being revealed, reaching up to 24 individuals, constantly changing unit formations, NFT photo cards, and a system for fans to vote on title tracks, the unconventional planning appears to deviate far from the primary goal of commercial viability, bordering on ‘idealism’ within the realm of K-pop. However, despite the structural differences, their music itself actively embraces a mainstream-friendly style. The subject matter is highly relatable, revolving around everyday themes such as smartphones and social media. This intricate strategy, which serves as a form of irony and lowers accessibility barriers, positions tripleS as the most “alternative” girl group.

In a competitive society where not everyone can succeed, and especially within the K-pop market where these characteristics are intensified, the existence of alternative girl groups like this captures attention while also generating concerns. From the perspective of observers and consumers, it may be an intriguing subject, but for the individuals involved, it represents a tremendous adventure. Succeeding without the fundamental driving force and prerequisite of popularity, which is the cornerstone and essential condition for maintaining the sustainability of K-pop artists, is an extremely challenging task.

However, upon reflection, the reason K-pop is so beloved and has developed a unique culture lies ultimately in its diversity. In an era where building massive fandoms has become the basic strategy, alternative girl groups, like FIFTY FIFTY, which unexpectedly climbed the Billboard Hot 100 chart through short-form viral phenomena, are challenging the blockbuster conglomerates that prioritize massive capital investment. While short-term success may be difficult, numerous alternative girl group models continue to accumulate steady progress, serving as a vital force in the K-pop industry. No one can guarantee the future, but the reason why we must consistently keep an eye on K-pop is precisely because we dream of exciting changes that will occur someday.

※ Manuscripts from outside writers may not reflect the editorial direction of this magazine.