Plus Magazine

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

The boy band TOMORROW X TOGETHER (TXT) has unveiled their latest album, [The Name Chapter: FREEFALL]. Among the diverse genres that adorn the album, the traces of rock leave the strongest impression. Their opening track, ‘Growing Pain,’ gives off an aggressive metal vibe, reminiscent of the girl group Dreamcatcher. The tracks in the latter half, ‘Skipping Stones’ and ‘Blue Spring,’ showcase the indie rock inclination of the composer HANRORO and the pop rock style reminiscent of Post Malone's [AUSTIN], respectively. TXT have already demonstrated an emo rock style in songs like ‘0X1=LOVESONG (I Know I Love You) (Feat. Seori)’ and ‘LO$ER=LO♡ER’. While this sonic direction aligns with their past releases, the heightened intensity of the genre in their new music was refreshingly surprising.

The widespread adoption of rock by prominent idol groups indicates its emerging trend in the K-POP market. Looking at various examples from 2022, we can clearly discern this trend. TAEYEON was at the forefront of this trend. Before the release of her [INVU] album, the pre-released single ‘Can’t Control Myself’ was a greyish pop rock track that emphasized a lyrical guitar tone. The music video, which features a tormented artist, radiates a strong emo genre aura. YENA also embraced this trend with tracks like ‘SMILEY (Feat. BIBI)’ and ‘SMARTPHONE’.

Among them, the most representative idol group is probably (G)I-DLE. The title track ‘TOMBOY’ from (G)I-DLE's first full-length album [I NEVER DIE], released in March 2023, drew attention with its raw electric guitar sound. The echoes of its success persisted with tracks like ‘Queencard’ and ‘Allergy’ from their 2023 album [I feel]. Pop-punk has now become a signature sound for (G)I-DLE.

There are several factors that have sparked the resurgence of rock in the K-pop market since 2022. The most obvious source is undoubtedly the United States, the largest popular music market. One of the defining characteristics of K-pop that allowed it to rise as a global culture was its quick adaptability. Reflecting this, many musicians for a while, both before and after the outbreak of COVID-19, borrowed from the synth-pop and disco styles that were popular in the US during the 1980s. Songs like The Weeknd's ‘Blinding Lights’ and Dua Lipa's ‘Don’t Start Now’ and ‘Levitating’ all showcased a noticeable retro vibe, influencing several subsequent K-POP tracks. This trend is evident in songs like SUNMI's ‘You can't sit with us’ and TWICE's ‘I CAN’T STOP ME’.

The American popular music scene began to undergo some changes. A notable shift was when Post Malone, originally a hip-hop artist, switched his direction with the rock-infused album [Hollywood’s Bleeding], even going so far as to feature legendary heavy metal icon Ozzy Osbourne. Following this, with the release of the [Tickets To My Downfall] album, rapper Machine Gun Kelly, wielding a guitar, embraced pop punk as his new direction. He led the charge alongside artists like YUNGBLUD, blackbear, and Willow Smith, who had all revived pop rock music from the 1990s to the early 2000s and gained significant media attention.
 

Among them, Olivia Rodrigo undoubtedly stands out as the central figure. Thanks to her 2021 [SOUR] album, which references female rock musicians popular in the 2000s pop punk scene, like Avril Lavigne and Paramore, and is combined with Y2K fashion, she achieved tremendous success. The unrelenting electric guitar riffs and melodic progressions in her opening track ‘brutal’ and the Billboard Hot 100 chart-topping ‘good 4 u’ have become elements that several K-POP musicians have looked to for benchmarking.

While overseas trends largely influence the direction, K-POP's receptivity to such shifts is also a testament to the evolving landscape of the Korean music scene. Historically, rock carved out its own niche in Korea, with the indie scene primarily centered in places like Hongdae in Seoul and Busan, home to several major bands. However, Korea was often considered a barren ground for rock, as these bands rarely managed to become mainstream and consistently rank on the music charts. There could be various reasons for this, but one prominent example is the perception that often equated heavy metal and rock. The image of these two genres, characterized by long-haired styles and vocals that emphasize high pitches, naturally kept a distance from the general public.

The initial wave of change was brought about by the power of broadcasting. The band HYUKOH, which had been steadily gaining recognition in the indie market, appeared in the 2015 music festival episode of the show . Of course, they were already a fairly popular team, but after the broadcast, their tracks ‘Comes And Goes’ from the EP [22] and ‘Wi Ing Wi Ing’ from their debut EP [20] ranked high on music charts. This ability to leave a mark not just among enthusiasts but also with the general public can be attributed to their appearance on the show.

The band that picked up the baton to integrate rock into the mainstream was JANNIBI. Their title track ‘For Lovers Who Hesitate’ from their second full album [Legend], released in 2019, skyrocketed in popularity and secured its place as a hit song. Along with it, their existing songs, including ‘Summer,’ also landed in the top ranks of the music charts. It was a moment that bridged the gap between the general public and rock music.
 

While HYUKOH's rise showcased the merging of niche and mainstream tastes, JANNIBI's success is significant in that it thoroughly dispelled the often cold and challenging impression associated with rock. By producing music that absorbed the grammar of soft and warm classic rock, they satisfied a broad range of tastes, substantially breaking down the psychological barriers towards rock and band music. Even recently, bands like SaeSoNeon and Silica Gel are making their mark beyond their niche fan base, easily capturing the attention of the broader public.

Of course, the consistent efforts of idol bands positioned on the opposite end cannot be ignored. From their inception, idol music consistently faced criticism as being mere “commercial music”. As a result, teams that adopted the band format, like FTISLAND and CNBLUE, were inevitably met with criticism from rock enthusiasts. Moreover, the fact that they often had to lip-sync instead of playing live due to time constraints on various music shows, which were the main stages for idol groups at the time, only added fuel to the fire of the ‘authenticity’ debate.

Time brought patience, which in turn granted freedom to the bands. As the idol bands accumulated years of experience, they began to operate with less interference from their agencies, reflecting their unique artistic tendencies. Furthermore, by focusing more on actual live concerts than TV performances, they dispelled the notion that they were merely using the band format for show. Bands like N.Flying, who made a reverse run on music charts with ‘Rooftop,’ and DAY6, who established a solid fan base by singing their original songs, are no longer exceptions but have become the norm. The outcome was more significant performances. Idol bands are now frequently featured alongside indie bands in the lineup of domestic rock festivals, which once were considered exclusive domains of the indie scene. This confirms that rock has returned as a genre of popular music enjoyed by many, rather than being perceived as monotonous or a challenging taste understood by only a few.

Of course, debates are inevitable. Most idol groups inevitably have to adopt the vision presented by their agencies, often without even showcasing instrument playing on stage. Performing punk rock music, which fundamentally emphasizes resistance against major record labels and highlights a DIY spirit, might seem contradictory at first glance.

At its core, discussions about authenticity are age-old and widespread. It's intriguing how a genre's reach often expands when major stars adopt its image, even if only on the surface. While some might dismiss the current trend as mere posturing, the impact is undeniable. But regardless of whether you approve or disapprove, one thing is clear: rock is gradually becoming ‘cool’ again.
 

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