Are the ‘90s already history?
October 25, 2015 11:53 AM Subscribe
This was an interesting article as I've been thinking about reading into K-Pop's history ever since I've first stumbled upon Seo Taiji and was slightly puzzled how a Korn knock-off was considered the grandfather of K-Pop.
(Admittedly the linked video is a bit unfair, as this happened eight years into the history of Seo Taiji (and Boys) and reflects more on the global trend of music at the time (namely nu metal) than what ultimately lead the way to modern K-Pop groups, but it's an interesting chapter nevertheless.)
Then again, this video illustrates my perspective on Korean pop music ever since it went pop: never completely existing as a thing in its own right, always depending on its American counterpart. By both assimilating parts of it and simultaneously detaching itself from it -- but always in relation to US pop music.
Which is why this statement doesn't quite fit to my personal experience with K-Pop: "There was a strange hybrid of American and Korean music that eventually established itself as Korea’s predominant pop (folk?) music. And now K-pop—post-Seo Taiji—is regarded as an actual Korean cultural product, one that can and should be exported."
- To me K-Pop is still this strange hybrid, which is one of the reasons why I like it. It's different but the same. It features a familiar sound (and quite sometimes the same American and Skandinavian producers and songwriters) but turns it into a thing in its own right through odd production choices and tropes inherent to K-Pop.
I guess what I wanted to say is, thank you for the linked article above and apologies my lengthy rant. ;)
posted by bigendian at 2:15 PM on October 25, 2015
(Admittedly the linked video is a bit unfair, as this happened eight years into the history of Seo Taiji (and Boys) and reflects more on the global trend of music at the time (namely nu metal) than what ultimately lead the way to modern K-Pop groups, but it's an interesting chapter nevertheless.)
Then again, this video illustrates my perspective on Korean pop music ever since it went pop: never completely existing as a thing in its own right, always depending on its American counterpart. By both assimilating parts of it and simultaneously detaching itself from it -- but always in relation to US pop music.
Which is why this statement doesn't quite fit to my personal experience with K-Pop: "There was a strange hybrid of American and Korean music that eventually established itself as Korea’s predominant pop (folk?) music. And now K-pop—post-Seo Taiji—is regarded as an actual Korean cultural product, one that can and should be exported."
- To me K-Pop is still this strange hybrid, which is one of the reasons why I like it. It's different but the same. It features a familiar sound (and quite sometimes the same American and Skandinavian producers and songwriters) but turns it into a thing in its own right through odd production choices and tropes inherent to K-Pop.
I guess what I wanted to say is, thank you for the linked article above and apologies my lengthy rant. ;)
posted by bigendian at 2:15 PM on October 25, 2015
was a sophomore when Nevermind came out in 1991. Led Zeppelin IV was 20 years old.
My kid is a high school sophomore. Nevermind is 24 years old.
As some anonymous bard in the 14th century wrote, "Yesterday's gone / yesterday's gone."
posted by clockzero at 2:19 PM on October 25, 2015 [4 favorites]
My kid is a high school sophomore. Nevermind is 24 years old.
As some anonymous bard in the 14th century wrote, "Yesterday's gone / yesterday's gone."
posted by clockzero at 2:19 PM on October 25, 2015 [4 favorites]
It is amazing though how every attempt to monetize K- or J- or whateverpop in the US always begins with a great blandening. It's like, "A small but extremely enthusiastic subset of the kids over there really like our stuff! They find our fashion and design fresh and different and our music a catchy alternative to their local mainstream! How can we take advantage of this?" "Well, first of all, we have to abandon everything that makes us unique and turn into a visual and musical clone of the Mickey Mouse Club ca 1996."
posted by No-sword at 5:06 PM on October 25, 2015
posted by No-sword at 5:06 PM on October 25, 2015
I love kpop, and find many of its best songs to be incredibly exciting takes on pop music, especially with beautiful melody structures. On the other hand, so much of it is terrible that it can be hard to find the good stuff sometimes (like most genres of music!) I have some recommendations below:
Infinite's The Chaser is one of my favorite songs, due to that funky bass guitar line and how it uses a Korean traditional instrument for its synth lines. Plus the arrangement and rap, along with the really elegant choreography is awesome.
SISTAR's Alone is a very fun take on sad nu disco, with a catchy as hell chorus. Great bass guitar line here as well.
SHINee's View is a super chill take on the UK Deep House trend.
posted by yueliang at 5:12 PM on October 25, 2015
Infinite's The Chaser is one of my favorite songs, due to that funky bass guitar line and how it uses a Korean traditional instrument for its synth lines. Plus the arrangement and rap, along with the really elegant choreography is awesome.
SISTAR's Alone is a very fun take on sad nu disco, with a catchy as hell chorus. Great bass guitar line here as well.
SHINee's View is a super chill take on the UK Deep House trend.
posted by yueliang at 5:12 PM on October 25, 2015
I think this mp3 I have for Sechs Kies is old enough to vote. Just sayin'.
posted by numaner at 5:37 PM on October 25, 2015
posted by numaner at 5:37 PM on October 25, 2015
It is amazing though how every attempt to monetize K- or J- or whateverpop in the US always begins with a great blandening.
Yeah, I think the article was quite right that Psy was successful because he bypassed this entirely (since Gangnam Style was a hit through YouTube rather than any specific American push).
I have vague hopes for CL's debut here, she should be a good fit in general, but it depends what direction they go. Unlike some of the previous attempts she does seem to be working with producers/singers who know what they are doing (and not pushing a Korean view of what Americans want, since she's being produced and working with mostly American musicians). (Although as a huge 2NE1 fan I'm a little mixed, especially if it makes it more likely we won't get more of Park Bom who is one of my favorite singers).
posted by thefoxgod at 6:02 PM on October 25, 2015
Yeah, I think the article was quite right that Psy was successful because he bypassed this entirely (since Gangnam Style was a hit through YouTube rather than any specific American push).
I have vague hopes for CL's debut here, she should be a good fit in general, but it depends what direction they go. Unlike some of the previous attempts she does seem to be working with producers/singers who know what they are doing (and not pushing a Korean view of what Americans want, since she's being produced and working with mostly American musicians). (Although as a huge 2NE1 fan I'm a little mixed, especially if it makes it more likely we won't get more of Park Bom who is one of my favorite singers).
posted by thefoxgod at 6:02 PM on October 25, 2015
All I know is one of our local broadcast subchannels carries KBS, and hence, on Sundays, Music Bank, which is an utter delight.
posted by y2karl at 7:54 AM on October 26, 2015
posted by y2karl at 7:54 AM on October 26, 2015
I'm quite enjoying f(x)'s latest, "4 Walls" - very Shibuya-kei in feel. To me f(x) has always felt an oddity among the SM Entertainment girl groups, having a more experimental sound to them than, say, labelmates Girls' Generation.
posted by needled at 4:25 PM on October 30, 2015
posted by needled at 4:25 PM on October 30, 2015
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My kid is a high school sophomore. Nevermind is 24 years old.
The 90s are ancient history.
posted by The Hamms Bear at 2:12 PM on October 25, 2015 [13 favorites]