Min-Kyung Lee, a current singer-songwriter, delves into the world of music from an artist's perspective, analyzing hidden meanings and behind-the-scenes stories.
While the group KATSEYE is expanding its presence in the United States, it has yet to make a significant impact in South Korea. Industry experts view this as a prime example of the 'K-pop system' creating influential idols in Western markets, independent of domestic success.
KATSEYE's 'Gnarly' debuted at number 92 on the Billboard HOT 100 chart on the 13th (local time). However, it has not achieved notable success in South Korea, failing to enter the TOP 100 chart on the domestic music site Melon. As of 3 PM on the 15th, it ranked 45th on the HOT 100 chart for songs released within 100 days. Considering that KATSEYE is produced by the major entertainment company HYBE, this is a disappointing result.
Industry insiders attribute the differing reactions to 'Gnarly's' complex musical style. The song's vocal melody features minimal pitch variation, focusing on rhythmically spoken rap. The melody flows seamlessly without significant changes between the chorus and other parts, repeating phrases like 'Gnarly' throughout.
The arrangement is also challenging for domestic audiences accustomed to K-pop. Typically, K-pop songs are divided into sections of 4, 8, or 16 bars. For example, the 'verse' might be 8 bars, followed by an 8-bar 'pre-chorus.'
In 'Gnarly,' the verse is split into two parts, with part 1 being 8 bars and part 2 only 6 bars. This unconventional structure, combined with the unusual time signature, can feel perplexing to Korean pop fans. The experimental arrangement is more familiar to Western audiences who enjoy intense hip-hop music.
'Gnarly' shares the hyper-pop genre with aespa's 'Savage,' evoking a similar vibe. Both songs use distorted bass and snare sounds reminiscent of tin cans. However, 'Gnarly' and 'Savage' differ significantly in structure. 'Savage' clearly distinguishes between the chorus and other parts, with varied arrangements enhancing the contrast.
In 'Savage,' aespa member Karina's rap part features distinct pitch and rhythm divisions, unlike the fluid rap in 'Gnarly.' The song uses diverse melodies across octaves to captivate listeners, with a catchy chorus that enhances its appeal. These characteristics allowed 'Savage' to maintain the top spot on Melon's main chart for an extended period.
KATSEYE's lack of domestic success is also attributed to member Lara's coming out. While Western audiences are generally supportive of LGBTQ+ identities, this event may have widened the psychological gap between KATSEYE and the Korean public.
The group's powerful performances, rare for a girl group, also polarize fans. In the comments of KATSEYE's YouTube music video, one international fan noted, "Regardless of the song, the performance stands out." Another commented, "The lyrics lack substance, but the choreography is impressive." In contrast, such performances are unfamiliar to many in South Korea.
There have been successful cases of K-pop artists localizing in Asian countries, such as NCT WISH and NiziU in Japan, and WayV in China. However, KATSEYE is the only group targeting the Western market to enter the Billboard HOT 100 chart. Other groups like VCHA have attempted Western localization but have not succeeded.
KATSEYE's case suggests that K-pop is no longer exclusive to Korea. Industry insiders agree, "K-pop is a system developed in Korea, targeting markets not only in Asia but also in the West."
Min-Kyung Lee, TenAsia Reporter 2min_ror@tenasia.co.kr