HYBE's Girl Groups Face Criticism for Similar Musical Structures

Under the HYBE label, girl groups KATSEYE, LE SSERAFIM, and ILLIT have all released new songs in recent months. Interestingly, these tracks share similar musical structures, leading K-pop fans to comment on their resemblance. Critics argue that while HYBE's formula for musical success is evident, it lacks differentiation among its artists.

An analysis by our publication on the latest releases from these three HYBE girl groups reveals a common formula: an 'anti-drop' chorus structure, chant-focused hooks, and techno-pop production.

KATSEYE's 'Pinky Up,' released on April 9, features aggressive techno drum sounds with intense percussion and bass, combined with vibrant synth textures. The distorted club production oscillates between sophistication and sharpness, evoking an after-party warehouse vibe. The lyrics convey a rebellious take on female friendship, emphasizing living freely in the moment.

This approach isn't entirely new for KATSEYE. Their previous track 'GNARLY' showcased glitch elements and high energy, marking a new chapter for the group and proving their global appeal. However, compared to earlier tracks like 'Debut' or 'Touch,' which focused on vocal prowess, the six-member group's latest direction signifies a clear musical turning point.

The issue arises as this formula becomes prominent in LE SSERAFIM and ILLIT, who have been building their unique concepts. LE SSERAFIM's pre-release track 'Celebration,' unveiled on the 24th, employs repetitive hooks and dramatic drops influenced by melodic techno and hardstyle. The message of embracing fear and gaining strength aligns with the group's existing themes of 'self-love' and 'confidence.' However, compared to previous tracks like 'EASY' or 'ANTIFRAGILE,' the chant-focused structure feels somewhat empty and lacking.

ILLIT faced similar reactions. Known for their 'magical girl' identity through the success of 'Not Cute Anymore,' their new song 'It's Me,' released on April 30, surprised listeners with its unfamiliarity.

The track features techno-based sounds with repetitive structures and non-vocal-centric verses. The only showcase of vocal talent is in the pre-chorus, after which the song transitions into a chant-heavy chorus.

While this comeback could be seen as expanding ILLIT's musical spectrum, the timing of the release places them within the same structural trajectory as other HYBE girl groups. Consequently, ILLIT's unique 'magical' identity is diluted, and they are perceived as following a massive production trend.

The musical similarities among these three groups highlight the industry's shift from 'melody-centric' to 'vibe-centric.' Instead of explosive vocal choruses, the focus is on repetitive phrases and intuitive choreography aimed at virality. The goal is to create 'impactful moments' that are easily shared and monetized on social media, rather than delivering musical emotion to the audience.

This structure is amplified on short-form platforms like TikTok, Instagram Reels, and YouTube Shorts. Repetitive performance challenges spread quickly, capturing public attention. KATSEYE's 'GNARLY' notably reversed public opinion within three weeks through short-form content. As a result, the focus shifts from the artist's talent to the song's 'virality' or 'controversy.'

For groups with members possessing strong vocal abilities, this formula is concerning. Members like Huh Yunjin, Sofia LaFortesa, Park Minju, and Lara Laz have already proven their vocal prowess through live performances and cover songs. Fans love their voices, but the anti-drop structure replaces melodic pleasure with chants, limiting vocal utilization. This concern goes beyond genre preference, raising fears that skilled vocalists may lose their strengths by being engulfed in trends.

The most worrying aspect is that artists are losing their uniqueness. As the trend-focused formula repeats, fans may recognize a sound as 'HYBE sound' rather than associating it with a specific artist. This results in individual artist identities being overshadowed by the HYBE brand.

While this change may feel natural for KATSEYE, it poses a risk to LE SSERAFIM and ILLIT, who already have distinct identities. Artist experimentation should be encouraged, but excessive use of similar genres can lead to chart performance declines and weaken emotional connections with fans.

Additionally, if all HYBE groups start producing the same sound, they may lose listeners seeking different genres to competitors. The issue isn't the anti-drop techno-pop itself. However, when the 'formula' takes precedence over 'artist identity,' long-term fandom support may waver. Ultimately, the sustainability of K-pop depends on solid artist identities beyond trends.

Guzman Gonzalez Hannah, TenAsia Reporter hannahglez@tenasia.co.kr