(Big Hit Music)
Ending a hiatus that began in 2022, the septet recapture a distinctiveness that had been threatening to ebb away
The general consensus seems to be that as BTS’s commercial stock has gone stratospheric – more than 500m units sold worldwide, including over 104bn streams, making them the bestselling Asian act of all time – the actual music has become more and more irrelevant. Before taking their hiatus in 2022 to fulfil their mandatory military service in South Korea, their saccharine, English-language bops such as Dynamite and Butter – while gargantuan global hits – had smothered the K-pop-specific idiosyncrasies that peppered their earlier material. By 2020’s double whammy of Map of the Soul: 7 and Be, the band’s early years as a hip-hop-focused collective were a distant memory, and thanks to a more westernised sound and studio cast list, so was their identity as a Korean act.
On the eagerly anticipated Arirang – pointedly named after a Korean folk song dating back hundreds of years, and presented with the tagline “born in Korea, playing for the world” – the septet do their best to right those wrongs. Crucially, it manages to capture the K-pop spirit of experimentation while welding it to a litany of memorable hooks. And when western collaborators are brought in, they’re interestingly off-kilter, including outsider rapper-producer Jpegmafia, and producer El Guincho, known for his work with Björk and Rosalía.
Continue reading...
