![]() Here are some of the biggest US songwriters and producers in K-pop right now:Ĭharm, Jonathan Yip, Ray Romulus and Jeremy Reeves of the Stereotypes. “We could’ve quit plenty of times … But we got the opportunity to go to Korea and they embraced us,” Yip told CNN.įrom Taeyang’s timeless “Eyes, Nose, Lips” to the latest BTS hit “ON,” these American songwriters and producers have brought their talents to help create the songs that we love. It’s tough to survive in this thing,” said Jonathan Yip of the production and songwriting team, The Stereotypes. “In this music industry, the highs are really high and the lows are really low. With K-pop being one of South Korea’s biggest exports ( BTS alone accounts for $4.65 billion of the nation’s GDP), entertainment companies are recruiting the best songwriters and producers to make their next hits, and many of them happen to be from the US.Īnd while these American producers and songwriters have worked with some of the biggest names in the States like Bruno Mars or Justin Bieber, many of them credit K-pop as their saving grace when they struggled to stay afloat in the US. These are extraordinary feats given the fact that the world didn’t even know about K-pop just ten years ago. Blackpink’s music video for “Kill This Love” racked up more than 56 million views on Youtube in the first 24 hours. Last year, a BTS concert at London’s Wembley stadium – which can hold 90,000 people – sold out in just 90 minutes. But within that small country, something revolutionary was born that has taken the world by storm – Korean pop, aka K-pop. The entire country, plus its northern neighbor, could fit inside Michigan. ![]() And after teasing it on ‘Pink Venom,’ Rosé finally enters her pop-rock era on the solo track ‘Hard to Love’, delivering heaps of angst and “fuck”s in abundance.Yes, South Korea is tiny. With a smooth, easy synth-pop sound, the song explores the apprehension and pain of falling in love again – much like how ‘Lovesick Girls’ turned heartbreak into a party. ‘Yeah Yeah Yeah’, for instance, is a neat callback to 2020’s ‘Lovesick Girls’ in more ways than one. Moments of uncharacteristic vulnerability, when they appear, endear us to the group. Thankfully, ‘Pink Venom’ isn’t wholly dominated by these materialistic lyrical tropes. ‘Typa Girl’, a slow hip-hop track oozing an attractive arrogance, expands on these themes, adding flexes about their “ stats” and not being like “ other girls”. ![]() On the second track and next single ‘Shut Down’, BLACKPINK mix trap and hip-hop influences with a sample of ‘La Campanella’ by Niccolò Paganini, offering more bombastic, self-referential lyrics (“ It’s black and it’s pink once the sun down… BLACKPINK in your area, the area been shut down”) about their riches and fame. ![]() It comes laden with these familiar elements, led by the single ‘Pink Venom’ that streamlines the audacious approach of BLACKPINK classics like ‘Boombayah’ or ‘Ddu-Du Ddu-Du’. And the group’s second album ‘Born Pink’ demonstrates how they’ve honed this formula over the years, especially under the expert supervision of Teddy Park, who has shaped their sound. The name BLACKPINK comes with certain expectations: larger-than-life production, catchy choruses and drops, staccato raps that name-drop brands, and a fierce bravado end-to-end.
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