By Kwon Min Seok (emes@korea.ac.kr), Cho Dong Hee (crobinho@korea.ac.kr), and Jeong Ji Hyun (jkhalia@korea.ac.kr)

On one rainy Friday evening of November, there was quite a fuss in a small Hongdae club. However, this fuss did not involve the usual house music or flashy outfits. This particular club was a live-music club, where indie rock bands performed before a modest, but enthusiastic audience. Immersed in the intriguing melody and lyrics with actual meaning, everybody, including the musicians, seemed to be truly enjoying the music, very much free and INDIE-PENDENT.

Once limited to the Hongdae area live-clubs and heard only by a small number of enthusiasts, Korean indie music has recently been gaining more and more attention. With increased media exposure through television audition programs and music programs, Korean indie music is finding its way into the earplugs of a much larger audience, reaching out from the live club scenes of Hongdae. Indie musicians such as Jang Ki-Ha and Faces even managed to rise to the top of album charts. It is therefore undeniable that indie music is now founding its place in Korea’s music scene.

However, despite the increased attention, the public is still not well informed of what indie music is, or why it is “indie,” or how it has evolved over time. Yet, such background information is indispensable in order to appreciate indie music. Moreover, in spite of the recent significant increase in the fan base, it remains weak, and some are worried that the current success may end up being a mere flash in the pan. Hence, in this month’s issue, The Granite Tower (GT) proposes an in-depth look into the indie music scene of Korea, with interviews of critics, actual artists and label managers.

▲ Lim Jin Mo is explaining about indie music. Photographed by Jeong Ji Hyun

What is Indie?

According to Lim Jin Mo (‘78, Sociology), a renowned critic Korean popular culture, indie essentially means “independent.” Having originated from the term ‘independent labels,” indie music refers to “the way to find and pursue one’s own music and distinct style.” Lim adds that the “independence” here means independence from commercialism, in contrast to the music produced by large entertainment companies. Indie musicians endeavor to pursue and improve their own musical styles, regardless of what the entertainment companies want to sell.

Meanwhile, Lim explains that although indie music has a fundamentally anti-capitalist aspect, this does not mean that Indie musicians must eschew big corporations at all times. “As long as they pursue their own music, they can collaborate with large companies for a more efficient production process. The important thing is that indie musicians do not let anything compromise their own music,” Lim states.

Key Elements of Indie Music- DIY and the Indie Spirit

Lim suggests two elements to characterize indie music. The first one is, “DIY, meaning ‘Do It Yourself.’ This means that indie musicians make their own music in their own ways.” However, Lim warns that “this does not mean that one should do literally everything by oneself, from learning how to play the guitar to recording. The important thing is to pursue one’s own music.”

“Indie spirit” is another key element of Indie music. When Indie musicians pursue their own musical styles, they often do not meet the tastes of the public. Lim says, “Naturally, in such cases, it is easy for indie musicians to get trapped in the ‘swamp of obscurity,’ resulting in poverty. However, indie musicians do not have to be poor.” Indie musicians want success just as idol singers do; they just want to become successful with their own music. Hence, “the concept of success is not excluded in indie music, and indie music is different from underground music in this sense. Underground music is always ‘underground,’ unknown, and unpopular, while Indie music can rise above the ground and still be considered ‘Indie’ as long as the music is the artist’s own.”

The Evolution of Indie Music

The concept of Indie music can be traced back to the 1950’s in the U.S., when youngsters were craving for something new in music, such as rock n’ roll of Elvis Presley. Since the conventional media did not accept the new trend, young musicians operated through small, independent record companies. In this manner, artists produced their music themselves, which is the defining nature of indie music. Afterwards, the term “indie” was formally put to use with the rise of punk rock, as a shortened word for “independent labels.”

Indie labels and indie music landed in Korea in the late 1990’s. Indie punk bands like Nirvana were enjoying great popularity in the U.S., leading to heightened interest in indie music in Korea. Consequently, indie musicians became more active around live-music clubs in Hongdae, and numerous indie labels appeared. This trend was also aided by the legislature: pre-release album censorship was abandoned in 1996; the law on performance changed the permit system to the current reporting system; and the Food Sanitation Law allowed liquor sales and live performances in clubs.

Why Indie?

The main attraction of indie is that it is different. According to Lim, the beginning of Korean indie music in the late 90’s was “a desperate struggle against the Korean music industry dominated by big entertainment companies’ idol singers.” Back then, Korean music lacked diversity, and there was a rising demand for something new. Indie music answered the demand.

Kang Il Kwon, a music critic specializing in the indie hip hop scene, also offered his views upon this issue. He describes indie music as “detached from the commercial music and mainstream trend.” Kang adds that “indie musicians experiment with new styles, trying to rise above the cliché and the mundane.” As a result, their music becomes more diverse and rich.

The unique appeal of indie music makes it indispensable for future progress of Korean music. Lim Jin Mo asserts that variety is essential in music, and that “Indie music is hence paramount for the development of Korean music; it helps diversify the menu in music. Furthermore, indie music incarnates the passion of youth. Young indie artists vigorously pursue their own music, undergoing changes and improvement. They may fail and despair, but they recover their youthful energy and thrive again, contributing to the diversity of music at large.”

Recent Popularity

The importance of indie music was fortunately not altogether neglected, and there has been much effort to aid indie music in Korea. For instance, when interviewed by GT, a certain fifth-rank official in charge of popular music at the Ministry of Culture, Sports and Tourism (MCST) stated that “the government recognizes how crucial indie music is for the development of Korean culture.” He added that “The government endeavors to enrich Korean music in terms of diversity by aiding indie musicians.” For example, the government is working to develop infrastructure for creative indie musicians, such as venues to practice and perform. The MCST also arranges mentor-mentee collaboration between rookies and established artists, in addition to funding indie musicians’ overseas activities and indie music festivals.

Other factors unintentionally lead to enhanced recognition of indie music as well. For example, the numerous audition programs such as “SuperStarK” gave indie musicians the chance to be heard by the public, bypassing the large entertainment companies, and thereby generated popular demand for indie music. The continually developing music festivals and TV series Official Sound Track records (OST) were also effective in publicizing indie musicians’ distinctive voice.

▲ Rocket Diary rehearsing for their stage. Photographed by Jeong Ji Hyun

▲ Interview with Rocket Diary.LITTLE FISH (27, Guitar),Hwang Seong Su (28, Bass&Synthesizer), Ham Byungsun (28, Vocal),Ham Phillip (27, Synthesizer)(from left to right)Photographed by Choi Jiyoung

Indie Rock

The members of Rocket Diary, starting out as high school students, have pursued a career in creating original music that empathizes with their peers. The band now plays an active part in the indie scene. Their emotional lyrics and the overall melancholy in their music effectively characterize the band. “We mostly express loneliness in our music. Our music does not intend to provoke feelings or deliver certain messages to the listeners; but focuses on the emotions themselves,” says Hwang Seong Su (28, Bass & Synthesizer).

▲ Rocket Diary performing at GOGOS2. Photographed by Jeong Ji Hyun

Distinct Charm of Indie Rock Bands

The particular charm of independent bands’ perfor­mance contributes to the rising popularity of the indie scene. In live shows by Rocket Diary, often at clubs like GO­GOS2, it is possible for viewers to drink and dance, and do whatever they wish to enjoy the moment without worrying about others. The audience can rock to the loud beat and focus only on listening to and enjoying the music. Indie mu­sicians attract listeners seeking more truthful and personal communication through original songs. Bands like Rocket Diary are able to interact and connect with the audience through their own words and music.

The band’s vocalist Ham Byungsun (28, Vocal), who writes all the lyrics, says that he finds his inspiration in books and movies. As for the melody, the members all work individually on creating the basic frame. Then, they come together to add, edit and build on the frame to make it into a song. The band has performed in diverse venues, from small cafés to bigger stages like the Pentaport Rock Festival. While the band “receives a sense of personal warmth” in small-scale stages, they get “fueled by the energy of a large wild audience.”

The recent popularity in indie music has continuously changed the environment for the betterment of the indie musicians. For example, there has definitely been an increase in opportunities where bands can perform. Ham Byungsun has admitted that there have been more stage opportunities provided by the government and public enterprises than before. Stage opportunities mean that there is an increased chance of ordinary people being exposed to the music, thus igniting a healthy cycle of opportunity and popularity.

Indie Music Labels and Artists

Also, there has been an increase in the number of indie labels. Ko Gun Hyuk, the head of Boongaboonga Records, started his company “to present good songs to the public.” “The songs that I wanted to bring out were unrecognized due to their engaging in styles far from the mainstream. Thus, it was natural that the company became an indie label.”

Most indie records allow the musicians to become freely immersed in their music. Ko explains how their singer-songwriters are granted independence. “Our record label provides the artist resources such as equipment, and sometimes gives advice if asked. Nonetheless, we leave the final call to the musicians.” Similarly, Hwang of Rocket Diary describes the relationship between them and their record company as that of “companions.”

Future of Indie Rock Bands

As we have seen in Lim Jin Mo’s interview in the previous paragraphs, just because a band is independent does not mean that they do not seek prosperity. Indeed, indie musicians do try hard to be successful, and they can remain indie if they conserve the indie spirit, meaning that they do their own music. “We do dream to be famous,” commented Ham Phillip (27, Synthesizer). “Being successful means that more people listen to our music,” added Ham Byungsun. “The difference is, we do not make music in order to sell, we try to sell the music that we have and like.” Ko, as a director, put forth similar opinions saying, “Basically we acknowledge that good music does not always sell well, but we cannot say we have no interest in popularity. We try to have as many people to listen to the sounds we make.”

Recently, the frequent showings of indie music on major media and collaborations with idol groups contributed to widening the spectrum of Korean music. Although indie bands play genres that already exist, the music seems novel to the general public because those types of music are rarely played or shown on the prevailing media, says Ham Byung Sun. Lim also praises the indie for bringing diversity into the field. It may be premature to declare any definite results, but it seems safe to say that indie music is headed in a positive direction. But there are measures that can be implemented to solve current problems and continue the progress of indie music. For instance, something could be done about the low price of music. The price of each song in Korea is only a twentieth of that worldwide. This low price of songs make it difficult to live on their music, however successful an artist is. According to Ko, if there are measures to fix that, then artists can focus more on music and less on doing commercials or reality shows.

▲ Kang Il Kwon is explaining the current situation of hiphop scene. Photographed by Jeong Ji Hyun

Hip Hop

Kang Il Kwon, the director of RHYTHMER, says, “Indie hiphop has a big meaning, in that this culture is one of axes which create mania in particular fields. Moreover, this culture’s origin is spontaneous.” As what he explains, hiphop culture brought itself to life at first. This is important because it made fans and musicians only in the field.

From the Fetal Movement to the Golden Era

PC communication and Internet are things which cannot be missed from the start and development to today of Korean hiphop. Black music communities based on PC communication have been the places where people can pursue only cultural and musical interests. Furthermore, they brought out a lot of experimental attempts and approaches regarding this music. Blex, SNP, Word-Up, and Dope Soundz were representative of them.

Kang asserts, “Korean hiphop did not start on the street. Through PC communication, hiphop listeners looked for hiphop music, started to mimic foreign hiphop, revealed their own music, and gave feedback to each other.”

In 1997, Master Plan opened as a club at Sinchon. The first generation of Korean hiphop frequented this club as fans or as creators of this culture. It is not an exaggeration to say that Master Plan is Mecca if hiphop were a religion. Kang comments on it, “Master plan is the pivot when Korean hiphop was in its embryonic stage. In a sense, it acted as a foundation stone which made hiphop settled in this country as a culture.”

After that, new hiphop labels emerged including Soul Company, Big Deal Records, Hanryangsa, and Sniper Sound. Out of these, Soul Company’s moves attracted many hi­phop listeners. The members of the label first met hiphop lecture in Haja Center run by Yonsei Uni­versity (YU). Their emotional lyrics moved many teenage listeners and drew them into the hiphop music scene. Along with Soul Company, Big Deal Records led the scene, playing their hiphop music with dull beats and aggressive lyrics. At this time, a variety of styles coex­isted and were loved by maniacs. Meanwhile, overgound hiphop mu­sic also received big love from the public. Dynamic Duo, Epik High, and Drunken Tiger had an effect in which such attention of people were headed for indie hiphop.

Collapse of Korean Hiphop

After Soul Company, there were a lot of crews and groups such as Overclass, SALON 01, and Jiggy Fellaz. Korean hiphop reached its climax. Most of the artists, but not all, constantly aimed at teenage fans and the number of new and experimental attempts dropped. The scene could hold older fans no longer. Moreover, the range of fans became narrower and narrower even though the age groups that liked hiphop fell.

Kang points out, “the types of current indie hiphop are mostly divided into only two” : love songs containing “I love you” and swag music which says “I am the best.” Kang also opens his mouth about younger fandom, saying “The hiphop music trend leans toward tastes of teenagers, and the hole which older fans left is filled by much younger people. A vicious circle continues at last.” Paloalto, rapper and director of HI-LITE RECORDS, comments about a biased trend, “It is natural in a sense. However, the current situation is not well-balanced. Although all musicians do not have to be revolutionists, philosophers, and activists who convey various messages, such unbalanced circumstances make listeners less attracted.”

Still, in this scene, many good storytellers remained. New rappers exist who have a good sense and great rap skills. However, hiphop listeners cannot feel their existence. Paloalto says, “Regarding rap quality, many developments have taken place. However, there are few rappers who write what ‘moves’ people’s minds.”

Hardship of Hiphop Labels

Paloalto discloses the difficulties with labels. On average, the number of employees at indie hiphop labels is one to three not counting the art­ists. In the case of HI-LITE RECORDS, one employee has to do everything. Paloalto says, “The employee has no choice but to be a multi-player. The employee videotapes concerts, reg­isters copyright of works, and liaises for performances. The reality creates such a situation to happen. The label needs money in order to hire employ­ees. However, we cannot afford it, for there is no budget for that.”

In 2010, three thousand CDs were basically produced. Today’s reality is that selling a thousand CDs means good business. As income from CD sales reduces, earnings from online music grow. However, the truth is severe. If a person listens to a song, 0.1 won is paid to the artist. In terms of MP3 downloads, creators are given six thousand won per download. Paloaloto says, “Actual situations make artists feel exhausted. The demand falls off and the gap between the rich and the poor is getting bigger.”

▲ Palaoto lives as a rapper and a director of a lable at the same time. Provided by HI-LITE RECORDS

The Life of an Indie Artist

Paloalto says, “I am the boss and the minor clerk (as an artist) at the same time.” Commuting time and payday for Indie artists are not fixed like ordinary office workers.

Because such factors are irregular, their lives can become unstable. He adds, “Therefore, I have to be hard-headed and strict on myself. External factors cannot control my life. I should do my very best. Also, I have to continually find new stimuli.” However, this does not mean that artists’ creative efforts should be conducted regularly at all the times, because inspiration does not come like that. He recommends, “Indie rappers must be diligent in making use of their creativity, expanding the horizon of their thoughts, and making novel attempts.”

Conclusion

Indie music is currently enjoying elevated popularity in Korea. Nonetheless, it is still largely unknown and unappreciated. The preceding paragraphs have thus endeavored to provide our readers with an in-depth look into the indie music of Korea. Meanwhile, it must also be known that there lie some potential problems surrounding indie music. Some say that indie music is becoming too light and feminine, singing mostly about sweet love and melancholy. This criticism was voiced by both interviewed critics Lim and Kang. Lim worried that indie music still has a “considerable emotional share, but insufficient commercial share of the Korean music scene.” Indeed, despite heightened recognition, indie music is still struggling commercially, with low record sales.

Therefore, indie music cannot afford the luxury of becoming complacent. As Ko points out, he hopes that there will be “more serious and experimental approaches music-wise.” In other words, their attempts have to be focused on creating and innovating, and avoid degenerating into another marketing method. Indi musicians should also try to expand their audience beyond the present fan base, which is rather overly female. Of course, the government should continue its efforts to aid indie music, such as improving the infrastructure and developing the ticket-box system. Considering the low price of digital music source would be another effort to envision. Lim says “we have to lay our hopes on Indi artists for the continual progress of Korean music,” and he asserts the necessity for further support of indie music, with his slogan “Encourage hallyu, and actively aid indie!”