K-pop Rewind: The Boom of Remixes and Sampling

Remixes and songs utilizing sampling are rapidly becoming the new trend in the K-pop idol market. This wave is not limited to mid-sized agencies; major entertainment companies are also actively incorporating proven K-pop hits, classical pieces, and pop masterpieces into their new releases.

Leading the charge with the viral catchphrase 'Geoje Yaho,' Le Sserafim is set to return on the 8th of next month with a reimagined version of Karina's hit song 'Pretty Girl.' Similarly, hip-hop girl group Young Posse will include a track sampling Karina's another representative hit, 'Mr.,' on their upcoming mixtape, 'Young Tape.' It is a rare case where two groups debuting around the same time are both releasing reinterpretations of the same group's iconic songs.

Prior to this, Atmozfears returned on the 25th with their new song 'Say It,' which samples 'Loveful' by the Swedish band The Cardigans, originally featured in the 'Romeo and Juliet' OST. 'Say It' is the first release from the 'Time Travel Project,' a remix project that reinterprets hits from 1996. The group also announced early on that their next release will be a remix of Rulala's hit '3!4!'.

Meanwhile, Le Sserafim turned their recent album title track 'Boomphala' into a sampling song of the global hit 'Macarena,' and Miyawaki utilized a sample of Bach's 'Toccata and Fugue in D Minor' for the title track 'Ttiroli' from her second mini-album released earlier this month.

Industry insiders cite the familiarity of proven music Intellectual Property (IP) as the primary reason for this trend. Using melodies already familiar to the public lowers the barrier to entry for new songs and makes it easier to gain quick traction on short-form video platforms, which have become key promotional channels. Changes in the production environment are also playing a role. In the past, domestic hit composers led K-pop production, creating a steady stream of new hits. However, as K-pop has grown into a global genre, collaborating with overseas composers to source songs has become the norm. Consequently, the presence of domestic 'hit song makers' is not as prominent as before, further encouraging the use of verified music IP.

A representative from a K-pop agency noted, 'From a producer's perspective, there is a preference for utilizing past hit song IPs with lower risk of failure, as they must find songs with high success potential within limited time and budgets.'

However, some in the industry worry that the overuse of remixes and sampling could stifle the discovery of new hits and musical experimentation. Given that the ballad market previously saw public fatigue from a string of past hit song remixes, there are concerns that idol music may follow a similar path. Pop culture critic Sim Jae-geol advised, 'Purely formulaic, copy-type remixes can only bring boredom and fatigue. While the market will ultimately decide, the spread of near-copywork as a trend is certainly a bittersweet aspect. For a remix to remain meaningful, it must be infused with contemporary sentiments and the creator's unique interpretation.'