EXO's Baekhyun sets solo record with 4th million-seller
'Essence of Reverie' became the artist's fourth million-seller as a solo act, making him the first K-pop solo singer to achieve the feat in the 21st century.
Baekhyun's three previous albums — the second to fourth EPs, 'Delight,' 'Bambi' and 'Hello World' — each sold over 1 million copies, but the new mini album set the record in just three days, marking the shortest time for Baekhyun. He also has seven million-selling albums under his belt as the leader of EXO.
Meanwhile, 'Essence of Reverie' topped iTunes top albums chart in 24 regions, as did lead single 'Elevator' on top songs charts in 14 regions.
Next month, he will embark on an international tour starting with a two-day show in Seoul.
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Korea Herald
2 hours ago
- Korea Herald
[Herald Interview] Blackpink producer R.Tee seeks to shape the future of electronic music
Versatile musician hopes to make electronic music a familiar part of Korea's cultural landscape Standing in the heart of his sleek, dimly lit studio, producer and DJ Kim Jung-gu -- better known as -- is framed by towering high-end speakers as he scrolls through tracks on twin monitors, searching for a one to play. Then 'Switch Out' bursts from the speakers -- a surge of pulsating techno and vibrant synths, pulling the body into its relentless rhythm. "Switch Out" is a track in his double single, dropped Sunday, which also includes "Damdadi," featuring vocals by Soyeon of I-dle. It's the start of a new chapter for the 35-year-old, long regarded as one of K-pop's most sought-after producers and the creative force behind mega-hits including Blackpink's 'Pink Venom,' 'How You Like That,' Lisa's 'Money' and Big Bang's 'FXXK It.' "If I previously focusead solely on producing music, now I will take on a larger role as a performer by actively releasing new songs, especially electronic music, under my name every one to two months, maintaining a steady flow of fresh work," told reporters in an interview on Friday at his agency in Seoul's Seongsu-dong. Leaving behind his legacy as a K-pop hit-maker, the 35-year-old parted ways with The Black Label -- a hip-hop label headed by producer Teddy, who crafted hit songs for Blackpink, 2NE1 and Big Bang -- and ventured on a new journey by establishing his own label, RTST Label, in July this year. "I was at The Black Label for about 10 years, since 2016. Looking back, I gave it my all -- or should I say, my entire youth? Along the way, I built deep friendships and gained a lot of musical knowledge and skills," he said. The single is latest foray into showcasing the power and accessibility of electronic music. "I really love electronic music, and I strongly believe in the power of electronic music as a genre, in particular its unique energy, which is so powerful it can even make someone lying in a hospital bed smile. I want to share this energy with others." "When people hear this song and other electronic music I will release in the future, I hope they'll say, 'Wow, there's someone in Korea who can make this kind of music,'" he said, adding, "Electronic music is not a difficult genre to listen to." "As an avid fan of electronic music, I would have to say that it's not easy for the general public to enjoy the genre casually because that often means going to lounges or clubs -- even if they don't drink -- and that's a bit inconvenient. Whereas in Amsterdam, for example, electronic music plays in cafes, making it part of daily life," said. "It might sound a bit overblown, but my goal is to create cultural content in Korea that gives electronic music that same kind of familiar, accessible presence so that more people can enjoy it comfortably. And I am confident about that," the musician added. He also expressed his confidence in the new single. "'Damdadi' was written in April last year, and I wrote more than 20 songs trying to come up with something better, but I couldn't. So I think people will like this song," he said. As for "Switch Out," said it's something unlike anything people have heard before -- a gift to electronic music fans that can make their listening experiences more dynamic.
Korea Herald
a day ago
- Korea Herald
From boo to boohoo: Korean ghosts tug at heartstrings worldwide
From K-pop demons to grim reapers, Korean ghost lore captivates audiences with emotionally rich tales of sorrow, justice and healing Korea's traditional grim reapers, known as jeoseung saja, are gaining global recognition following their portrayal as key antagonists in the Netflix hit "Kpop Demon Hunters." The film follows shaman heroines who battle demons while performing as K-pop idols. Within two months of its release, it soared to become the fourth most-streamed movie on the platform, propelled by sustained global buzz. 'There's a growing sense that traditional Korean imagery feels more approachable and enjoyable, largely because Korean culture is now viewed so favorably and familiarly worldwide,' said culture critic Jung Duk-hyun. 'This positive perception plays a major role in making Korean folklore feel trendy and hip to global audiences.' Clad in dark robes and high-brimmed hats, these grim reapers exude a unique presence and emotional complexity, earning popularity rivaling the protagonists. Far from being purely malevolent, they are portrayed as tormented figures — a reflection of han, a uniquely Korean concept of unresolved sorrow that permeates much of the country's ghost lore. Han is the emotional pain that lingers after a traumatic experience, preventing one from moving on. In Korean supernatural tales, this sentiment explains why spirits remain earthbound — not to terrorize, but to seek closure for injustices or deep regrets. This emotional nuance distinguishes Korean folklore from some of the more dualistic ghost narratives in the West. Rather than evil for evil's sake, Korean spirits are often driven by sorrow, guilt, or betrayal. In "Kpop Demon Hunters," Jinu — the leader of the K-pop boy band Saja Boys — embodies this layered grief. Though transformed into a demon after abandoning his family, his actions stem from guilt and pain, not malice. 'The reapers, especially Jinu, show characteristics of Korean ghosts,' said Jung. 'Korean spirits are often defined not by violence, but by han — a sorrow that compels them to seek understanding from the living rather than inflict harm without reason.' This storytelling tradition casts the supernatural not as monstrous, but as deeply human. In the 'Legend of Arang' from Miryang, for example, a young woman's ghost haunts magistrates not to frighten them, but to seek justice for her death during an attempted assault. Adaptations of such folklore in modern dramas and films often preserve this emotional complexity, blending traditional themes with contemporary storytelling. TvN's 2016 hit series "Dokkaebi (Goblin)" reimagines Korean mythology in a modern setting, exploring han through two central figures: the Goblin, cursed with immortality, and the Reaper, who guides souls to the afterlife. Both characters are burdened by past sins. The Goblin is haunted by those he failed to save, while the Reaper is tormented by having ordered the Goblin's execution in a past life. Their inability to move on mirrors the unresolved sorrow central to Korean ghost stories. This emotional depth continues to shape contemporary content. The SBS series "The Haunted Palace" received praise for portraying diverse spirits shaped by the circumstances of their deaths. The show achieved an 11 percent viewership rating by focusing on the living engaging with spirits' emotional wounds, not just confronting the supernatural. At the heart of Korean ghost narratives is the idea that spirits find peace through communication, not confrontation. In "Kpop Demon Hunters," even in his demon form, Jinu seeks to share his pain, not inflict it. 'Unlike Western fantasy, which often resolves conflict through exorcism, Korean stories are about listening to the dead and helping them release unresolved sorrow,' Jung noted. This storytelling approach invites audiences to empathize with the supernatural and participate in a journey toward healing. Culture critic Kim Heon-sik attributed the growing global fascination with Korea's supernatural traditions to their unique visual and emotional elements. 'Their distinct Korean identity makes them more intriguing,' he said. 'And by integrating ghostly elements into pop culture, especially K-pop, they've become even more appealing.' Kim also emphasized that the success stems in part from subtlety. 'When nationalism or symbolic depth is overemphasized, it can alienate audiences. What made these stories resonate is that they left room for interpretation — letting viewers explore and connect on their own terms.'
Korea Herald
2 days ago
- Korea Herald
Interview: Ahn Bo-hyun trades tough for tender
K-drama heavyweight embraces vulnerability in 'Pretty Crazy,' playing unemployed softie who tends to demon-possessed woman Ahn Bo-hyun has played his share of tough guys. An alpha male par excellence of Korean dramas, he has terrorized Park Seo-jun as the sneering chaebol heir in "Itaewon Class" and thrown punches alongside Han So-hee in Netflix's "My Name." On the big screen, Ahn has nearly battled Jung Hae-in to the death in "I, Executioner." Meeting him at a Samcheong-dong cafe on Thursday, it's clear why he gets cast this way. The guy stands nearly 190 centimeters tall with a muscular and imposing boxer's frame — he was one, winning gold medals as a teenager before pivoting to modeling, then acting. His hands are cartoonishly huge. But it's his eyes that captivate: set deep beneath heavy brows, they carry an intensity that doesn't translate on screen. "People think I'm intimidating when I don't smile because of how I look," he says, laughing. "But when I do smile, they say I have this dopey charm." "Pretty Crazy," the upcoming fantasy rom-com pairing Ahn with Girls' Generation's Lim Yoona, is an interesting specimen in a number of ways. For one, it bills itself as a romantic comedy in an industry where the genre's virtually extinct. Its premise is drenched in comic-book silliness about a beauty who transforms into a demon every night with no memory the next morning. The film can't decide what it wants to be, and it shows. More interesting is how it throws its A-list leads into completely unexpected territory: Yoona as a jabbering woman wreaking havoc, and Ahn as Gil-goo, a clueless unemployed loser tasked with her nightly care. The role screams pitiful. Gil-goo tails his crush around town, staging "accidental" meetings after falling for her at first sight. When he takes the gig babysitting her possessed alter ego, he mothers her with obsessive care. Gil-goo is a vanilla nice guy, worlds apart from the masculinity Ahn typically projects. "Watching myself on the big screen, I realized I'm really good at looking pathetic," he says. "Like, genuinely wronged and pitiful." He found surprising common ground with the character, though. "I don't talk like him, but I could definitely sympathize. People have a hard time believing it because I look so tough and all, but Gil-goo exists inside me too. I've had my own periods of deep uncertainty, times when I cared too much about what others thought." "I'm actually really detail-oriented," he continues. "I know it doesn't match how I look, but I love cooking elaborate meals for myself, arranging things just so. I like cute little things to the point where you'd question my testosterone levels. I clean obsessively, do laundry religiously." For Ahn, the role was something deeper than comic relief; he saw a narrative about a loser maturing through caring for someone else for the first time. Gil-goo goes to absurd lengths to save Seon-ji from her curse, digging up backyards, stealing phones and racing to the middle of nowhere on Jeju Island. He's awkward in these missions but utterly sincere. "It's a coming-of-age story. This broken guy who can't stand up to anyone meets Seon-ji and her demon side, accepts this insane situation as truth, and realizes he can actually help someone, that he can matter." This understanding allowed him to sink deeply into the character. During the film's tearjerker finale, when Gil-goo finally addresses the demon by her real name, Ahn found himself overwhelmed. "I cried so hard shooting that scene. I wasn't supposed to — if I cry, it looks like romantic love. But I'd developed such affection for the demon character. My eyes swelled up so badly we had to pause filming until they went down." After all, for Ahn, playing someone so gentle turned out to be a revelation. "When Gil-goo's unintentional actions or way of speaking made people laugh, the feedback was immediate — the crew cracking up, the director smiling.
