{"id":593932,"date":"2026-04-08T18:26:11","date_gmt":"2026-04-08T18:26:11","guid":{"rendered":"https:\/\/www.newsbeep.com\/au\/593932\/"},"modified":"2026-04-08T18:26:11","modified_gmt":"2026-04-08T18:26:11","slug":"chairman-bang-shares-real-stories-behind-the-album","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/au\/593932\/","title":{"rendered":"Chairman Bang Shares Real Stories Behind the Album"},"content":{"rendered":"

\n\tBTS<\/a>\u2019\u00a0ARIRANG, the South Korean group\u2019s return album after their nearly four-year hiatus, ended up at No. 1 on the Billboard 200<\/a>\u00a0albums chart (dated April 11) for a second consecutive week, marking the group\u2019s seventh No. 1 on the chart and its longest-running ever. It wasn\u2019t the only record set. The LP\u2019s lead focus track, \u201cSwim,\u201d also launched at No. 1 on the Billboard Hot 100, making BTS the first group to debut an album and song atop the Billboard 200 and Hot 100 simultaneously multiple times (the group achieved the feat in 2020 with Be and \u201cLife Goes On\u201d).<\/p>\n

\t\t\t\t\tExplore\t\t<\/p>\n

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See latest videos, charts and news<\/p>\n

\n\tIn fact, all 13 tracks on ARIRANG made it onto the Hot 100 (except for \u201cNo. 29,\u201d the bell interlude). On the Billboard Global Excl. U.S. chart, BTS became the first act to claim the entire top 10 (and top 13).<\/p>\n

\n\tBehind BTS\u2019 comeback is Bang Si-Hyuk<\/a> (aka Chairman Bang), the chairman and founder of HYBE, and the person who originally engineered BTS\u2019 debut 13 years ago, assembling the band, writing and producing its music, and overseeing everything from its marketing to social media content.<\/p>\n

\n\tThat close connection with the group members endures seven albums later. Throughout their time doing mandatory military service in Korea, Bang remained in touch, meeting frequently with each of the members and keeping alive conversations of what the comeback album of Korea\u2019s most fabled group could be.<\/p>\n

\n\t\u201cFor me personally, it was a project I poured over a year and a half of my life and energy into,\u201d says Chairman Bang, noting he began work on ARIRANG at the urging of BTS\u2019 members around halfway through their military service. The pressure of working with such an iconic group, he adds, was \u201cimmense.\u201d<\/p>\n

\n\t\u201cCarrying that trust from the members, I took on the role of producer \u2013 but in truth, this kind of work comes with a level of\u00a0pressure that\u2019s just as heavy for the\u00a0producer as it is for the artists. Music, at its core, should be grounded in authenticity and artistry, and I believe that results are not the goal, but rather something that naturally follows. At the same time,\u00a0as someone working in the popular music industry, it\u2019s realistically never easy to stay completely detached from performance metrics, which ultimately reflect how the public responds.\u201d<\/p>\n

\n\tTwo weeks into ARIRANG\u2019s release, it\u2019s clear the album \u2014 with its mix of pop, hip-hop and boldly Korean elements\u2014has struck a universal chord, even as it strengthens the group\u2019s ties to their country.<\/p>\n

\n\tIn his first interview with the media following ARIRANG\u2019s release, Chairman Bang speaks about his role as chief producer for the album, the long road behind BTS\u2019 return, the process of creating new songs and choreography and the deep, intentional meaning behind the album\u2019s music.<\/p>\n

\n\tA comeback after nearly four years is a big deal. Can you give us some insight into the planning?<\/p>\n

\n\tWhile the members were fulfilling their military duties, we continued to advance the work that could be done at the company level. Since they were unable to actively participate in album production during that time, we focused on what we could prepare in advance \u2014 including sourcing songs and shaping the broader creative and brand direction. On a personal level, I made it a point to meet each member individually whenever they were on leave. We had many conversations about how they were feeling at the time and how their thoughts were evolving.<\/p>\n

\n\tBefore we even began sourcing songs for the album, the process of designing its overall structure and defining its musical vision really took shape during the pre-song camps we held in the U.S. In early 2025, before the members were discharged, Diplo was selected\u00a0as the lead producer who would oversee the on-site process. In April and May, we held two pre-song camps in Los Angeles, where we developed around 100 prototype tracks.<\/p>\n

\n\tIn July, once all members had completed their military service, we set up a private monitoring room at a pension in Gyeonggi Province and held a full-day workshop. As we listened through the many prototype tracks created during the pre-song camps, we had in-depth discussions about what BTS can do now, what BTS should do now, and ultimately what only BTS can do.<\/p>\n

\n\tSo, what was the identity of the album?<\/p>\n

\n\tThe conclusion we reached was very clear. BTS 2.0 shouldn\u2019t remain an extension of the past \u2013 it had to be a declaration that opens a new chapter.<\/p>\n

\n\tTo borrow my own phrasing from then, the musical essence of this album was a journey to find the answer to one question: \u201cIf the BTS that released their debut album 2 Cool 4 Skool had grown with that same identity\u2014without the genre variations or outward expansions of the past 13 years\u2014what kind of music would they have created to lead the current era?\u201d<\/p>\n

\n\tOnce that vision became clear, we immediately began the full-scale song camp in Los Angeles with the members. The decision to head to the U.S. right away in July was intentional \u2013 I wanted to create an environment where the members could focus entirely on music.\u00a0In reality, each member had made personal plans to take time for themselves after completing their service.\u00a0But when I asked them \u2013 quite sincerely \u2013 they all agreed without hesitation, canceled their schedules and flew to the U.S. together. Anyone who has experienced military service or knows someone who has, would understand that this is by no means an easy decision \u2013 even for a group like BTS, the biggest band in the world. They are human, and they needed rest. And yet, the fact that they chose to show that level of commitment speaks volumes about how deeply they love music \u2013 and why they are who they are as BTS.<\/p>\n

\n\tFor the first two weeks, we deliberately set no strict guidelines. There\u2019s also always a gap between what you imagine when you hear something, and what actually takes shape when it\u2019s expressed through the so-called \u2018magic touch.\u2019 That process of narrowing the direction was essential. Only after those two weeks did we begin to sort through the material \u2013 identifying what worked and defining more concrete directions. And through that process, we were finally able to shape what had once been a vague vision into something concrete \u2013 into 200 to 300 fully realized pieces of music.<\/p>\n

\n\tAs a side note, the scale and energy of the song camp itself became something of a talking point within the U.S. music industry. From legendary producers to rising talents, a wide range of creators \u2013 each with a distinct musical identity suited to what we envisioned as BTS 2.0 \u2013 took part. One veteran producer even told me, \u201cI haven\u2019t seen a songwriter camp of this mammoth scale since the 2000s.\u201d Large-scale camps like this are no longer common in the U.S., and there were many who wanted to be part of BTS\u2019 comeback. Some well-known producers who hadn\u2019t even been invited reached out directly to me, as well as to HYBE and BIGHIT MUSIC staff, asking if they could participate.<\/p>\n

\n\tCan you describe the first time you sat down again with all of them? How did that feel and what did they definitely want to do?\u00a0<\/p>\n

\n\tOld friends often feel as though no time has passed, even after years apart \u2013 as if you had just seen each other yesterday. That was exactly how it felt when I reunited with the members. After their discharge, we had a workshop in Korea, and then all came together again for the song camp in Los Angeles. And yet, that first day \u2013 despite everything it represented \u2013 was, in a way, almost surprisingly ordinary.<\/p>\n

\n\tWe simply exchanged brief, understated greetings\u2014\u201cHi,\u201d \u201cOh, you\u2019re here\u201d\u2014and then sat down at the table and got straight to work. Watching everyone immerse themselves in the music without any particular ceremony, I realized, \u201cWe\u2019re really starting again.\u201d<\/p>\n

\n\tWhat they wanted was clear. Not an extension of a \u201cboy band\u201d resting on past achievements, but a return to their roots\u2014to prove, through music, a question that only BTS can pose at this moment.<\/p>\n

\n\tAnother moment that stands out to me is a more recent one \u2013 about a month before the album\u2019s release. I had a casual dinner with RM and Jung Kook, and we later went to Jung Kook\u2019s place, where the other members ended up joining us spontaneously. There, we sat down together and listened through the entire\u00a0ARIRANG\u00a0album, which had already been completed, from start to finish, with full focus. We dimmed all the lights and kept only soft ambient lighting on, almost like our own private listening session. Half-jokingly, we said to each other, \u201cThis album is a masterpiece,\u201d and ended up listening to it all the way through twice. During that time, we talked about how confident we felt about the album. Looking back, I think that confidence came from the fact that the members were able to fully express what they genuinely wanted to say, along with the musical identity they wanted to convey. In that sense, I believe this album,\u00a0ARIRANG, truly reflects the direction the members themselves wanted to pursue.<\/p>\n

\n\tWhat was the approach to the music itself? K-pop, like all music, has changed since BTS\u2019 last album. How was this a challenge and an opportunity?\u00a0<\/p>\n

\n\tWith this album, both the members and I shared a clear and deliberate goal: to move beyond the long-standing \u201cboy band\u201d label \u2013 often shaped by deep-rooted biases in the Western music industry \u2013 and to firmly establish BTS as true artists.<\/p>\n

\n\tIn the past, many artists who began in boy bands attempted this transition by leaving their groups and pursuing solo careers. But there has never really been a case where a group maintained its identity while fully breaking those preconceptions and redefining itself within. To achieve this, we made a conscious decision: to deeply respect the genre and musical traditions we come from \u2013 but never remain confined by them.<\/p>\n

\n\tAt the same time, we wanted the lyrics and messaging to reflect, more honestly than before, how we see the world and what we feel in this very moment.<\/p>\n

\n\tIn many ways, this kind of work requires artists to reveal themselves completely \u2013 to lay bare not only their thoughts, but also their vulnerabilities. That\u2019s why this album represents BTS as they are today \u2013 the seven members themselves, their candid expression of their inner selves.<\/p>\n

\n\tLooking beyond the group itself, from an industry perspective, I hope that BTS\u2019 new album can serve as a catalyst for proposing two meaningful shifts in the K-pop market.<\/p>\n

\n\tFirst, I hope it expands the horizon of what an artist\u2019s career can look like. BTS has already pushed beyond what is often referred to as the \u201cseven-year barrier,\u201d significantly extending the life span of a K-pop group. Today, many artists are sustaining careers that span well over a decade. But I wish this album goes beyond simply extending longevity in a physical sense. I hope it becomes a catalyst for a more meaningful transformation \u2013 one that encourages continuous artistic growth and reinvention.<\/p>\n

\n\tSecond, I hope it helps spark a shift in how albums are experienced and consumed \u2013 particularly through renewed attention to the vinyl (LP) format. Globally, vinyl consumption continues to grow, with the U.S. market alone seeing annual increases of around 20%. Yet in K-pop, the market still remains heavily centered around CDs. I believe it\u2019s time to move beyond existing consumption models and embrace new growth drivers like vinyl \u2013 not only as a format, but as a way of engaging with music differently.<\/p>\n

\n\tStreaming music allows for immediate access, but vinyl encourages a more intentional, long-term relationship with music \u2013 one where it is collected, preserved and experienced more deeply. Even with BTS\u2019 latest album, despite a significant increase in vinyl production, certain editions have already sold out. If a group like BTS can help lead this shift, I believe it could bring fresh momentum and new energy to a K-pop industry that has long been centered around CD consumption.<\/p>\n

\t\t\t\t\t\t\"BTS\"<\/p>\n

\t\t\t\t\tBTS<\/p>\n

\t\t\t\t\t\t\t\t\tBigHit\/YouTube<\/p>\n

\n\tHow have the boys changed? What was the biggest change you\u2019ve seen in their attitudes to the music business<\/a> and the music itself?\u00a0<\/p>\n

\n\tThe [work] dynamic remained the same: I would listen to the members\u2019 ideas and help shape them into a clearer direction, and they would then bring those ideas to life in the music with their own distinct color. When I suggested revisions, we would discuss them together and refine the work collaboratively. As before, I would exchange lyrics with RM in real time through messaging, making adjustments as we went. We also continued the practice of gathering ahead of sessions with external producers, spending hours listening through what we had worked on and aligning on direction.<\/p>\n

\n\tWhat has changed is the members\u2019 capabilities \u2014 or more precisely, how much they have grown. I still remember the first time I heard \u201cInto the Sun,\u201d a track that V worked on. In the past, V had not been as heavily involved in songwriting or in contributing multiple tracks to BTS albums, but this track stood out as an exceptional piece of work. This kind of growth was evident across all the members.<\/p>\n

\n\tAs the members have grown as artists, the process naturally became more artist-led. I was intentional about stepping in only when it was necessary.\u00a0In fact, there were moments when they would come to me when they felt stuck, asking for guidance or a breakthrough. My role in this album was largely to help shape the broader direction and weigh in on a few key decisions.<\/p>\n

\n\tBTS is more than just a pop band: they\u2019re a national treasure. How did you navigate the pressure of making their comeback a success?\u00a0<\/p>\n

\n\tAs I mentioned earlier, the weight I felt was immense,\u00a0given the historical significance of BTS as a group\u00a0and the fact that this was their return after four years. And yet, alongside that sense of pressure, there was also a strangely strong conviction \u2013 that this would be a defining album, and that the results would be exceptional. Even when the members, during their military service, would open up about their uncertainties and concerns, I found myself saying something quite calmly to them: \u201cYou might be unsure about yourselves, but I\u2019m certain that we will make it through.\u201d<\/p>\n

\n\tLooking back, I think that confidence came from a deep trust in BTS as artists, and from an experiential belief that if we pushed ourselves fully through the process together, we would inevitably find the answers along the way.<\/p>\n

\n\tBecause of that, compared to the overwhelming pressure at the beginning, the actual 18 months of production felt, in a way, surprisingly calm. Of course, every day came with its own set of challenges, and the scale and complexity of the project were unlike anything we had experienced before. The day-to-day stress was real and constant. But somewhere deep inside, my state of mind remained clear and steady \u2013 almost like the surface of a quiet lake. It was, in many ways, an ironic yet remarkable period \u2013 one in which I was able to maintain a sense of inner composure even amid unprecedented turbulence.<\/p>\n

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\t\t\t\t\tBTS<\/p>\n

\t\t\t\t\t\t\t\t\tBIGHIT MUSIC<\/p>\n

\n\tWhat risks did you take?\u00a0<\/p>\n

\n\tThe risks we took in the actual production process were significant.\u00a0The biggest question was whether the audience would truly accept the kind of transformation we envisioned with \u201cBTS 2.0.\u201d\u00a0To make that shift possible, I made two deliberate decisions to move away from what had previously been proven formulas.<\/p>\n

\n\tThe first was a shift in visual language. We moved away entirely from the traditional K-pop approach of presenting artists in their most polished, stylized, and visually elevated form. Instead, we chose to stay true to the message of the album \u2013 focusing less on external spectacle and more on capturing the members as they are, as people, and the kind of beauty that comes from that authenticity.<\/p>\n

\n\tThe second was a decision that fundamentally reshaped the role of performance.\u00a0The greatest risk in this project was whether the public would accept the bold shift we defined as BTS 2.0. In particular, when it came to choreography, two contrasting forms of risk-taking were pursued simultaneously.<\/p>\n

\n\tFirst, it was necessary to completely set aside the existing formula for success.\u00a0As we approached the later stages of the process, the choreography had still not been finalized, and the members, feeling exhausted, came to me and voiced their disappointment, asking why they were being left without clear direction.
Up to that point, I had been intentionally holding back, wanting to respect their vision in areas beyond the music itself. But after that conversation, I stepped in directly and made the decision to reset everything \u2013 to discard all existing choreography drafts.<\/p>\n

In particular, for tracks like\u00a0\u201cSwim\u201d\u00a0and\u00a0\u201cHooligan,\u201d the choreography was revised to such a minimal level that it almost felt as though there was none. The members questioned this approach, asking whether it truly reflected BTS.<\/p>\n

\t\t\t\t\t\t\"V,<\/p>\n

\t\t\t\t\tV, JIN, SUGA, RM, JUNG KOOK, J-HOPE, JIMIN at \u2018BTS The Comeback Live | Arirang\u2019 in Seoul<\/p>\n

\t\t\t\t\t\t\t\t\tBIGHIT MUSIC AND NETFLIX<\/p>\n

\n\tI responded by saying,\u00a0\u201cYou already possess the kind of aura that can command a stage just by existing. For artists like you, standing still can be more than enough. The kind of intense choreography you\u2019ve done in the past can, at times, overshadow the music. Simply following the methods that the next generation has adopted \u2013 methods that you yourselves established \u2013 does not align with the weight and stature you now carry. If you\u2019ve chosen to open a new chapter, then you need to present a new kind of performance \u2013 one that allows the music itself to be heard.\u201d<\/p>\n

\n\tIt took nearly two weeks of trying both approaches \u2013 repeating, comparing, feeling the difference \u2013 before the members began to fully understand.<\/p>\n

\n\tAt the same time, we also needed to establish a new standard that could meet the expectations of fans who associate BTS with powerful, tightly synchronized choreography. I did not believe we could simply repeat the K-pop style of precision choreography that BTS had, in many ways, helped define. Instead, what we needed was a performance that could declare, \u201cThis is the level of BTS,\u201d while opening a new horizon for K-pop choreography.<\/p>\n

\n\tIn fact, some of the vocal members initially opposed including the track, saying they were not confident they could fully deliver it. However, I felt strongly that \u201c2.0\u201d had to be included. Rather than relying on the explosive, outward energy of our previous style, this track was built on a more controlled, internal intensity\u2014one that condenses energy while precisely carrying BTS\u2019 heritage\u2014and was therefore essential to the album.<\/p>\n

\n\tWhat is the importance of \u201cArirang\u201d in Korea, and why did you suggest this be the title of the album?\u00a0<\/p>\n

\n\tIn Korea,\u00a0\u201cArirang\u201d\u00a0is far more than a traditional folk song. It carries a tender, bittersweet sense of sorrow rooted in parting and longing, while at the same time transforming that emotion into energy and\u00a0heung\u2014symbolizing the resilience and vitality with which Koreans overcome hardship. It is, in many ways, a \u201cliving legacy\u201d\u2014something that is continuously reshaped and reinterpreted depending on the person who sings it. I believed that this emotional framework was the most precise and powerful vessel through which to express the inner landscape of BTS as they are today. That is why I proposed\u00a0Arirang\u00a0as the central concept of this album.<\/p>\n

\n\tAs I spoke at length with the members throughout the process, I was reminded that despite their position as global icons, they remain, at their core, young men still grappling deeply with questions of identity. To borrow RM\u2019s expression, they were \u201ccountry boys from Korea,\u201d navigating an unfamiliar global stage\u2014experiencing a sense of confusion along the way, while also coming to carry the \u201cweight of the spotlight\u201d and a profound sense of responsibility, regardless of their own intentions. It was, in many ways, immense. I believed that the core of this project was to most authentically reveal the human struggles\u2014and the \u201cfractured self\u201d\u2014that lie beneath their heroic image.<\/p>\n

\n\tAround that time, I came across a historical account from 1896 of seven young Korean men, facing unfamiliar language and cultural barriers on American soil, who left behind what is considered the first recorded Korean song\u2014\u201dArirang.\u201d The image of them proving their existence through music in a foreign land over 130 years ago bore a striking resemblance to the situation our members now face\u2014returning from military service in 2025 and stepping back onto the global stage to open a new chapter as BTS 2.0. It did not feel like a coincidence, but rather a sense of a shared, enduring destiny\u2014one that can be understood through the lens of the diaspora.<\/p>\n

\n\tThe\u00a0\u201cArirang\u201d\u00a0we focused on is by no means a sorrow that is static or subdued. As is characteristic of Korean folk music, we chose to focus on its resilience \u2013 the way it transforms the pain of loss into a dynamic, living rhythm. We believe that, as artists, the act of openly revealing one\u2019s vulnerabilities and finding the strength to move forward within that fragility is what defines true \u201cBTS-ness.\u201d<\/p>\n

\n\tThroughout this process, what I consistently emphasized to everyone involved was that\u00a0\u201cArirang\u201d\u00a0should never be treated as something superficial or one-dimensional, nor reduced to a shallow slogan such as \u201cincluding\u00a0\u2018Arirang\u2019\u00a0makes it somehow Korean\u201d or \u201cthe most Korean is the most global.\u201d<\/p>\n

\t\t\t\t\t\t\"K-pop<\/p>\n

\t\t\t\t\tK-pop boy band BTS perform onstage during comeback concert at Gwanghwamun Square on March 21, 2026, in Seoul, South Korea. The free concert is the band\u2019s first performance in nearly four years.<\/p>\n

\t\t\t\t\t\t\t\t\tKim Min-Hee\/Getty Images<\/p>\n

\n\tIn the end,\u00a0Arirang\u00a0became the clearest compass \u2013 one that both reflects on the 13-year journey BTS has taken and points toward the era of \u201cA Love Beyond,\u201d a love\u00a0that transcends borders and generations. This song is no longer a simple reinterpretation of tradition, but a living expression of BTS themselves \u2013 continuously evolving and moving the world in this very moment.<\/p>\n

\n\tAs a Korean, how did you feel listening to thousands sing \u201cArirang\u201d together with BTS on \u201cBody to Body,\u201d which is officially a global hit?\u00a0<\/p>\n

\n\tEven when BTS performed another global hit,\u00a0\u201cMIC Drop,\u201d\u00a0I remember being deeply moved by the moment when fans from all over the world \u2014 speaking different languages \u2014 sang parts of the song in Korean in perfect unison. Seeing that for the first time was incredibly powerful. With\u00a0\u201cBody to Body,\u201d however, the experience felt even more profound and layered.<\/p>\n

\n\tBTS may not have intended it, but in Korea, they are often regarded as something akin to national representatives. Of course, in the beginning, there were various discussions and differing opinions among the members and the team about incorporating a distinctly Korean folk element like\u00a0\u201cArirang\u201d\u00a0into the song. As a producer, however, my perspective was that, as an artist, choosing to forgo something that could create such a powerful emotional impact \u2014 for both internal and external reasons \u2014 might ultimately be something we would come to regret. I did not want BTS to miss the opportunity to create a moment that could leave a lasting impression on both fans and the wider public. In the end, we were able to reach a shared understanding with the members, and together, we were able to witness what has now become an iconic moment.<\/p>\n

\n\tIn a later meeting, the members shared with a laugh, \u201cAt first, we were concerned it might come across as \u2018overly nationalistic marketing.\u2019 But after playing it for people around us, every Korean we spoke to said they felt chills and were deeply moved when\u00a0\u2018Arirang\u2019\u00a0came in.\u00a0It seems you were right again this time.\u201d\u00a0<\/p>\n

\n\tThe Netflix concert was shot at Gwanghwamun Square. I understand this was your idea. What is the significance of Gwanghwamun and why film there?\u00a0<\/p>\n

\n\tAlthough this has already been widely discussed, I believe\u00a0that the first stage marking BTS\u2019 new chapter had to take place in a location that is distinctly Korean. As news of their comeback began to circulate, we received proposals from several major cities around the world to host the first performance. However, I felt very strongly that for an artist who began in Korea and grew into a global act, such an important moment should not begin overseas.<\/p>\n

\n\t[Gwanghwamun Square] proved to be the most fitting choice. As many have noted, seeing BTS return in their most distinctly Korean form, standing together in one of the most symbolic locations in Korea, became a powerful visual representation of the album\u2019s message.<\/p>\n

\n\tIn particular, the stage itself was designed with minimal elements, featuring only a large rectangular structure without elaborate decoration. With Gwanghwamun behind it and BTS performing in front, the scene felt almost like a \u201cportal\u201d connecting the past and the present,\u00a0which I found especially striking. Both historic and contemporary at the same time, it was a truly remarkable stage, and I would like to once again express my gratitude to our partner, Netflix, for helping bring it to life.<\/p>\n

\n\tAnother beautiful Korean touch was the inclusion of the \u201cEmille\u201d of the Sacred Bell of Great King Seongdeok as part of the album on \u201cNo. 29,\u201d another idea of yours. What is the significance of the Sacred Bell in Korean culture and what is its purpose in this album?<\/p>\n

\n\tIf you listen to the album, you\u2019ll notice a clear contrast between its first and second halves. The opening section carries a sense of grandeur \u2014 almost as if announcing the \u201creturn of a king\u201d \u2014 reflecting BTS coming back after nearly four years. In contrast, the latter half presents a more restrained and introspective tone, capturing the honest emotions and inner struggles of young individuals carrying the weight of that crown. Bridging these two contrasting moods was something I thought about carefully. I felt that introducing the sound of the bell could create a kind of meditative passage, allowing listeners to naturally transition into the second half of the album. While it is common for albums to include an interlude to shift the mood, these are typically composed as separate instrumental tracks. In this case, however, using only the sound of the bell \u2014 without any additional musical elements \u2014 was a new approach for us.<\/p>\n

\n\tThis idea began when I visited the National Museum of Korea last year, where Director Yoo Hong-jun personally introduced me to the sound of the Sacred Bell of Great King Seongdeok. He kindly gave me a private tour of the museum and told me, \u201cIf you make music, this is something you have to hear,\u201d before guiding me to a dedicated exhibition space for the bell. I spent quite a long time there, sitting and listening to the sound, while also learning about its history and significance. He explained how remarkable both the craftsmanship and the acoustic qualities were, especially considering the period in which it was created. It was at that moment that I felt this sound should be used as an interlude in the album.<\/p>\n

\n\tTraditionally, East Asian bells are designed to produce a deep, sustained resonance, and the Sacred Bell of Great King Seongdeok is often regarded as a pinnacle of that craftsmanship. The bell is designed so that its sound resonates in a continuous, almost unbroken cycle\u2014lingering as if it might fade, yet never quite disappearing. This phenomenon is known as \u201cmaengnori.\u201d In a similar way, I wanted this album to carry the hope that BTS\u2019 music would resonate with a lasting echo over time. At the same time, I thought this track would naturally spark curiosity among listeners, regardless of where they are from. In particular, I hoped that international listeners, drawn by that curiosity, might come to explore its meaning and history, and in doing so, gain a deeper understanding of Korean cultural heritage.<\/p>\n

\n\tThe last several years have seen a resurgence of national pride in pop music. Great examples include Bad Bunny and his DeB\u00cd TiRAR M\u00e1S FOToS, an eminently Puerto Rican album. Is it now time for Korea to have special musical ambassadors with BTS and Arirang?\u00a0<\/p>\n

\n\tThrough this album, I believe BTS will become an icon \u2014 not simply in the sense of representing Korea, but as universal pop artists and an iconic presence in their own right. When Netflix promoted BTS\u2019 comeback live broadcast, they used the phrase \u201cTHE WORLD\u2019S BIGGEST BAND.\u201d I see that not as a tagline, but as a reflection of reality.<\/p>\n

\n\tThis is an expression I often use internally, but I believe BTS is becoming something like a destination. While it is true that they have reached this point through the strength of their fandom, they are now moving beyond fandom\u2014 emerging as an act that is broadly recognized and embraced by the general public on a global scale. In the same way that people want to visit Disneyland once it opens or feel compelled to watch a new Marvel film when it is released, BTS is becoming an artist that people are naturally drawn to experience. In other words, they are expanding beyond the boundaries of a concentrated fandom, evolving into an act that can also engage and attract a much wider audience.<\/p>\n

\n\tI am confident that the presence of an artist like BTS will also contribute to expanding the market and increasing overall interest in the broader K-pop scene. Every genre ultimately needs transformative artists who can represent and redefine it. It is through those artists \u2014 and the moments they create \u2014 that the boundaries of a genre are pushed outward, drawing in audiences beyond its existing base. BTS has played that role within K-pop, and I hope that their return, after some time, will help drive new momentum for the Korean music industry as a whole.<\/p>\n","protected":false},"excerpt":{"rendered":"BTS\u2019\u00a0ARIRANG, the South Korean group\u2019s return album after their nearly four-year hiatus, ended up at No. 1 on…\n","protected":false},"author":2,"featured_media":593933,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[28],"tags":[64,63,99,134,188881,9607,136],"class_list":{"0":"post-593932","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-music","8":"tag-au","9":"tag-australia","10":"tag-business","11":"tag-entertainment","12":"tag-genre-k-pop","13":"tag-genre-pop","14":"tag-music"},"_links":{"self":[{"href":"https:\/\/www.newsbeep.com\/au\/wp-json\/wp\/v2\/posts\/593932","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.newsbeep.com\/au\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.newsbeep.com\/au\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/au\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/au\/wp-json\/wp\/v2\/comments?post=593932"}],"version-history":[{"count":0,"href":"https:\/\/www.newsbeep.com\/au\/wp-json\/wp\/v2\/posts\/593932\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/au\/wp-json\/wp\/v2\/media\/593933"}],"wp:attachment":[{"href":"https:\/\/www.newsbeep.com\/au\/wp-json\/wp\/v2\/media?parent=593932"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.newsbeep.com\/au\/wp-json\/wp\/v2\/categories?post=593932"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.newsbeep.com\/au\/wp-json\/wp\/v2\/tags?post=593932"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}