The sound and culture of Korean hip hop has a rich history rooted in the 1990s. Influenced by Western Black American culture, this genre began to make its mark in South Korea, resonating with the local audience and prompting a unique evolution.
My journey into the Korean hip hop scene began toward the end of my K-pop phase. During this time, I discovered Jay Park’s AOMG, a record label he founded in 2013. This marked a moment for me, redirecting my musical interests into a new space. For those who may not know, Jay Park is a Korean-American R&B singer who first gained fame as a member of the K-pop boy group 2PM.
Despite leaving the group, Jay Park successfully established AOMG, a platform that has produced a remarkable roster of talented artists and producers. Discovering this new world of Korean hip hop felt like a breath of fresh air; as someone who has always sought out unique and different music, this was a new sound for me.
Needless to say, I was familiar with previous Korean hip-hop artists that were a bit more mainstream even before 2013, such as Jinusean, Dynamic Duo, 1TYM, Seo Taiji, and The Boys etc. I am sharing more underground scenes in this article regarding the 2013-2017 era, which I love and has now grown into its own space.
I also dipped my toes into the Korean R&B scene, but I’ll save that discussion for another article.
Also, I would like to add that I used to bump some of Yang Hyun Suk’s music, which is not bad for the former CEO of the MF Family, a.k.a YG Entertainment. 악마의 연기 – Smoke of the Devil (feat. Perry) is still one of my favorites after all these years.
In this article, I want to highlight some significant influences that have shaped the Korean hip hop scene, spotlight a few of my favorite artists I enjoy, and analyze the profound impact this genre has had on the broader Korean music industry.
The Growth of the Korean Hip Hop Industry
The surge in mainstream visibility for South Korean music is primarily attributed to the K-pop industry. While this article centers on the hip-hop scene, it’s essential to recognize that K-pop has played a pivotal role in paving the way for other genres to achieve mainstream success. Two of the trailblazers who ignited this movement were Seo TaiJi and Hyun Jin-young, two young artist whose influences would set the stage for the future of Korean music.
By the late 1990s, hip-hop crews and groups began to create a significant presence in South Korea and on the global music stage. Although I wasn’t around during the peak of this transformative era, I feel compelled to acknowledge the fundamental impact of K-pop. The fusion of pop, hip hop, and R&B elements from the American music landscape offered something new: a sense of “freedom” that resonated with domestic and international listeners. For South Korea, this blend became a portal to the outside world, a cultural invitation that many were previously unaware of.
In the years that followed, South Korea experienced a remarkable influx of influential figures who molded a distinctive hip-hop culture for their audiences. Artists like Dynamic Duo, Tiger JK, 1TYM, Epik High, and Jinusean played essential roles in shaping the scene we recognize today. Without these iconic voices, it’s hard to envision the industry evolving into the vibrant phenomenon it has become.
My focus in this article, however, centers on the artists I grew up listening to during my high school days, as well as the emergence of prominent hip hop labels such as AOMG, Illionaire, Hi-Lite, and Feel Ghood Music. These labels showcased talent and helped solidify hip hop’s place in South Korea’s diverse musical landscape, making it an exciting time for fans and artists alike.
Show Me the Money (SMTM 3, 4, 5, 6)
If you weren’t around during this era of Show Me the Money, you truly missed out on witnessing some of the most exciting up-and-coming artists who got their start right here ( and some of the drama!). In my opinion, this period really solidified the expansion of resonating with international fans. Notable artists who emerged from SMTM include Loco, Mino, Bobby, Bewhy, Flowsik, Blacknut, Sik-K, Junoflo, Nucksal, Lil Boi, Basick, CJamm, and Reddy. It’s worth mentioning that while many of these artists were already either established or building their careers, SMTM provided them with an even larger platform to showcase their skills.
Season 4 stands out as my favorite. During this time, AOMG was booming, Got7 was a fresh new K-pop group, and EXO had just made a comeback. So many exciting developments were happening, and I felt fortunate to be engaged with the Korean music industry at this time. I remember rooting for Song Mino (from WINNER) throughout the season because I believed he was a skilled rapper needing a solid platform to reach a wider audience.
I’m not a fan of the term “idol rapper” when applied to artists like Mino and T.O.P., who both came from the underground scene and sought exposure in the mainstream industry. While I don’t want this piece to dwell on my personal opinions, I felt it was important to mention.
As SMTM progressed, I observed a significant shift in hip-hop’s cultural impact and public perception. Overall, I feel this period played a crucial role in shaping the current landscape of Korean hip-hop.
My Favorite Releases
Albums
- Sik-k – “FLIP” (2016)
- Loco – “Bleached” (2017)
- DPR Live – “Coming To You Live” & “Her” (2017)
- Sik-k – “H.A.L.F” (2017)
- Sik-k – “BOYCOLD”
Songs
- The Cohort – “Helium” (2013)
- B-Free – “Yoga Flame” (feat. Okasian) (2015)
- Reddy – “Think” (feat. Jay Park) (2016) Second Favorite!
- Sik-k – “Cha Cha” (2016)
- Nafla, Loopy – “Apple Box” (2017)
- DPR Live – “Laputa” (feat. Crush) (2017)
- Loco – “Movie Shoot” (feat. DPR Live) ( 2017)
- CODE KUNST – “StrOngerrr (feat. Loco, Mino) (2017) Absolute Favorite!
- Epik High – “BLEED” (2017)
Cultural and Global Impact
I don’t think it’s fair not to acknowledge the role of YouTube and social media in creating a tremendous space for all these artists. If YouTube did not exist, I don’t know how I would have known about any of my now favorite artists. Let alone K-pop, in general. The influence of Western music is widely evident in overseas composition.
Additionally, Korean hip hop and K-pop definitely go hand in hand with one another. If it wasn’t for the introduction of K-pop to the outside world, I don’t think I would have appreciated the artists I did enjoy when I discovered them in high school. Needless to say, Jay Park was also a heavily influential part of the growing hip-hop presence. I believe that when he started AOMG operations and began signing artists, he put much more respect on the genre and provided artists witha solid platform.
Controversies and Criticism
Discussing Korean hip-hop inevitably leads to addressing various issues surrounding the genre. I recognize that there are concerns about appropriateness and imagery with certain artists. For me personally, if an artist crosses a line or comes across as blatantly “corny” or “lame,” then their intentions become transparent, and I’ll choose not to support them.
However, some artists respect the craft and cultivate a version of hip hop that reflectss their unique sound, thereby distinguishing it from Westernized hip hop.
Additionally, I’m not particularly fond of the current state of American hip-hop. If you were to ask me who the prominent artists in the U.S. are today, I would not have a clue, nor be able to relate to current trends. My musical tastes are somewhat reserved, and I find aspects of Western music difficult to digest.
Earlier, I brought up the term “idol rappers.” In Korean hip-hop, there has been ongoing debate (I’m not sure if it remains a hot topic nowadays) about rappers from K-pop groups attempting to make a name for themselves in the rap scene.
On one hand, I understand that artists like Zico, Mino, and T.O.P, for example, had to navigate their way through the K-pop industry to gain mainstream success, particularly during the 2000s and 2010s when hip hop wasn’t as popular. From this perspective, I can empathize with their journey since they came from underground and actually had the skills.
However, on the flip side, I notice some “idol rappers” who seemingly lack genuine connections to the underground rap scene, trying to break into the industry as rappers. This presents a complex landscape that deserves thoughtful consideration.
Until Next Season…
Looking back, I feel incredibly grateful to have experienced the peak of the Korean hip-hop industry when I did. The energy and sound from that time will always hold a special place in my memory. What do you think?
Was 2016 the golden year of K-Hip Hop?
In my view, 2016 was the greatest year for the Korean hip-hop industry. firmly establishing its presence on the global stage. It was a the best period that I often describe to newcomers, saying, “You just had to be there.”
If you’ve made it this far in reading, I’d love to hear about your favorite artists or songs from that era that you still enjoy today.
Later down the road, I intend to highlight some of my favorite Korean R&B artists and share my insights into that side of the industry. Stay tuned!
Leave a Reply