It’s no surprise that many people associate South Korea primarily with their prolific K-Idol culture. And why wouldn’t they? The country is revered for its versatile cultural exports, ranging from K-pop to K-dramas. However, back in the Nineties, while Seo Taiji and Boys were laying the foundation for the K-pop landscape we’re familiar with today, an alternative movement was emerging beyond the mainstage. A countercultural epicenter, it wasn’t just home to artistic renegades from the streets of Hongdae, South Korea, but also to Drug, the live music club that became the mecca of Korean rock and indie music history. Here, young Koreans were carving their own, unsanitized sound, one that carried resistance against the wave of conservative culture in the country.
Consequently, in 1995, a band by the name of Crying Nut made its debut at the very same venue, forever altering the course of Korean punk music, also known as “Chosun Punk,” forever. Second-generation bands like No Brain and RUX also became poignant voices in the underground scene. But, owing to the gradual gentrification, the subcultural hub was dampened.
Nevertheless, the new wave of Korean alt acts is now carrying the baton, be it by performing at local music festivals like Zandari Fiesta by Hongik University, Seoul, or revered global ones like Rebellion Festival in the UK. By adding a modern spin to the long-standing movement, these artists are making their own rules along the way.
From hardcore punk to broody shoegaze, Rolling Stone India spotlights indie Korean alt acts that are headbanger-worthy.
Cultgazer: “Mido”
Deftones-esque and ambient, “Mido,” the debut track of South Korean independent collective Cultgazer, sounds like a hypnagogic loop, with feathery vocals floating over reverb-drenched, distorted riffs. Made in a basement studio in Dobong-bu, the song is a by-product of the band shuttling between cramped spaces and school rehearsals. The track sounds intentionally delayed, allowing the listener to savor the dissonance in their own time. Framed in Wong Kar-Wai cinematography with a teal and green dreamscape palette, the music video adds a futuristic dimension to their alt-rock-band-next-door vibe. As a band, Cultgazer is an exercise in DIY ethos; no fancy lyrics, equipment, or video — just a couple of friends, who met at a university freshman party, chasing the fleeting facets of identity through their music.
PCR: “Pessoa”
“Pessoa” by PCR is purposeful with its cacophony. A lovechild of 2HOLLIS’s underground aesthetic, 2000s indie-sleaze Hedi Slimane-coded outfits, and Joji’s distorted instrumentals, the analogue, home-movie-esque music video, which was shot on an iPhone, mirrors the maximalist editing style of Japanese-American filmmaker Justin Kaminuma. Interlaced with deconstructive chaos, the genre-bending track is as intriguing as it is discordant. A Seoul-based art punk collective, PCR’s provocative ethos starts right with their name, which is an abbreviation for the Korean syllables of “Pachung-ryu,” or reptilian creature. The members Hwang Young-won (drummer), Lee Min-jae (guitarist), and Kim Ki-min (vocalist) were all part of different bands and came together for the sole love of creating a wave of “genreless music.”
Wah Wah Wah: “Dirty”
With barely any lyrics, the seven-minute track “Dirty” by Wah Wah Wah manages to hold your attention. Fit for the soundtrack of an Eighties coming-of-age film, it also throws you off with its instrumental choices. Who would have thought that the most punk-rock thing would be a lengthy flute solo? However, that is just a ploy for what comes next — a high-octane segment fit for the dance floor. Giving pure older-brother-jamming-in-the-garage energy, Wah Wah Wah is a South Korean quartet known for its authentic sound and immersive live experiences. Its members have previously led iconic Korean rock bands such as Silica Gel and DTSQ. Melding 1960s animated liquid psychedelic visuals with their characteristic garage-rock songs, the band offers an unmatched experience to its niche audience.
Rumkicks: “Fuck You”
Female punk trio Rumkicks looks like they popped straight out of an Ai Yazawa manga. Their track, “Fuck You,” is a flippant feminist anthem. With a high-voltage tempo and raging guitar solo, the song carries a simple message of resistance. With lyrics, such as “but I don’t have to nod my head even when I disagree”// “I don’t have to be beautiful”// “I don’t have to be in good shape” the song refuses to bow down to partiarchal ideals of femininity, cementing it with the looping chorus “Fuck you I won’t do.” Sporting mohawks, liberty spikes, kilted skirts, studded collars, and smudged eyeliner, the band not only raises a middle finger to claustrophobic Korean beauty standards but also amplifies female voices in punk through their own discography.
18Fevers: “Never Fall”
Channelling the angst levels of Meteora by Linkin Park, “Never Fall” by 18Fevers is unfailingly gritty. With ragged vocals complementing a wicked bassline, the song is a collage of contradictions. The verses, such as “When everyone wants us to fail”// “Everything tries to bring me down,” mirror a charged, anti-establishment sentiment, one that is predominantly provocative. Carving out a sound that the band calls “death-punk-disco,” the Seoul-based band creates confrontational genre-bending tracks that carry the essence of Eighties hardcore punk, metal, pop punk, and more.
Cherryfilter: “Sweet Little Kitty”
Infused with nostalgia, “Sweet Little Kitty” is like a dash of euphoria. Amid its hardcore counterparts, the track is pop-forward, with lead vocalist Chou Youjeen’s signature spunky voice taking charge. Cherryfilter was one of the original “Chosun Punk” bands that emerged out of the Hongdae underground club scene in the Nineties. The band’s eclectic riffs, pop arrangements, and dynamic vocals instill a sense of hope, leaving the listener wanting more.
Idiots: “Pureunae”
Ever seen a punk band where a member plays with a plushie charm attached to her guitar? Unapologetically whimsical, “Pureunae” by Idiots cuts through the noise with their refreshing, mellow sound, allowing you to take those momentary pauses without guilt. The Seoul-based quartet, which met through university jam sessions, melds the best of both worlds, combining refreshing audiovisual alternative elements with their signature playful aesthetics. With illustrated, Studio Ghibli-esque album covers and slice-of-life music videos, they are the real hopecore punk rockers, celebrating the indomitable spirit of joy. Contrary to their stage name, their music is anything but idiotic.
Drinking Boys And Girls Choir: “There Is No Spring”
Right from the first listen, “There Is No Spring” does not hold back. Even with the simplest English lyrics (“There is no spring”// “Nothing is enough to live”), the song still carries emotional weight, offering a sliver of reassurance, just like how winter always turns into spring. Hailed as one of the most iconic independent hardcore punk trios from South Korea, Drinking Boys And Girls Choir (DBGC) is known for its LGBTQIA+ allyship and constant defiance of rigid societal norms of its hometown, Daegu. Also a by-product of the Nineties Korean punk movement, the three-piece is famously known for its Japanese and Korean cover of “Linda Linda” by the Japanese band Blue Hearts, which was featured in the 2005 Japanese comedy musical, Linda Linda Linda.
Sweet Gasoline: “Rainbow Prism”
Fit for a sports anime opening, “Rainbow Prism” by Sweet Gasoline sounds like a more angsty, speedy cousin of “Fly High!!!” by Japanese rock band Burnout Syndromes. Despite the energetic instrumentals and screamo vocals, the track injects a glimmer of hope. Born out of a dream in junior high school, members Lee-Do Cheon and Lee-Dong Hyun carried their adolescent friendship forward through a four-part band, which remains at the forefront of South Korea’s burgeoning youth punk scene.
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