‘Arirang’, the traditional Korean folk song that gives BTS’ new album its name, has long been open to interpretation. Full of longing and hope, resilience and resistance, the song can be read as an ode to a loved one or to a hometown left behind. There are different versions associated with different regions in Korea, and over the years since its existence was first documented during the reconstruction of Seoul’s Gyeongbokgung Palace (although it could be far older), it’s taken on different meanings and roles, most famously as an anti-colonial resistance anthem during Japanese occupation of the country.
Now, it’s K-pop juggernaut BTS’ turn to put their own spin on ‘Arirang’, turning it into an anthem of unity, action and experience. ‘Body To Body’, the album’s commanding opener, samples a version of the folk song, traditional percussion mixing with rap beats and droning chords. “The heartbeat of the nation rising up / Be about it, be about it, be about it / You could see about it / Or you read about it”, raps J-hope, urging us to ditch the passivity as the song builds to the sample. In the hands of BTS, ‘Arirang’ amplifies its clarion call.
In the lead-up to their fifth full-length album – and first output in nearly four years – the seven-member group promised a return to their roots. ‘Aliens’, a marching track co-produced by Mike WiLL Made-It, examines the rise of both BTS and broader Korean culture. “Everybody know now where the K is”, RM notes at one point, before referencing one of the leaders of the Korean independence movement who emphasised a wish for Korea’s power to one day manifest through culture, rather than military aggression and brutality: “Pardon me, Kim Gu, tell me how you feel”.
If ‘Aliens’ positions the group as “seven aliens, built different”, then ‘They Don’t Know ’Bout Us’ rejects the idea there’s something unusual about them. “‘Those guys are so special among Asians’, aye / ‘Some kinda heroic beings, too hard to break’, uh”, J-hope sums up others’ assessments of BTS. “Uh, we can’t relate / We’re just seven people, though”.
Much of ‘Arirang’ negotiates polar ideas – BTS as heroes or normal people, the buzz of the spotlight and the hush of their private worlds, longing for the euphoric parts of life to continue versus wanting to get off of the ride. The latter colours ‘Merry Go Round’, co-produced by Tame Impala’s Kevin Parker and a beautifully melancholic portrayal of being stuck in the rut of routine. “I can’t get off of this ride”, sighs Jin, resigned to being stuck on board for more rotations. The infectious ‘Normal’ is trapped between the highs and lows of attention (“Show me hate, show me love, make me bulletproof / Yeah, we call this shit normal”), while ‘Swim’ – a lowkey choice for a comeback single that grows instead of grabs – commits to pushing through life’s challenges.
BTS’ return to their roots here isn’t just a reference to their cultural identity, but also to the music they first emerged making – the group were first formed as a rap-focused act, with RM and Suga active in Korea’s underground hip-hop scene before joining Big Hit Music. The first half of ‘Arirang’ goes heavy on the hip-hop – an addictive onslaught of attitude and energy that makes for a powerful reintroduction. ‘Hooligan’’s alternative hip-hop dials up the fun and takes things into satisfyingly strange sonic territory, combining bladelike schwings with skipping strings, while ‘FYA’ revs up into something urgent and uplifting.
BTS pause to catch breath in ‘No. 29’, an interlude made up solely of the tolling of South Korea’s 29th national treasure, the Divine Bell of King Seongdeok, then return calmer and more measured. It’s this half where ‘Arirang’’s impact dulls slightly. The grunge-lite of ‘Like Animals’ feels disconnected from its message, slumping into liberation rather than grabbing it by the reins, while the sunkissed electronics of ‘One More Night’ are pleasant enough, but fail to make a lasting impression. The vocals on closer ‘Into The Sun’ might skew uncomfortably high at points, but in the context of the song, the effects just work, capturing the longing to greet a new day together with a stirring intensity.
In the days before BTS made their historic live comeback in Seoul’s Gwanghwamun Square, a banner adorning a nearby building described the group as “Born in Korea. Play for the world.” It’s an apt characterisation of what they’ve always done – mixing the cultural heritage of their home country with global influences, an approach that lights up ‘Arirang’. After nearly four years, BTS are back doing what they do best – serving as both ambassadors and explorers, fuelled by curiosity and creativity.
