“Golden” Moment: How ‘KPop Demon Hunters’ Created the Year’s Catchiest Soundtrack

by

This night will be etched in the memories of K-Pop enthusiasts worldwide: Superstars Huntrix and Saja Boys will face off against each other at this year’s International Idol Awards.

The unique problem was that the International Idol Awards weren’t genuine, and neither were the bands portrayed in them. However, these groups can be found in the animated Netflix series “KPop Demon Hunters,” which follows the escapades of Huntrix, a three-member girl group who also combat monsters from the underworld. Remarkably, this film has emerged as the streamer’s recent unexpected success, and even more surprisingly, its soundtrack has been making waves in the actual internet and music charts.

In this version, I’ve aimed to maintain the same meaning while using simpler and more natural language, and I’ve also added a touch of formality to some phrases to make it easier to read.

As a devoted fan, I can’t help but express my excitement over “Demon Hunters,” skillfully directed by Maggie Kang and Chris Appelhans. This thrilling tale follows the Huntrix trio, consisting of Rumi, Mira, and Zoey, who captivate us with their irresistible K-pop tunes during the daytime, only to reveal their true identities as demon hunters by night. The story unfolds with our heroines battling the enigmatic Saja Boys, a seemingly innocent boy band that, unbeknownst to the world, are secret demons, leveraging their popularity to pilfer souls.

In the magical music film, a variety of K-pop tunes are showcased for its imaginary bands, and astonishingly, the soundtrack has climbed up to the 8th position on the Billboard 200 list. Additionally, it has generated two entries on the Hot 100 chart, with “Your Idol” by Saja Boy at number 77 and “Golden” by Huntrix at number 81. The executive music producer of KPop Demon Hunter, Ian Eisendrath, has revealed that they intend to submit Huntrix’s “Golden” as their award nomination song. Interestingly, Saja Boys, who take inspiration from popular K-pop acts such as Tomorrow X Together, BTS, Stray Kids, ATEEZ, BigBang, and Monsta X, have surpassed BTS as the leading K-pop boy group on Spotify’s daily global chart by reaching number 2. Although BTS’ single “Dynamite” from 2020 reached number 3, members of the group have previously reached the top spot individually.

Eisendrath has always believed the project was unique, but admits he only anticipated a fraction (2%) of the positive response we’ve received so far. He recently shared insights with The Hollywood Reporter about how the music was created and why it has resonated with mainstream audiences.

What has the response to KPop Demon Hunters been like?

It’s been incredibly fulfilling and exhilarating. I’ve always held faith in these songs and what we’ve created as a genuine group of musicians, and I feel deeply privileged to collaborate with these K-pop sensation producers. I’ve always felt that this would be something unique. I thought it would be fantastic, but the response we’ve received has far surpassed my wildest expectations, leaving me utterly astounded.

Our journey has been filled with numerous films, theater productions, and narratives driven by music. Yet, this project has always been a personal dream of mine – to create something that resonates deeply with people on an emotional level, not just through the story and characters, but also through songs that are cherished in their own right as standalone pieces. From the very start, our aim was ambitious because it’s so simple for it to veer off course. In many films, there are some wonderful character-driven songs that perfectly fit the movie and appeal to fans, yet don’t quite achieve mainstream pop success. Conversely, there are numerous films featuring popular songs, but they may not always align with the film or its characters. I believe it is the harmonious blend of cinema and K-pop that makes this project so fulfilling to witness – seeing people connect with it. A special moment for us was when Twice agreed to perform one of these songs. The fact that one of the biggest K-pop groups considers our creation worthy of recording is a testament to everyone’s efforts.

In your rich background with musical theater, I’ve noticed some striking similarities with K-pop. Could you share your insights on how these two art forms intersect and complement each other?

Absolutely, from the very beginning, I’ve been expressing this viewpoint. When Sony approached me with this job offer, it was truly exciting. To me, K-pop is arguably the most theatrically intense and dramatic genre of music currently available. The richness of a K-pop song is astounding – each track boasts numerous vocal layers. This density, coupled with high drama and energy, makes K-pop songs an ideal fit for the stage. Cinematic tunes often need to be even more energetic and multi-layered to stand out. What I find fascinating about K-pop is that it doesn’t require manipulation; it inherently possesses these qualities.

Ever since I started exploring this genre, I’ve wondered, what if K-pop lyrics contained a bit more narrative and substance? I believe the music side of it is already extraordinary, and the impactful nature of its lyrics may resonate so deeply with listeners because there’s such depth and richness in the messages without overwhelming them.

Our goal was to incorporate drops into these songs. We didn’t want the songs to be overpowering with an onslaught of 10,000 words at breakneck speed.

It’s quite straightforward to identify the source of melodies for your songs being influenced by particular genres of Korean pop music, given its wide array of styles.

What’s fascinating about it, much like a playhouse, is that monotony should be avoided by ensuring there isn’t the repetition of the exact same sound continuously.

Did you say ‘we want one of this kind of song or that kind of song’?

Completely so. I invested a significant amount of my time collaborating with the directors who possess a remarkable imagination for character development, plot, and overall tone, and music plays such a profound role in this that our initial move was to insert alternative tunes into the storyboards. This allowed us to discover the genuine rhythm. Initially, our ideas didn’t stem from original songs but rather from various songs we had inserted. We appreciated the tempo, the beat, the style. When we assigned these tracks to songwriters, we provided them with a list of references and said, “We admire how this bridge feels due to specific details.” After handing it over to the songwriters for collaboration, there was no intention to replicate or imitate what was already there, but it helped us communicate effectively. Naturally, our film has its unique voice and musical language. However, I must emphasize that the influential K-pop groups and diverse music scene played a significant role in shaping these songs.

It has to be the only way you can tackle something as large in scope as K-pop.

The remarkable aspect of the movie, which may not be fully comprehended by everyone, is that Spring Aspers, the head of music at Sony, assembled a team of artists for its production. Instead of relying on the work of a single or a few individuals, this was a collective effort from the musical community. There were frequent collaborations and crossovers in the creation process; for instance, one artist might express admiration for a particular production and then propose that another artist contribute to its melody. Similarly, groups of three artists often teamed up to write lyrics. The result was an array of unusual collaborations and cross-pollination that I believe played a significant role in the movie’s success. It was truly like magic at work. What made this approach unique is that it started with individuals deeply rooted in the genre’s songwriting, who were then brought to the film side.

It’s clear from your discussion about the artist collaboration that there’s a genuine passion for K-pop among all participants. Unfortunately, some may view K-pop as merely an opportunity for financial gain without truly appreciating its depth. However, KPop Demon Hunters appears to comprehend and value K-pop in a meaningful way.

From the outset, our goal was to connect with the people who have embodied this unique music, driven by a top-down leadership approach. It was thrilling, and I gained invaluable insights from everyone involved. Our intention was to authentically promote and amplify this genre of music by working closely with its original creators.

The experience was electrifying! We had numerous collaborations with The Black Label [Teddy Park]. It was both humbling and exciting. During the recording phases, we worked on vocals in Korea, Los Angeles, and New York – countless hours dedicated to each individual singer. I recorded everyone separately, which added an interesting process as we kept layering and adding more voices, eventually resulting in a magnificent sound and magical blend. What’s unique about this project is that for many pop songs, the lead vocalist performs all background vocals. However, for this film, The Saja Boys each contributed their lead and backup vocals, creating a lush and varied texture. I must acknowledge EJAE Kim’s significant contribution in shaping Huntrix’s sound, particularly her vocals. Together, we arranged the vocals, but my aim was to bring out and fully actualize her distinct and natural language and musical style.

Are you excited about the positive reception of the movie and the music, and are there any additional aspirations or expectations you have for this project?

I have a strong desire to see K-pop break through to a wider audience beyond its current fan base. I’m thrilled about how it’s already transcending those boundaries and I hope this trend continues. I’d love to see more movies and musicals produced in this style. I believe this film has demonstrated that it’s possible to create a musical that resonates with both pop music culture and a broader, global audience.

Moreover, I want to celebrate the artists who contributed to this project. Specifically, I hope Audrey Nuna, EJAE Kim, and Rei Ami (as Huntrix) achieve great success as singers. The same goes for each member of our Saja Boys: Andrew Choi, Neckwav, Samuil Lee, Kevin Woo, and Danny Chung. I also want to acknowledge the songwriters, including Steven Kirk, Jenna Andrews, Lindgren, The Black Label, EJAE, and Mark Sonnenblick. My dream is for all of them to experience a surge in popularity and receive numerous awards for their work.

That’s the hope, right?

As a gamer, I’m absolutely thrilled that “Golden” became the chosen song for the awards show. The moment it was being crafted, my emotions ran deep with pure joy, much like the directors involved. We had numerous songs in contention for this slot, but we kept pushing until we found the perfect energy. Our directors are tough, yet inspiring, and they held a clear vision for what this song needed to achieve. We experimented with various writers, tweaking the lyrics and melody to ensure the song could carry so much weight.

In essence, it was their “I want” song – setting up the story, revealing backstories, and ultimately had to be a genuine K-pop hit single. This was definitely the most challenging piece we’ve ever worked on because we needed all those elements to align perfectly. Now that I see it being so warmly received, I feel an immense sense of satisfaction. The melody in the pre-chorus and end of the chorus is simply breathtaking, and the production by The Black Label never fails to bring a smile to my face.

Read More

2025-07-04 02:25