
Dragon Pony shares glimpse of trainee days with ‘Radio Slience'
Rising rock band Dragon Pony has officially released their new single 'Radio Silence,' a raw and emotional track that delves into the lonely and complicated days of their time as trainees.
The quartet, which debuted in September 2024, consists of vocalist An Tae-gyu, guitarist Kwon Se-hyuk, bassist Pyun Sung-hyun and drummer Ko Gang-hun. The four members use only their team name in the album credits, emphasizing equal contribution of all members in the group's music and shared ambition.
"Radio Silence," which has already been performed at several concerts and festivals, delivers deeply personal lyrics inspired by the members' own stories of instability and emotional isolation during their training period, with a dense layering of drums, bass, guitar and choral backing.
"Like an airship veering off course, this song captures the confusion and hardships we went through during our trainee years — when we often questioned where we stood and where we were headed," said vocalist Ahn.
"Back then, we only had one computer, so the four of us would huddle around it to create music. We tried to channel all the anxiety we felt at the time into the sound — something that feels like it's slowly being pulled into a void," added guitarist Kwon.
Although the track reflects on their past, the members said they still relate to its message. 'The uncertainty we felt then still resonates with us now. Even though we're no longer trainees, we're still searching for something, still chasing something,' said bassist Pyun.
The Korean title of the song is 'Earth Boy.' 'We live on Earth, but it never felt like we truly belonged. That question led to the title. It reflects our desire to finally feel at home,' Pyun explained.
As for the English title 'Radio Silence,' Pyun noted that it was chosen to reflect the lyrics. 'The phrase refers to a complete communication blackout, and we thought it perfectly captured the emotional state described in the song.'
Though not yet a year into their debut, Dragon Pony has built momentum with numerous live performances. 'We've played both domestic and overseas festivals and even held two sold-out concerts in Taipei. Every experience has motivated us to make even better music,' said Ahn, reflecting on their first year.
Guitarist Kwon expressed hope that Dragon Pony could contribute, even in a small way, to the current resurgence of interest in Korean rock. 'There's been a growing wave of interest in bands lately, and we'd be honored to play even a small role in that movement.'
When asked about the band's unique strength, Ko recalled a recent meeting with You Hee-yeol, the head of the band's label Antenna and a renowned musician. 'He told us, 'You're a band that looks cooler today than you did yesterday.' That meant a lot. I think our biggest strength is that we're a band that's constantly growing.''

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Korea Herald
11 hours ago
- Korea Herald
Is K-pop's global strategy backfiring? As popularity up abroad, domestic interest wanes
Absence of breakout rookie girl groups and weakening domestic fandom raise concerns for K-pop's future at home Despite chart-topping hits on Billboard and sold-out world tours across the US, Europe and Southeast Asia, K-pop's grip on its home turf appears to be slipping. Industry experts are sounding the alarm over a growing disconnect between the genre's global success and its dwindling influence at home — particularly as the domestic fanbase, once the engine of the K-pop phenomenon, shows signs of fatigue. At the heart of the issue is a conspicuous absence of breakthrough rookie girl groups in the first half of 2025. These groups have historically driven fandom growth and revitalized the market, but this year's lineup failed to deliver the same impact. Data released in the Circle Chart's 2025 Mid-Year Report backs this up. Total digital music consumption for the top 400 songs fell by 6.4 percent year-on-year and compared to the genre's 2019 peak, it has plunged by a staggering 49.7 percent. Meanwhile, physical album sales — a metric typically bolstered by passionate fans — also dropped by 9 percent, totaling 42.4 million units, down from 46.7 million the year before. The number of albums surpassing 1 million units in sales fell from nine to seven, and not a single release managed to exceed 3 million — a feat achieved by Seventeen just a year ago. These numbers suggest stagnation, or even a decline, in the size and spending power of domestic fandoms. Kim Jin-woo, a data journalist at Circle Chart, noted a sharp drop in girl group dominance in the domestic market. 'In the first half of 2024, NewJeans held the top spot in market share and five girl groups were in the top 10. This year, only aespa, Ive and NewJeans made the cut,' Kim said. Kim also cited growing listener fatigue stemming from similar-sounding concepts and English-heavy lyrics aimed at overseas audiences — part of a broader 'de-K-pop' strategy that may be alienating local fans. 'Many groups now focus on global accessibility, often gravitating toward a narrow range of genres and English lyrics,' Kim said. 'This might attract international listeners but has started to exhaust interest at home.' Music critic Lim Hee-yun also pointed out that shifting media consumption habits have weakened the dominance of idol groups. 'With music increasingly consumed through self-produced content, fan platforms and social media, fandoms are less concentrated,' he said. 'Idols used to dominate the charts thanks to mass fan activity, but that's no longer the case. In contrast, solo artists are resonating more with casual listeners.' The Top 10 of the 2025 mid-year digital chart paints a telling picture: Solo acts like Woodz with 'Drowning' at No. 1, Hwang Garam with 'I Am a Firefly' at No. 3 and Jo Jazz with 'Don't You Know' at No. 7 — none of whom enjoy major global recognition — significantly outperformed their idol group counterparts. Seven of the Top 10 artists were solo performers, leaving aespa, Ive and Boynextdoor as the only groups in the Top 10. Lim added that while idol tracks are 'fun and powerful,' they often lack emotional depth. 'Ballads or rock-inflected songs with strong melodic structure and individual expression are better suited for immersive listening,' he said. Industry officials warn that this trend raises serious questions about the sustainability of K-pop's current trajectory. A sluggish domestic market could eventually undermine the health of the entire ecosystem. 'As K-pop pursued global mainstream appeal, the music took on a more (Western) pop-oriented flavor — but unless you're on the level of BTS' Jungkook, that strategy rarely pays off,' an entertainment official said. 'Even with its global expansion, K-pop remains confined to a subculture category rather than breaking into the true global mainstream.' jaaykim@


Korea Herald
13 hours ago
- Korea Herald
'Baby Shark' Pinkfong eyes management buyout alongside IPO: reports
The Pinkfong Company, creator of the global children's sensation "Baby Shark," is reportedly pursuing a management buyout in parallel with its planned market debut, according to industry sources on Friday. In May, the company filed for a preliminary review to list on the Kosdaq, marking a renewed push for an initial public offering six years after it first floated the idea in 2019. Multiple industry reports suggest that Pinkfong is in talks with potential buyers regarding a management sale. According to Maeil Business Newspaper, the deal may involve major shareholder stakes, with a potential price tag in the hundreds of billions of won. Major shareholders include CEO Kim Min-seok with an 18.44 percent stake, Editorial Samsung with 16.77 percent and telecom giant KT holding 9.1 percent. Editorial Samsung is Pinkfong's parent company, and Kim is the son of Editorial Samsung CEO Kim Jin-yong. Founded in 2010 as an entertainment subsidiary producing animations, songs and films, Pinkfong shot to global fame in 2016 with its breakout hit "Baby Shark." The song and its accompanying video became a viral sensation among children worldwide, with "Baby Shark Dance" holding the title of YouTube's most-viewed video at over 16 billion views to date. The company was once valued at over 1 trillion won ($714 million) during its Series B funding round in 2021, reportedly becoming the first Korean content firm to achieve unicorn status. However, its valuation is believed to have declined in recent years amid weakening performance. Annual revenue dropped from 117 billion won in 2022 to 94.6 billion won in 2023, with operating profit swinging from 3.7 billion won to a 3.2 billion won loss. Earnings recovered in 2024, with revenue rising to 97.3 billion won and operating profit rebounding to 18.8 billion won. Pinkfong recently opened its fifth overseas subsidiary in Japan and is expanding its global footprint while growing its YouTube consulting and intellectual property businesses. The company's flagship YouTube channel has racked up 51.3 billion cumulative views and boasts 82.6 million subscribers. Its content is now available in 25 languages across 244 countries.


Korea Herald
15 hours ago
- Korea Herald
Japanese version of 'Marry My Husband' becomes Prime Video Japan's most-watched series
The show's success highlights the global appeal of culturally reimagined storytelling The Japanese adaptation of the hit Korean drama "Marry My Husband" has become Amazon Prime Video Japan's most-watched series. Having premiered on June 27, the series soared to the top of the platform's viewership charts, drawing the largest audience in Japan within its first 30 days, from June 27 to July 27, 2025, according to data provided by Amazon Prime Video. As of Thursday, the drama also clinched the No. 1 spot on Prime Video's Top 10 chart in Japan, based on rankings compiled by FlixPatrol, a global streaming analytics firm. Keisuke Oishi, head of Amazon Prime Video Japan's local content division, said in a press release, 'The Japanese adaptation of 'Marry My Husband,' which reinterprets the universal appeal of the original from a uniquely Japanese perspective, has achieved the highest viewership record in our history. This accomplishment proves that the first collaborative effort between outstanding creators from both Korea and Japan has borne fruit.' Son Ja-young, executive producer at Studio Dragon -- the production house behind both the Korean and Japanese versions -- added in the same release, 'It's meaningful that this first attempt by a Korean production team to plan and produce an original drama tailored to Japanese sensibilities and culture resonated authentically with local viewers.' She continued, 'I hope this project serves as an opportunity to show that K-dramas can evolve in diverse ways, transcending cultural and regional boundaries.' A localized reimagining of the original tvN series, the Japanese version of "Marry My Husband" was developed by Studio Dragon and CJ ENM Japan, and co-produced by Jayuro Pictures and the venerable Japanese studio Shochiku. The series stars Fuka Koshiba as Misa Kanbe, a woman who is transported back in time after discovering her husband's affair with her closest friend. Takeru Sato co-stars as Wataru Suzuki, her boss and a potential romantic interest in her second shot at life. CJ ENM, which produced the original Korean TV adaptation of "Marry My Husband," stated during a June 26 press conference that the Japanese version is not a remake of the Korean series, but rather a reimagining of the original web novel, customized for Japanese audiences and cultural sensibilities.