When J-Hope took the stage at Brooklyn’s Barclays Heart to kick off a North American tour in mid-March, his set grew to become a showcase for the BTS member’s ever-expanding tackle hip-hop — from his group’s stadium-shaking squelcher “MIC Drop” to the sunny anthem “= (Equal Signal)” and the premiere of the entice, rap-sing hit “MONA LISA.” On the opposite aspect of the world, his bandmate Jin was placing the ultimate touches on Echo, his rock-inspired sophomore solo album, which dove headfirst into heated pop-punk riffs, romantic Brit-rock manufacturing powered by orchestral strings, and even a enjoyable foray into nation rock.
Whereas J-Hope and Jin stretched their particular person wings, the remainder of BTS — RM, Suga, Jimin, V, and Jung Kook — have been busy fulfilling their obligatory South Korean army service until their individual discharges this month. (Jin and J-Hope started their service sooner than their bandmates; Jin was discharged in June 2024, with J-Hope discharged final October). However they, too, have been very busy musically lately. That’s as a result of the group’s label and administration home, HYBE, has used the enforced pause that’s include enlistment as an incubator for particular person expression: RM has explored lush indie landscapes throughout his critically acclaimed solo album, Right Person, Wrong Place; V has savored the heat of nostalgic jazz with a number of duets, together with a brand new tackle “White Christmas,” with Bing Crosby’s vocals; Jung Kook topped the charts with Western-pop gloss; and Jimin has additionally hit Quantity One by dipping into brooding, dark-pop territory.
An elite group of creatives has been at BTS’ aspect all through this era of army service and solo journey, nurturing every member’s musical identification and nudging the boundaries of what Ok-pop might be on the worldwide stage. On the middle is Pdogg, the elusive Ok-pop power-producer who has helped helm BTS’ sound from their 2013 debut to the current day.
Pdogg, whose actual identify is Kang Hyowon, oversees all facets of BTS’ music. In a uncommon second chatting with abroad media, Pdogg tells Rolling Stone that his course of begins with personally connecting with an artist to listen to what’s on their thoughts and conceptualizing an preliminary tune. Within the studio, he lays the groundwork for the monitor or matches a demo for the idea, sometimes having the artist write the primary draft of lyrics earlier than calling in collaborators to assist carry the musical imaginative and prescient to life.
Relating to BTS, Pdogg says the secret is communication. “I talk immediately with the members as their tracks and albums typically focus on their private tales,” he explains. “I spend numerous time speaking to every member and speaking about what they’re pondering and the way they view the world. From there, we create songs which might be consistent with their perspective and match the fitting demos. Often, the artists write the primary draft of the lyrics themselves, and from there, I add the flesh and create the tune. In the course of the recording course of, we work collectively to seek out the creative aspect of them that they haven’t been in a position to showcase earlier than.”
The 41-year-old additionally oversees upcoming “trainee” artists underneath BIGHIT MUSIC, the label that homes BTS in addition to veteran singer Lee Hyun, chart-topping quintet Tomorrow X Together, and a brand new boy band just lately confirmed to debut within the third quarter of 2025. It’s one among a number of labels underneath HYBE, the home that BTS constructed up from a small administration company right into a multifaceted, worldwide leisure conglomerate. Pdogg started his musical journey practically 20 years in the past working with HYBE founder and present chairman Bang Si Hyuk (who additionally produces underneath the moniker “Hitman” Bang), again when Pdogg’s credit solely included the likes of Korean vocal trio 8Eight and R&B-pop siren Lim Jeonghee.
“Even when the corporate was comparatively smaller in dimension, Chairman Bang invested in mixing, mastering, and periods, all the time pushing till we received the precise outcomes we wished,” Pdogg says. “It’s been practically 20 years since I first met Chairman Bang, and I’ve nothing however full belief in him due to his unwavering dedication to music and his fixed drive to discover new sounds … and after I hit a stoop whereas working, he shouldered the losses and nonetheless believed in me — that’s why I’m in a position to proceed making music to this present day.”
Pdogg says he’s personally interested by “attempting to modernize the sound of the mid- to late-2000s” and “discover a sound that mixes genres that haven’t but made the soar from pop to mainstream,” however it is going to be BTS who take the lead on their future sound. Though BTS have scored their largest Billboard hits and Grammy nominations with all-English tracks like “Dynamite” and “Butter” (which, notably, didn’t characteristic Pdogg on the credit), the producer says this gained’t change the best way he or his collaborators strategy new BTS music. “There’s all the time a specific amount of stress and nervousness, which is a part of my journey, so it’s nothing out of the extraordinary,” he shares. “Currently, I’ve been specializing in discovering new sounds by collaborating with high worldwide producers and songwriters in numerous methods. I’m aiming to create one thing that’s totally different from ‘Dynamite’ or ‘Butter,’ whereas nonetheless ensuring it resonates with the worldwide viewers.”
One change that will be evident on BTS’ imminent comeback album — at the least within the credit — is the absence of Gradual Rabbit, one other super-producer underneath HYBE’s BIGHIT MUSIC who has additionally been with the boys since their debut. Whereas Gradual Rabbit (born Kwon Dohyeong) co-wrote the monitor “For Youth” alongside RM, J-Hope, and Suga for BTS’ career-spanning Proof anthology in 2022, he’s targeted on one other group now. “I’m positive the members and the proficient producers who might be part of their subsequent comeback will create an unbelievable album,” Gradual Rabbit tells Rolling Stone. “I’m additionally wanting ahead to BTS’ comeback, however as for me, I might be specializing in my function as the principle producer for Tomorrow X Collectively.”
Whereas TXT was at first labeled by followers because the “youthful brother” group to BTS after they debuted in early 2019, the quintet have as a substitute crafted musical journeys all their very own, with an emphasis on utilizing mystical, magical fairy-tale-like storytelling to explain rising up as we speak, felt in tune titles like “Farewell, Neverland,” “Can’t We Simply Depart the Monster Alive?” and “Sugar Rush Trip.” “Once I first began working with BTS, I used to be new to being a producer and needed to be taught the whole lot from ‘Hitman’ Bang and Pdogg,” provides Gradual Rabbit. “Changing into the principle producer of Tomorrow X Collectively was an enormous leap ahead for me, and it helped me higher perceive the function and obligations that include it. Juggling between BTS and Tomorrow X Collectively was very complicated and emotionally difficult at occasions. All of those hardships previously have grounded me.”
Because of HYBE’s sturdy A&R and publishing arm, Pdogg, Gradual Rabbit, and extra of its creatives have writing credit for artists signed to rival companies. Lately, Pdogg helped craft “ABCD,” the social media solo single from Nayeon of high lady group TWICE, underneath JYP Leisure (whose founder and namesake, J.Y. Park, labored alongside Bang for 2000s and early 2010s JYP acts), and Gradual Rabbit co-produced the viral hit “UP,” by Karina of aespa, a quartet from SM Leisure
Alongside Pdogg and Gradual Rabbit, HYBE is driving the success of relative newcomers to the corporate’s producer roster — like ARMADILLO, the lead producer for Coachella 2025 breakouts ENHYPEN, and the dynamic manufacturing and songwriting duo 13, who’ve introduced Nile Rodgers, Afrobeats, and voguing parts into LE SSERAFIM albums. Whereas serving to design the way forward for Ok-pop alongside the upcoming comeback for BTS, these producers spoke to Rolling Stone about their musical journeys, insider tales, favourite underrated tracks, and extra.
Pdogg
10 notable credit: BTS’ “No Extra Dream” (2013); RM and Wale’s “Change” (2017); BTS’ “Boy With Luv” (feat. Halsey) (2019); Jin’s “Abyss” (2020); GFRIEND’s “Apple” (2020); Coldplay and BTS’ “My Universe” (2021); Charlie Puth and Jung Kook’s “Left and Proper” (2022); J-Hope’s “On the Avenue (with J. Cole)” (2023); Jimin’s “Who” (2024); Ailee’s “MMI” (2025).
When you have labored with BTS since their debut, what have these final years been like for you throughout this new chapter, the place the members targeted on solo albums?
Prior to now, our emphasis was on group harmonization. Nonetheless, with the solo albums, the strategy has shifted to highlighting every member’s distinctive voice.… I rigorously consider the route every member needs to take, guaranteeing their particular person imaginative and prescient is mirrored as absolutely as attainable … the solo albums characteristic extra private themes for every member, which makes them totally different from the themes and messages we discover in group actions. Moreover, as every member has their distinctive vocal tone and most popular style, so by way of solo actions, we’re aiming to disclose new sides of their particular person artistry.
What’s been the most effective second of your musical journey?
I’d say it was after I went to the Grammy Awards in 2020, when BTS had this historic efficiency with Nas, simply earlier than the pandemic hit. Being there in individual for such a monumental second and having BTS sharing the stage with true legends within the music business was extremely significant to me. It’s a type of unforgettable experiences in my profession.
Do you’ve a favourite of all of the songs you’ve labored on?
One among my favourite songs is BTS’ “Save ME,” and I particularly love the music video. It’s a choreographed video fashion, however what makes it particular for me is how the cloudy climate completely enhances the tune’s feeling of loneliness. The choreography and the temper actually come collectively to specific the emotion of the tune, and it’s one which I discover myself watching typically.
Gradual Rabbit
10 notable credit: BTS’ “Espresso” (2023); Tomorrow X Collectively’s “CROWN” (2019); NCT DREAM’s “Countdown (3, 2, 1)” (2021); & TEAM’s “Below the Pores and skin” (2022); TWICE’s “Courageous” (2022); Tomorrow X Collectively and Anitta’s “Again for Extra” (2023); fromis_9’s “Carry It On” (2023); ILLIT’s “Magnetic” (2024); ENHYPEN’s “Deadly Bother” (2024); Yeonjun’s “GGUM” (2024); KATSEYE’s “Gnarly” (2025).
After quietly shaping a few of Ok-pop’s most beloved B sides and deep cuts, Gradual Rabbit says that he “spends most of my time engaged on Tomorrow X Collectively’s music” as we speak, however holds milestones like debut live shows and BTS’ first large wins at Ok-pop awards reveals as “a supply of happiness.”
Gradual Rabbit notched a brand new private milestone in 2024 after engaged on “Magnetic,” by ILLIT. Not solely was it his first time serving to helm the debut single for a woman group, the monitor additionally cracked the Billboard Scorching 100, marking the primary time a Ok-pop group’s debut single impacted the singles chart.
Take us by way of a typical day or week for Gradual Rabbit these days.
Lately, I’ve been spending numerous time engaged on Tomorrow X Collectively’s upcoming album together with just a few different initiatives. I don’t have a set schedule for making music, however I attempt to work on one thing every time I can.… I’ve the most effective conversations with [TXT member] Taehyun in terms of music. He not solely loves listening to numerous genres but in addition enjoys singing, so every time there’s a terrific monitor, he’s the primary one which I attain out to. We share a deep love for music, and this relationship helps each of us develop musically. Because the launch of their solo mixtapes, I’ve had many conversations with Yeonjun and Beomgyu, as nicely. As for Yeonjun, “Hitman” Bang, myself, and the A&R group have been discussing the creative route of his future initiatives and the way we are able to finest help his musical journey. Beomgyu has a powerful ardour for composing, so we’re exploring methods for him to showcase his expertise.
What are you able to inform us about Tomorrow X Collectively’s social media single, “Love Language,” and upcoming music?
Beginning with Yeonjun’s “GGUM,” launched within the second half of 2024, the members started exploring their very own musical identities by way of solo actions. Whereas some members are extra devoted to group actions for now, I need to emphasize that each the corporate and I are absolutely dedicated to supporting any member who needs to pursue their very own music in each means attainable.… This marks a transitional interval for the group, so we’re ensuring the album displays these adjustments whereas staying true to the essence of Tomorrow X Collectively. We’re additionally getting ready for the next comeback, which could have a totally totally different vibe, so I’m each excited and a bit nervous for the followers to listen to it.
On a private notice, I’ve been collaborating extra with different producers when making music. I’ve had the chance to work with a various vary of proficient individuals, from veteran producers like “Hitman” Bang, famend worldwide producers, topliners to producers from the youthful technology.
Has there been a very difficult second, tune, or reminiscence that stands out?
One of many hardest, but most fulfilling, was Jan. 1, 2024. That day, “Hitman” Bang and I have been finalizing “Deja Vu” by Tomorrow X Collectively. I used to be barely getting any sleep as I used to be additionally engaged on ending “Magnetic” by ILLIT. Finishing two songs on the identical time was bodily draining, however it was all value it as a result of probably the most essential components of the songs got here to life that day.
This era was particularly memorable as I had the chance to collaborate with BIGHIT MUSIC’s proficient trainees, James and Martin, whom “Hitman” Bang launched to me. Working collectively not solely on music but in addition on efficiency and different inventive facets introduced again recollections of the early days of my profession, when HYBE was nonetheless Huge Hit Leisure.
Is there a lesser-known tune you’re significantly pleased with or really feel is particular?
One tune that instantly involves thoughts is “Moonstruck” by ENHYPEN. The tune highlights every member’s voice, and the lyrics completely mirror the group’s distinct storyline. I’m positive that [ENHYPEN’s fan army] ENGENEs have in all probability heard this tune at live shows or year-end stage [performances], however I feel it’s a hidden gem.
13
10 notable credit: BTOB’s “I’ll Be Your Man” (2016); GFRIEND’s “Hear the Wind Sing” (2017); Soyou & Baekhyun’s “Rain” (2017); Jonghyun’s “Shinin” (2018); Wanna One’s “One Love” (2019); Golden Little one’s “Burn It” (2021); LE SSERAFIM’s “UNFORGIVEN” (feat. Nile Rodgers) (2023); Huh Yunjin’s “Elevate y_our glass” (2023); KATSEYE’s “Tonight I May” (2024); LE SSERAFIM’s “HOT (English model)” (feat. JADE) (2025).
When producers SCORE and Megatone determined to group up as a duo formally, the pair adopted their moniker merely from the truth that “we occurred to reside on the thirteenth ground of the identical condo constructing,” SCORE explains. “We actually appreciated how ’13’ had a easy but mysterious really feel to it.”
It should have been their fortunate quantity after “Hitman” Bang interviewed them and gave them the OK to hitch the day-one group for LE SSERAFIM, an essential mission as the primary feminine act created after HYBE’s company rebrand in 2021. “As their teaser movies have been launched one after the other, we might really feel the rising pleasure and anticipation from followers,” Megatone recollects after the duo spent years hoping to position songs earlier than discovering a house with LE SSERAFIM’s label. “Lastly seeing them take the stage for the primary time at their album showcase was an indescribably overwhelming expertise.”
Are you working with LE SSERAFIM on any initiatives now? The place do you pull inspiration for the group?
SCORE: We’ve been working with LE SSERAFIM for over three years now, and all through this journey, we’ve shared numerous conversations with them. The extra time we spend collectively, the extra we understand that we share a standard imaginative and prescient. This mutual understanding has been a continuing supply of inspiration within the means of music manufacturing. As LE SSERAFIM’s important producers, answerable for shaping their distinctive sound and elegance, we all the time attempt to include the social media musical developments in a means that aligns with the group’s identification and as we see match.
Your work ranges from lady and boy bands to rappers and Japanese pop. Do you’ve totally different approaches based mostly on the form of artist or style?
SCORE: Earlier than becoming a member of HYBE, we spent over a decade as freelance producers and songwriters working with varied artists and labels. Throughout this time, we additionally had the chance to supply complete albums with artists whose musical fashion resonated with ours.… Some of the essential classes we’ve realized all through is that it’s important for a music producer to grasp that every artist has their very own distinctive fashion and appeal, no matter style or nationality, and to acknowledge this earlier than engaged on their music.
The place do you see Ok-pop shifting sooner or later?
Megatone: With the Ok-pop business’s growing saturation and the rising variety of artists searching for world success, it’s extra essential than ever for them to supply music that aligns with world developments and infuses distinctive appeal to captivate followers worldwide.
Do you’ve a favourite of all of the songs you’ve labored on?
Megatone: All of the songs we’ve produced maintain a particular place in our hearts, however one which stands out is LE SSERAFIM’s “CRAZY.” We really feel this monitor completely captures the group’s distinctive identification and has been extensively liked by followers all over the world. “ANTIFRAGILE” additionally means loads to us, because it performed an enormous function in shaping LE SSERAFIM’s journey to the place they’re as we speak.
ARMADILLO
10 notable credit by way of the years: 2AM’s “Love Really” (2014); 15& and Kanto’s “Love Is Insanity” (2015); Stray Youngsters’ “Hellevator” (2017); Suzy’s “Fake” (2017); Chung Ha’s “All people Has” (2020); NMIXX’s “DICE” (2022); UP10TION’s “Angel” (2022); BOY STORY’s “ENOUGH” (2023); ENHYPEN and JVKE’s “XO (Solely If You Say Sure) (English model)” (2024), ENHYPEN’s “Unfastened” (2025).
Taking his producer identify as a reminder to “transfer at your personal tempo and keep grounded,” ARMADILLO stays humbled as the principle producer for ENHYPEN (a bunch he says boasts a versatility that “makes them each fascinating and difficult to supply for”) after already securing a confirmed assortment of hits for main acts like TWICE, Stray Youngsters, and Chung Ha. He nonetheless remembers his first outstanding single placement — with Ok-pop famous person Suzy’s atmospheric chart-topper “Fake” nonetheless — as his most significant milestone.
Trying forward, ARMADILLO vows to “preserve diving deeper into sound design” whereas strengthening Ok-pop’s world attain by way of worldwide collaboration and his slow-and-steady mindset. “Even when it takes a bit of longer, I imagine in going regular and robust — identical to an armadillo.”
Take us by way of a typical day for ARMADILLO.
Over time, I’ve come to get pleasure from my morning routine. I normally get up round 5 a.m., go for a run, after which spend the early hours engaged on tracks. This routine itself has develop into a inventive sanctuary for me. Within the afternoons, fairly than diving into music manufacturing, I concentrate on honing my abilities — sound design, mixing strategies, something that sharpens my craft. It’s a sample that I’ve constructed over time: refining my instruments in the course of the day, then channeling that into creation within the early hours.
I’d say that producers at HYBE are typically deeply concerned with the label, from monitoring mixes for upcoming albums to enhancing and creating tracks for reside performances. Since getting into the function of lead producer for ENHYPEN, I’ve been devoting 90 p.c of my focus to the group — whether or not it’s album manufacturing, live shows, world excursions, or year-end award-show performances.
The place are you pulling inspiration from these days?
Currently, I’ve been focusing extra on stripping issues again fairly than including extra. As an alternative of dashing to finish full tracks, I spend extra time ensuring the core concept is stable — does the principle theme really feel proper? Does it converse with readability and conviction? That’s the place most of my vitality goes.
I’ve additionally been delving into analog textures these days. There’s one thing compelling in regards to the rawness and heat you get from that world, and it’s inspiring me in sudden methods.
Your work varies from HYBE teams like ENHYPEN to soloists, lady teams, and artists in numerous international locations. Do you’ve totally different approaches based mostly on the form of artist, style, or nation?
Each artist requires a unique strategy — there’s no one-size-fits-all. Particularly when working with an artist who’s simply beginning out, I don’t dive straight into songwriting. As an alternative, I take the time to grasp who they’re — the story they need to inform, the feelings they carry, and the colours and types that swimsuit them finest. Generally, I sit with these ideas for a very long time even earlier than writing a single notice.
Apparently, there have been occasions when a tune I’ve held on to for years — one I used to be saving for one thing particular — finally ends up clicking completely with an artist I by no means anticipated.
Lately, many Ok-pop labels construct out detailed storylines and ideas prematurely. So as a rule, producers are introduced in to create music that aligns with these frameworks, serving to to carry that imaginative and prescient to life.
What have been a few of the most difficult components of your profession?
It’s been greater than a decade, however I’ll always remember how onerous issues have been earlier than I joined an organization. I didn’t have a correct workspace, so I’d take my keyboard all the way down to my automobile in a basement car parking zone. I’d sit within the again seat writing melodies till dusk. Summers have been brutal — I’d come again drenched in sweat — however the second I placed on my headphones and began working, the whole lot else didn’t matter a lot. What saved me going was understanding there was somebody who genuinely liked my music, and that help gave me energy and jogged my memory why I do what I do.
Do you’ve a favourite of all of the songs you’ve labored on?
Suzy’s “Fake” was my first title monitor [single], and the primary to high one among Korea’s largest music charts, Melon. That made it a significant milestone in my profession.… I need to preserve diving deeper into sound design — there’s all the time extra to discover. I’ll preserve doing my finest to create songs that join with individuals all over the world.
From Rolling Stone US.