On March 5, a video entitled “Epik High asks directly why they dissipated Infinite Ft. Knitting” was loaded on the YouTube account of Epik High. In the video, the members of Epik High and Infinite shared that they have never received streaming from their former agency, Wollim Entertainment.
Epik High’s experience with Wollim
Epik High, a legendary hip-hop trio of the second generation of K-Pop, was signed for Wollim Entertainment from their debut in 2001 until the beginning of 2009. During this period, they released many successful albums, including “Swan Songs”, “Remaving the Human Soul” and “Pieces, Part One.” Some of their most iconic songs, such as “Fly”, “Love Love Love” and “Umbrella”, have become important successes.
Despite these results, the group has never seen any profit from streaming their music. This surprising revelation emerged during an episode of the YouTube show by Epik High, “Bad Bros.”
Infinite addresses the same problem
During the episode, Epik High’s tablo, Mithra Jin and Dj Tukutz were reached by infinite Sungkyu and Woohyun members. While they remembered their time in Wollim, Tablo raised the fact that Epik High never earned anything from streaming. Curious, he asked if infinite had the same experience.
Without hesitation, Sungkyu and Woohyun both replied “yes”, leaving the tablo in shock. It was bewildered by the fact that even a successful song like “Be Mine” had not gained anything. Tukutz was equally surprised, questioning the reason why Infinite did not make money from streaming, especially because the digital platforms had already been well consolidated since then.
Sungkyu confirmed, “Honestly, we have never received adequate payment from streaming entrances.”
The imperfect system of the sector
Although the tablo was clearly frustrated, he clarified that it was not necessarily the fault of the CEO of Wollim Lee Jung Yeop. Instead, he blamed the obsolete practices of the sector at that moment. When Epik High signed their contract, digital streaming was not an important part of the music sector.
Tablo recalled a shocking moment when he saw an article that said that “Fly” had made KRW 3.70 billion (about $ 2.56 million) in his first week, but had not received a single cent.
Table said, “I was hosting a live radio program when I saw the article. He said “Fly” made KRW 3.7 billion in the first week. I was DJ and I thought: ‘3.7 billion? Didn’t I even get 100 losers? I just paid it on air. “
Although he laughed while remembering the moment, his story highlights the harsh reality of the unjust contracts in the sector. Many artists, despite their success, continue to fight with salary disparities due to obsolete agreements and corporate policies.
