Since making his breakthrough in early 2018, Holland has struggled to consistently release music. After a blitz of singles at the end of the last decade, Number Boy is his first new work in years. It’s a welcome return for the groundbreaking performer and reestablishes him as a purveyor of moody synthpop. With this sound … Continue reading
Every time I read the word “Xikers,” my mind immediately imagines an exaggerated Scooby Doo-esque character making colorful exclamations like “Zowwwee!” and “Gee willikers!”. That probably says more about me than the group in question. Xikers!! Xikers are the newest act from KQ Entertainment – home to the tremendously popular ATEEZ. With that pedigree, they’ve … Continue reading
In a sea of too-cool-for-school NewJeans clones and don’t-mess-with-us girl crush fare, CSR stand out as a bright, bubbly representative of K-pop’s past. Their debut album last summer was a wonderful surprise, painting them as this generation’s answer to GFriend or Lovelyz. The group have more-or-less continued along that path, yet haven’t matched the power … Continue reading
Mamamoo+’s pre-release Chico Malo felt like a lateral move for the girls – a song that sits squarely within the group’s recent repertoire. In contrast, title track GGBB brings us back to early-Mamamoo, when the girls vamped over old-school sounds with an almost vaudevillian flair. But while this nostalgia is appreciated, I wish the song … Continue reading
I hadn’t listened to any teasers of BamBam’s new single, so I wasn’t sure if I should expect another mid-tempo trap-pop ditty or something a bit more robust. It turns out Sour & Sweet surprised me in a good way by harnessing current synthwave trends to create a propulsive sound that hinges around a very … Continue reading
I understand the appeal of Billlie, but so far their singles run has been hit or miss for me. They’re at their best when pushing against current tropes to indulge in more unique sounds. New single Eunoia doesn’t exactly do that, but it’s a solid example of the Monotree-esque quirky dance music favored by peers … Continue reading
Thus far, IVE have been three-for-three for me, with most recent single After Like standing as one of my favorite songs of 2022. With a full album on the horizon, the group has an opportunity to expand the scope of their music. A pre-release track is the perfect excuse for a new sound, and Kitsch … Continue reading
I wasn’t going to recap Boys Planet (and technically, I’m still not doing it), but I’m watching the series and thought others might appreciate a spot to discuss it. So, each week I plan on dumping a few of my random thoughts about the show. Again, this will not be a full, detailed recap. But, … Continue reading
In connection with my desire to fully keep up with the J-pop industry, I’m planning to do a weekly round-up of any new releases that have caught my ear. Some of these may have been covered on the blog already, but my hope is that this will become a one-stop shop for anyone interested in … Continue reading
Rather than contain my “Risers and Fallers” feature to a single post in June, I’m going to share a bite-sized version at the end of each month. This will let me account for more songs and make a nice lead-in to the monthly round-up post. I anticipate most of these ratings adjustments will be negligible: … Continue reading
Ah, the days of Born To Be Wild feel soooo far away. Like label-mates INI, JO1 occasionally hit things out of the park but more often succumb to the limitations of their material. They remain immensely popular, so this is obviously a matter of taste. But, new single Tiger feels like reheated K-pop with no … Continue reading
Lately, I’ve been delving further into the music of the “46” groups within Japan’s Sakamichi Series. I’ve casually kept up with a few singles here and there, but at the moment I’m finding their sound to be a refreshing contrast to the trends dominating K-pop’s girl group landscape. You all know I’m a sucker for … Continue reading
Shocking no one, my write-up of Jimin’s Set Me Free Pt.2 (and its accompanying comments section) brought all sorts of drama to the blog. I write about a ton of K-pop and my opinions aren’t always flowery. But, one thing has remained consistent throughout the years: Army are the only fanbase who flock en masse … Continue reading
The laser beams shooting from the ICHILLIN members’ eyes in this new music video made me chuckle. This is probably the kindest thing I can say about their new comeback, but we should never discount an effective visual gag. Honestly, I had to go back to past reviews of ICHILLIN to remember what any of … Continue reading
After a (very) brief stint on new series Peak Time, Kingdom have returned with the latest in their “History of Kingdom” series. This comeback centers around member Mujin, though its traditional concept isn’t far from most title tracks the group has released. More and more, most of my favorite Kingdom tracks tend to be the … Continue reading
Regardless of the music itself, I respect CRAXY for naming their new single “Nugudom.” I wish the content was less earnest and more tongue-in-cheek, but I’ll always applaud a “nugu” (ie: under-known group) who swings for the rafters. After all, much of my favorite K-pop music has come from acts who bear that oft-derided moniker. … Continue reading
Sunmi releases new music so infrequently that even an under-the-radar duet like Lights Out (불이꺼지고) fills me with excitement. The song pairs her with popular rapper BE’O, whose performance here is halfway between a rap and croon. That fits the vibe of the track, which is smooth and unbothered by any need to deliver more … Continue reading
One benefit of shortening many song reviews is that I’m more likely to cover tracks I’d normally pass by. I didn’t follow MLD’s Dream Maker Project that formed boy group HORI7ON, but I’m always up for a new voice in K-pop. Unfortunately, there’s nothing new to see (or hear) here. Dash’s verses are by-the-numbers boy … Continue reading
Though I’ve found their Japanese work hit or miss, I appreciate that ATEEZ have stuck with their core production team regardless of which music market they’re targeting. Whatever I may think of their discography on a song-by-song level, it’s very consistent. Limitless switches things up by changing composers, though members Hongjoong and Mingi retain writing … Continue reading
I wrote about Bobby’s Cherry Blossom just yesterday, and now he’s back already with the title track of his just-released solo single. Drowning pairs him with vocalist Sole and ups the energy considerably. I didn’t expect to hear this style of city pop beat from him, but I guess I shouldn’t be too surprised given … Continue reading
The Bias List // K-Pop Reviews & Discussion 