Thus far, INI have been a frustrating prospect. In my opinion, they haven’t been dealt a decent song yet. When the group’s line-up was announced on the finale of last year’s Produce 101 Japan, I was thrilled to see how many talented vocalists made the cut. But, songs like Call 119 have opted for far … Continue reading
Majors’ agency is banking on an interesting promotional approach. Rather than put all their eggs in one basket, the group’s comebacks have delivered dual title tracks – each inspired by a different genre. They’ve cast their net wide, which has some advantages. For example, I’m more inclined toward the EDM of Giddy Up than the … Continue reading
In a girl group landscape filled with bombastic beats and shouty sing-talk, Oh My Girl are a welcome outlier. Their career is filled with quirky highlights, harnessing memorable hooks to craft a sound that moves from ethereal to whimsical and back again. Increased popularity has stolen a bit of this unique identity, but with peers … Continue reading
At this point, I’ve given up on NCT’s title tracks delivering anything beyond the same ‘shout over bass-heavy distortion’ schtick. So, I’ll temper my thoughts with this in mind. Comparing a song like Glitch Mode (버퍼링) to My First And Last, Superhuman or Highway To Heaven is useless. They’re not even trying to do the … Continue reading
When it rains, it pours – and Red Velvet fans are feasting on new music this month. Not only did the group make a long-awaited comeback last week, but their first full Japanese album also looms on the horizon. Before we get there, the ladies have revealed new J-pop single Wildside. SM artists have a … Continue reading
I’ve listed my “top tens” for many artists, but it’s time to rummage through entire discographies and rank every single from worst to best. This feature will primarily tackle groups who have disbanded or gone on indefinite hiatus. It’s a way for me to re-evaluate my initial thoughts on their singles run. Don’t be surprised … Continue reading
The Bias List is a K-pop blog that also covers a fair amount of J-pop. But along with most music fans, I enjoy tracks from all around the world. So, I thought I’d start a monthly round-up of some of the non-K-pop songs that have caught my ear. No ratings — just highlights! February 2022 … Continue reading
After their debut in 2018, D-Crunch have reliably delivered one comeback per year. No more, no less. This makes it challenging to gain a foothold or a fanbase, but I admire their consistency. Their title tracks have all been solid, though none has enjoyed a long reign on my own playlist. New song Addiction (중독) … Continue reading
A week after its release, I’m feeling pretty ambivalent about Stray Kids’ Maniac. Like many recent tracks, its plusses and minuses cancel each other out and result in music that’s perfectly… fine. This indifferent impression carries through the entire mini album. The songs are generally okay, but there’s nothing pulling me back for repeat listens … Continue reading
After debuting with a steady (and fun!) sound, VERIVERY’s music became more hit and miss. Fortunately, their last single Trigger was a big hit for me. Alongside an all-killer, no-filler mini album, their edgy electro reinvention had me ready to board the VERIVERY train once more. New single ‘O’ marks another sonic shift, but its … Continue reading
Much has been written about the “girl crush” branding that’s taken over K-pop these past few years. Songs within this style have been around for decades, so I’m not sure we can call this a new sub-genre. But, the general template for a “girl crush” track has quickly become oversaturated, making it easy for these … Continue reading
T1419 have developed a knack for building songs from off-kilter references. First, we had the cosplay-friendly Dracula. Then, there was last year’s Red Light, Green Light (which sort of grew on me, btw). Now, they’re heading to Austria for Edelweiss (에델바이스). The title alone makes me think of The Sound of Music, which would be … Continue reading
CRAVITY’s delayed comeback is marketed as the second half of their first full album, an interesting strategy that essentially amounts to two lengthy EPs. The group has released a wealth of music since their 2020 debut, but I haven’t connected with much of it. Their biggest hurdle has been a lack of unique musical identity, … Continue reading
I’m not sure where calling 119 would get me in the States, but I’m about ready to call 911 on INI’s discography (metaphorically, of course!). I have a strong affinity for this group, having watched them form through Produce 101 Japan and following some of their post-debut variety. But, the guys have yet to be … Continue reading
Counting their time as Beast, Highlight have been releasing music for thirteen years – a stunning length of time for any idol group. Daydream is their fourth full album, though their first under the Highlight moniker. Given how past albums resulted in insta-classics like Fiction, Shadow and Ribbon, expectations for this new title track should … Continue reading
It’s the year 2022 and Red Velvet’s “ReVe Festival” remains open for business. The group first unveiled the carnivalesque concept in 2019 but took a break for last year’s Queendom. Now, the festival queues are bustling once more as the ladies invite us to feel their rhythm. Given the song title, you might expect an … Continue reading
I’ve listed my “top tens” for many artists, but it’s time to rummage through entire discographies and rank every single from worst to best. This feature will primarily tackle groups who have disbanded or gone on indefinite hiatus. It’s a way for me to re-evaluate my initial thoughts on their singles run. Don’t be surprised … Continue reading
Lately, I’ve been thinking about the first few years of NCT. How exciting they were! The project felt like an excuse for SM Entertainment to throw everything at the wall. They weren’t confined by genre, members or concepts. But somewhere along the line, the NCT brand became less about trying something new and more about … Continue reading
Miyavi’s Strike It Out premiered at the very beginning of this year, and I assumed it would remain an OST without additional promotion. I don’t often write “buried treasure” posts for J-pop, but this would have been an easy contender. All’s well that ends well, because I get to cover Strike It Out months later … Continue reading
Each time I write about a Stray Kids comeback, it feels like the group’s popularity has grown by leaps and bounds. It’s daunting to watch these idol fanbases multiply. For my part, I’ve been a rather casual Stay. I loved their debut, absolutely adored their 2019 material and thought that 2020’s Go Live album was … Continue reading
