After last week’s pre-release Star, Highlight’s Yoseob is back with the title track from his second mini album. “Where I Am Gone” may be a baffling English translation that feels like an affront to the very idea of syntax, but its mid-tempo sound returns Yoseob to the days of his 2012 solo debut, Caffeine. It’s … Continue reading
This year, NCT have finally embarked on a promotional cycle as ambitious as their unique configuration. Over the next few weeks, we’ll be treated to new releases by various units within the now 18-member group — all leading up to their first full album. To kick things off, NCT U (a rotational unit free from genre … Continue reading
Most of the time, a k-pop group’s title track is the best song on their album. But, sometimes b-side tracks deserve recognition, too. In the singles-oriented world of k-pop, I wanted to spotlight some of these buried treasures and give them the props they deserve. Fans of BoA are quite spoiled this February, with both … Continue reading
In the overstuffed k-pop market of large-configuration groups, 14U have had difficulty standing out. It certainly didn’t help that they released the exact same song two times last year rather than begin to develop a more robust catalog. Like so many rookie groups, the budget seems to be very tight when it comes to 14U’s … Continue reading
Over the past month, I’ve been digging deeply into the gargantuan discography of prolific j-pop group AAA. They’re an act I’ve been wanting to get into for years now, but never found the right entry point until hearing the insanely awesome double a-side Aitai Riyū / Dream After Dream, taken from their equally immense 2011 album Buzz … Continue reading
Double title tracks are not particularly common in k-pop, and even less so when it comes to artists from small agencies. Despite this, boy group VAV have released two music videos in support of their recently released mini album. Lead single Spotlight has seemed to garner the lion’s share of promotional attention, with its big budget … Continue reading
Most of the time, a k-pop group’s title track is the best song on their album. But, sometimes b-side tracks deserve recognition, too. In the singles-oriented world of k-pop, I wanted to spotlight some of these buried treasures and give them the props they deserve. Seventeen’s comeback track Thanks is a complex arrangement of EDM … Continue reading
The winter of 2018 has yet to give us many great ballads. I’m certainly not complaining, as January yielded a steady supply of uptempo pop instead. But it does feel unusual not to be reviewing ballad after ballad this time of year. Highlight’s main vocal Yang Yoseob is here to remind us of the season, … Continue reading
Over the past few years, B1A4‘s Japanese releases have become a welcome continuation of the sound they’ve established in Korea. The group self-produces almost all of their material, and that extends to music composed for the j-pop market. This has proven to be a treasure trove for fans like me, as it means more title … Continue reading
Despite her participation in the excellent second season of Sister’s Slam Dunk, 2017 never really gave us that reliably retro Hong Jin Young trot anthem. She did promote one song on music shows, but it came and went without nearly the impact of hits like Love Battery — or even 2016’s Thumb Up. So is … Continue reading
DAY6 had an incredibly prolific 2017, releasing two songs a month that were then compiled into a pair of full-length albums. However, this demanding schedule seemed to be taking its toll by the end of the year. Their music began to lose some of its edge, transforming into a ballad-heavy brand of OST-friendly rock. The … Continue reading
Since their return in late 2016, 100% have reinvented themselves as a stately, vocally-driven group. They picked the perfect collaborators in Sweetune, who have been solely responsible for the production on their last two Korean mini albums. Their Japanese work has been more of a mixed bag, with both How To Cry and Warrior sticking … Continue reading
Seventeen have settled into a pattern that alternates between the upbeat pop of their past and an emotional brand of tempo-shifting EDM. And while I will always be drawn more strongly to their funkier sound, Seventeen are one of the few k-pop acts who have managed to put their own signature stamp on this ultra-trendy … Continue reading
Most of the time, a k-pop group’s title track is the best song on their album. But, sometimes b-side tracks deserve recognition, too. In the singles-oriented world of k-pop, I wanted to spotlight some of these buried treasures and give them the props they deserve. For lovers of the “pop” part of k-pop, Golden Child’s … Continue reading
Most of the time, a k-pop group’s title track is the best song on their album. But, sometimes b-side tracks deserve recognition, too. In the singles-oriented world of k-pop, I wanted to spotlight some of these buried treasures and give them the props they deserve. EXO’s new Japanese album is absolutely fantastic from start to … Continue reading
Looking back on my past reviews of Gugudan’s discography, I’ve been a little hard on the group. I’ve never actively disliked one of their songs, but every time they make a comeback I feel like they’re failing to live up to their potential. The “series of theatrical acts” conceit that fuels their music is wonderfully … Continue reading
On her currently-streaming documentary, BoA has professed a desire to release music that appeals to the current generation of k-pop fans. Her concerns are valid: Why listen to an established artist like BoA when there are so many younger, trendier groups on the scene? Why not fuel her choreography with a simple, meme-ready point move … Continue reading
Most of the time, a k-pop group’s title track is the best song on their album. But, sometimes b-side tracks deserve recognition, too. In the singles-oriented world of k-pop, I wanted to spotlight some of these buried treasures and give them the props they deserve. Honestly, it’s been pretty awesome that I’ve gotten to write … Continue reading
Poking around the internet over the past few months, it feels like everyone is losing their collective minds over LOONA. And while I agree that the prospect of new music each month is exciting, I can’t say that much of the LOONA-related material has had longevity on my personal playlist. Maybe I’m just getting a … Continue reading
Thus far, Suzy’s solo music has often been more about aesthetic than dynamic composition. She possesses the kind of soft vocal that lends itself well to this relaxing style, even if it’s not the type of thing to appeal to my tastes. This makes it difficult to review most of her work, as it feels … Continue reading
The Bias List // K-Pop Reviews & Discussion 