Despite enjoying bigger success in Japan than their native Korea over the past couple of years, Boyfriend’s j-pop material has never come close to surpassing their incredibly run of Sweetune-produced singles from 2011-2013. But never say never, because now the group is back with the bombastic dance pop of Jackpot, and it’s their best Japanese release … Continue reading
If there’s anything I’ve learned from covering pop music for over a decade, it’s that songwriters and collaborators are just as important as the artists themselves. Though they often work behind the scenes, this feature is a chance to shine the light on some of k-pop’s most innovative and accomplished producers and composers. SHINSADONG TIGER … Continue reading
Even when I’m not necessarily a fan of a song, it’s hard for me to rate it less than “good,” especially since I know how much work goes into these k-pop comebacks. But with 24K’s Bingo, I have trouble finding many redeeming qualities. The group has been pursuing this “harder” sound for awhile now, and unfortunately … Continue reading
When SM Station first started, it felt primarily like a delivery method for ballads. But as the months have gone on, it’s become much more focused on EDM tracks, inviting some of the agency’s biggest artists to collaborate with DJs and dance producers. This time around, in-house collective BeatBurger is paired with k-pop royalty BoA. … Continue reading
There was a period when Jay Park released lighthearted, throwback r&b pop that resulted in at least two singles (the incredible Joah and So Good) that have only grown better with age. But that Jay Park has been replaced with someone much more predictable. In fact, I’ve hesitated more than once to review his prolific output of … Continue reading
This seems to be the week for comebacks and debuts of rookie girl groups. But of all of them, A.De held personal interest by virtue of Good Time being produced by Sweetune. Last week, the production team gave us 100%’s fantastic Better Day, and Good Time continues that resurgence. The song is much more Kara than Infinite, but … Continue reading
You Bad! Don’t Make Me Cry (넌 Bad 날 울리지마) may just be my favorite title translation for a k-pop song all year. Not only is it an eccentric mouthful of misjudged, simplified English, but its lack of focus actually describes the song perfectly. And the best part is… none of this is criticism. I’ve … Continue reading
Sometimes a group’s name and song title really tell you all you need to know. Nothing about “OhBliss” or (especially) “Bunny Bunny” sounded remotely appealing to me. But you never truly know until you give it a listen, right? Could Bunny Bunny actually be a hidden treatise on the sociological hardships caused as a result … Continue reading
Most of the time, a kpop 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 kpop, I wanted to spotlight some of these buried treasures and give them the props they deserve. For those who love the work of production team Sweetune, … Continue reading
Fans of mega-successful project group I.O.I probably haven’t been very happy with me over the year, as I haven’t often been kind to their music. This is despite absolutely loving Pick Me and the Produce 101 series that spawned the group. Beyond that, it’s been hard for me to understand the hype. In general, the whole … Continue reading
Block B are a group who have become increasingly unpredictable in their output. While hip-hop will likely be at their core for their entire career, they’ve incorporated much more soulful elements into their music of late. And of course, when it comes to original j-pop releases from k-pop artists, all bets are off. Japan is … Continue reading
Seventh Heaven is probably the most bizarre track I’ve featured yet on the site. Of course, j-pop boy group Bullet Train have had a flair for the eccentric throughout their career, starting with their unique configuration of five “main” dancers performing in front of two “back” vocals. But when they lose the gimmicks and focus on … Continue reading
K-pop debuts are a dime a dozen, and have been for several years. To make matters more confusing, they often have similar names. For example, Highteen are a four-girl pop act. But coming down the line, we also have the impending debut of Myteen, a 7-member boy group. It takes a dynamite song to etch … Continue reading
It’s hard to imagine what exactly SE7EN could do to usher in a career resurgence. He enjoyed a massive amount of success during his first decade as a solo artist, but a scandal and two years away for military enlistment have dulled his status as one of k-pop’s leading r&b acts. His pre-release back in … Continue reading
Usually, as an artist gains prominence and becomes more mainstream, their music follows suit. But with Crush, it feels like his output has become more idiosyncratic since his days as a relatively straightforward r&b artist. Though last May’s Woo Ah wasn’t quite to my taste, I could definitely appreciate its languid style. Fall (어떻게 지내) … Continue reading
I was beginning to think that SM’s Henry was never going to release solo music again. It’s been over two years since his last mini album, and his presence has been missed. While I hope that we get something more substantial from him soon, this duet with Sistar’s Soyou is a welcome surprise in the … Continue reading
Though they may not make the types of international waves that many idol groups do, female duo Davichi are an absolute force in ballad-heavy Korea. It’s hard to objectively review their music, as it’s like comparing apples to oranges when put next to the hip-hop and dance pop that take precedence each week on The Bias List. When looking at … Continue reading
100% have been away from the k-pop scene for over two years — a hiatus many groups simply cannot successfully come back from. They’ve always been a remarkably consistent act, both in terms of talent and material. But when I learned that their new single (and album) would be composed by production gods Sweetune, my expectations … Continue reading
The Rain (더 레인) is Ladies’ Code’s second promoted comeback after their return as a three-piece. Like it or not, the girls occupy a different place in k-pop than before the tragic accident that took two of their former members. In some regards, I understand that tragedy necessitates a more pensive sound, but I think … Continue reading
Most of the time, a kpop 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 kpop, I wanted to spotlight some of these buried treasures and give them the props they deserve. Among BTS’s new album’s massive 15-track running order are solo songs … Continue reading
The Bias List // K-Pop Reviews & Discussion 