There are a number of K-pop groups from the class of 2018-19 that I’ve fallen out with musically. ATEEZ and Stray kids immediately come to mind, with ITZY and TXT also losing some luster from their peak. Taking a look at my year-end countdown from 2019 depicts an alternate universe where these groups’ music ruled … Continue reading
It’s been a long musical hiatus for dance diva Chungha, during which her contract with MNH Entertainment expired and she moved to Jay Park’s label More Vision. Eenie Meenie is the first taste of this new era, and she’s brought along a familiar face to kick things off. Eenie Meenie features ATEEZ’s Hongjoong, instantly raising … 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
ATEEZ’s growing J-pop discography has had its share of original tracks, and most of them fit comfortably within their established Korean sound. Not Okay is the latest to join the party, and leverages familiar sounds — for better or worse. I haven’t been shy about expressing my distaste for much of ATEEZ’s recent output. What … Continue reading
We’ve reached the end of ATEEZ’s sub-unit/solo music video releases with Jongho’s Everything. Out of all the members, I’m most curious to hear what Jongho can do on his own. As the group’s main vocal, he’s in charge of the stirring power notes that help make their music so dramatic. In a perfect world, Everything … Continue reading
ATEEZ’s weekly sub-unit music videos continue with Yunho and Mingi’s Youth. Thus far, the tracks have mainly played within the group’s usual sonic territory, but Youth lowers the energy to craft a wispy, occasionally jazzy, mid-tempo. This sound isn’t what I’d expect from Yunho or Mingi, and that alone adds a spike of interest. I … Continue reading
Following last week’s MATZ, IT’s You is the second ATEEZ unit track from their recent album to be given a music video. In my mind, unit tracks should be used to expand a group’s sound, delivering niche genre experiments that suit whichever members are participating. That didn’t exactly happen on The World Ep.Fin: Will, and … Continue reading
With the new year, ATEEZ have established an ambitious project of releasing music videos for the unit tracks on their most recent album. First up is the aggressive MATZ, performed by Hongjoong and Seonghwa. Apart from one standout b-side, I wasn’t a huge fan of The World Ep.Fin: Will, so these unit tracks will likely … Continue reading
To be honest, this year I tended to watch most K-pop music videos one or two times before moving onto the song and leaving the visuals behind. The water mark for music videos has become very high, with the industry churning out cinematic, big-budget works every other day. While many videos could comfortably slot into … Continue reading
Tomorrow is J-pop Day on The Bias List, with my top 50 songs of the year unveiled throughout the day. Before that, I thought I’d compile some honorable mentions. It was a very strong year, so there’s a ton of music that didn’t quite make the cut for the main list. I settled on twenty … Continue reading
A K-pop act’s title track isn’t always the best song on their album, even if it’s the one most people will hear. Sometimes, b-sides deserve recognition too. In the singles-oriented world of K-pop, I want to spotlight some of these buried treasures and give them the props they deserve. When ATEEZ move away from their … Continue reading
The other day, I looked back at my top ten K-pop songs of 2019 and realized how much of a slide most of these artists have taken since then. This is subjective, of course. As my interest has waned, they’ve all went on to have tremendous commercial success. I get that I’m probably in the … Continue reading
This year’s KCON will live in infamy for a number of reasons: outrunning the remnants of a rare hurricane on my way home, testing positive for covid a day after, etc etc. However, this craziness doesn’t mean I don’t have highlights and commentary to share! For the first time, KCON LA’s concerts extended to three … 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
A K-pop act’s title track isn’t always the best song on their album, even if it’s the one most people will hear. Sometimes, b-sides deserve recognition too. In the singles-oriented world of K-pop, I want to spotlight some of these buried treasures and give them the props they deserve. As I feared, ATEEZ’s Bouncy is … Continue reading
My trajectory with ATEEZ has been a bit of a mystery. Back in 2019, I found them to be one of the most exciting acts in K-pop. But as the years have gone on, it’s been harder to retain the same level of excitement around their music. I’m not sure why this is. Their core … 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
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
Upon the announcement of its official closure, I joked about owing K-pop’s Universe app a proper obituary. But the more I thought about it, the more I realized that I really do need to document the demise of this longstanding frenemy. During its brief existence, Universe promised creepy AI-generated idol interactions (or so I’m told). … Continue reading
At the end of each month, I look back at my three favorite title tracks by K-pop artists. I take my own ratings into account, but there’s a bit of wiggle room as certain songs tend to grow or fade. December 2022 Overall Thoughts December is historically a very slow month in K-pop, but every once … Continue reading
The Bias List // K-Pop Reviews & Discussion 