ENHYPEN have been a frustrating prospect to watch. I was in on the ground floor, watching their formation through the I-LAND series. With huge agency support and a team of well-regarded songwriters, their music should be resonating. But every time I think they’re going to pull something spectacular out of the hat, the songs are … Continue reading
A review is just a snapshot in time, and sometimes I end up regretting the way I rated a song. There are so many factors that influence the longevity of K-pop. Familiarity, album context, live performances and cultural saturation can all boost or sink a song’s fortune. I run this feature during the mid-point of … Continue reading
Many fans have wholeheartedly indulged in ENHYPEN’s Carnival, buoyed by the energy of title track Drunk-Dazed. But while I enjoyed the song initially, I’m finding myself less inclined to revisit it as time goes on. Oddly, the aspect that bugged me most upon first listen (its heavy vocal effects) is hardly an issue anymore. Now, … 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. April 2021 Overall Thoughts 2021 continues to be a strong year for K-pop. When it comes … Continue reading
In the middle of writing about last year’s I-LAND, I questioned whether I should continue with the show. It didn’t seem to be creating the buzz I’d expected among K-pop fans. But, then ENHYPEN debuted and sold a boatload of albums. Clearly, you don’t need a huge viewing audience to spawn a successful idol act. … Continue reading
As is typical with Big Hit-related groups, rookies ENHYPEN are following up their title track Given-Taken with a music video for another song from their album. If it were me, I would have chosen to promote 10 Months, but I’m clearly not in charge here. Instead, the video for the mysteriously-titled Let Me In (20 … Continue reading
After a glut of high-profile rookies in 2019, this year felt more subdued. There were still tons of new acts, and many of them made it onto my “Top 50 Songs” countdown. But, most hailed from smaller agencies with less promotional power. Making a rookies list is a combination of looking back and looking forward. … Continue reading
The theme of this year’s MAMA Awards was “New-topia,” which sounds a bit chilling in a weird way. But, things were definitely new here. This was unlike any MAMA yet, lacking a live audience. But even though everything was accomplished on soundstages, I think the producers did a great job making this still feel like … Continue reading
After taking a look at the 2020 prospects of SM Entertainment, YG Entertainment and JYP Entertainment, it’s time for the final Big Four agency, Big Hit Labels! As usual, the thoughts are my own and aren’t privy to any insider information. I’m not taking into account things like profits and stock value. The purpose of these … Continue reading
Most of the time, a k-pop group’s title track is the best song on their album. But, 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. Song for song, ENHYPEN’s debut mini album is perfectly solid. However, … 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. November 2020 Overall Thoughts November was absolutely packed with releases, and though only one title track … Continue reading
After recapping each and every episode of this summer’s I-LAND, I feel a strange sort of kinship to ENHYPEN. This comes despite the fact that I rarely enjoyed the music that came out of that series. Still, the guys have plenty of potential, and that fact that they’re bolstered by the support of Big Hit … Continue reading
The Bias List // K-Pop Reviews & Discussion 