Of the three year-end song festivals, I’ve always considered MBC’s to be the most intimate-feeling, as well as the one with the most diverse line-up. Plus, it’s got the added celebratory nature of New Year’s Eve. In 2020, none of these strengths could really be capitalized upon. It’s hard to create that intimate feeling without … Continue reading
A couple weeks after the MAMA Awards showed the potential of an audience-less, pre-recorded stage show, KBS went far less ambitious. Now, it could be argued whether this broadcast should have happened at all given K-pop’s surging Covid cases, but the producers opted to cobble together what they could. I’m curious why this year’s Gayo … 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. Taking Sweetune out of the equation, I think that e.one may … Continue reading
With their contracts expiring next spring, IZ*ONE have delivered three Korean comebacks this year. They’ve been active in Japan as well, but I think it’s best to just brush that single under the rug. Instead, we have Panorama – a track that harnesses the energetic IZ*ONE sound we’ve all come to know. It slots nicely … Continue reading
For a group whose music should be conquering Japan, IZ*ONE’s J-pop discography has been very inconsistent. Debut single Suki to Iwasetai was an undisputed triumph, but follow-ups Buenos Aires and Vampire were both marred by awful production and halfhearted performances. Unfortunately, new single Beware succumbs to the same issues. It’s aptly named, as listeners should … Continue reading
After an uncertain 2019, IZ*ONE are back on track with the release of their second album this year. Though they’ve flirted with several different production teams, their sound has remained in the same general ballpark. For me, though, they’ve yet to replicate the taut momentum of Violeta. February’s Fiesta had its moments, but was a … 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. Overall, I found IZ*ONE’s new album BlOOM*IZ to be a downgrade … Continue reading
Originally scheduled for release last November, IZ*ONE’s BLOOM*IZ album has become something of a K-pop holy grail. With MNET’s Produce 101 scandal sending its related groups into disarray, it seemed as if the music might never be released. But, while boy group X1 bore the brunt of the controversy and ended in disbandment, IZ*ONE have … Continue reading
Despite its title, I’m quite confident that this list does not represent the “best” J-pop tracks of the year. It’s a much more filtered list than my K-pop countdowns, because I just don’t keep up with J-pop as strongly as I’d like to. So, what you’re getting here is twenty great tracks by artists that … Continue reading
You can’t have a K-pop comeback without choreography! However, this is not a list of 2019’s most difficult or technically impressive dance routines. I’m nowhere near qualified to judge that. Instead, these are the top ten performances that really stood out to me this year. Honorable Mentions Cosmic Girls – La La Love Dongkiz – … Continue reading
The end of the year countdowns are finally here! As always, things kick off with the big one… The Bias List’s top 50 songs of the year! Each day this week, I’ll be counting down ten of the year’s best, until number one is revealed on Friday. To be eligible for this top 50 list, … Continue reading
Back in February, IZ*ONE made their Japanese debut with the stirring Suki to Iwasetai. It remains my highest-rated song by the group, but it turned out to be a total red herring. Since that initial album, IZ*ONE’s J-pop singles have been shockingly unpolished. June’s Buenos Aires merged a poor vocal arrangement with an underdeveloped instrumental. … Continue reading
With another year of KCON behind me, I’m feeling recharged. This is something I needed after a lackluster K-pop summer. Though KCON seemed a bit cursed at the beginning (both ONEUS and Chungha had to cancel, following Everglow who pulled out weeks earlier), it turned out to be a great year. It’s my fifth KCON … Continue reading
Between their Korean and Japanese promotions, IZ*ONE are set to accrue the largest discography of any Produce 101 group yet. Their cross-country releases are a shrewd business move, but I’m curious whether the girls will be able to maintain a high quality once they’ve moved beyond first few singles. That has always been an issue … 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 2019 Overall Thoughts After a March that included some of my favorite songs of the … 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. I’m not sure I’ve ever loved a Produce 101-related album all … Continue reading
For me, one of the most frustrating things about Produce 101-spawned groups is that they don’t attempt to develop a signature sound or concept. Given their temporary status as project groups, I understand the desire to sample as many of the industry’s current trends as they can before disbanding, but it leads to a scattershot … 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. January 2019 Overall Thoughts Last year, January bucked expectations and became my favorite musical month of … Continue reading
In a first for the Produce series, girl group IZ*ONE will be promoting actively in both Korea and Japan. As jaded as I’ve become with these survival series, I’ve got to admit that this is a pretty shrewd business decision. The girls have already made a strong mark in Korea with La Vie en Rose … Continue reading
As the years have gone on I’ve become a bit disillusioned with the whole Produce 101 format. The show is still an absolute juggernaut, with a far-reaching shadow that touches almost every corner of the K-pop industry. But more often than not, it feels as if the powers-that-be are simply coasting on its popularity to … Continue reading
