For a debut group with some notoriety (member Shihyun was a contestant in Produce 101, after all), We In The Zone’s roll-out has been surprisingly muted. Their agency didn’t even announce a track list before their mini album was released today. No music video teaser, either. This lackluster promotion doesn’t seem to bode well for … Continue reading
During their debut last year, D-CRUNCH displayed tons of potential but never gained much attention outside of a niche group of listeners. When I think of the best that their music has to offer, my mind immediately conjures impressive instrumentals and hard-hitting hip-hop hooks. New single Are You Ready (작당모의) gets one half of that … 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. It’s been almost three years since I featured a GOT7 album … 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. With NCT 127’s Superhuman hearkening back to second generation K-pop sounds, … 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. Of all the post-Wanna One projects, Kim Jaehwan has released my … Continue reading
Berry Good have just passed their fifth anniversary since debut, and they’ve been hanging on for all five of those years. Their 2016 work, in particular, deserved a much wider audience than it received. But no matter what they release, the girls have never been able to break through the competitive world of K-pop girl … Continue reading
One of the things that first drew me to K-pop was SM Entertainment’s SMP style. Characterized by its hybrid, genre-bashing nature, this musical philosophy was fueled by bombastic instrumentation and outrageous vocal arrangements. There wasn’t anything else like it at the time, and there still isn’t. As K-pop continues to blow up internationally, SM has … Continue reading
Idol rock back IZ have been active here and there, releasing one mini album each year since their debut in 2017. None of their title tracks really sound the same, which has made it difficult for them to cultivate a solid fan base. To be honest, I probably wouldn’t be writing about them now if … Continue reading
Over the course of three digital singles, Hyolyn became one of 2018’s most magnetic solo performers. Dally, See Sea and Bae were all completely different in style, yet each mastered its intended sound. Because of this, I had high expectations for Hyolyn’s first 2019 work, the grammatically frustrating youknowbetter (니가 더 잘 알잖아). Making things … Continue reading
After debuting in January, Cherry Bullet have made a quick return with new single Really Really (네가 참 좋아). Q&A became something of a sleeper hit, establishing a bright, rhythmic sound for the group. But, the real test comes now, as the girls try to secure their success with a track that betters their previous … Continue reading
To me, a knockout debut should immediately establish a group’s identity. It should convince me that there’s a spot for them in an overcrowded marketplace. And, at its finest, a debut should offer something new. 2019 has seen a few debuts like this, but boy group AB6IX have yet to carve out their personal style. … Continue reading
K-pop tends to cannibalize itself, which can muddle the meaning of “debut” when it comes to new groups. 3YE (pronounced “Third Eye” — because, of course it is) have debuted with their first digital single DMT (Do Ma Thing), but the members have already been active in the industry. All three were part of disbanded … Continue reading
I’ve been surprised by just how many sound-alike ballads the post-Wanna One K-pop landscape has produced so far, but Kim Jaehwan’s Begin Again (안녕하세요) doesn’t surprise me at all. I never expected that he would debut with anything but a ballad (though his mini album showcases a welcome versatility that should be explored further). As … Continue reading
I’ve always appreciated Woollim Entertainment’s ability to curate music that stays true to its artists’ personas. While so many others rush to jump on whatever’s popular at the moment, a group like Lovelyz slowly but surely crafts a cohesive discography that feels like an intentional body of work rather than a ‘try everything and see … Continue reading
JYP Entertainment has been on such a roll lately. Their all-killer, no-filler 2019 singles run has been strong enough that they even had me excited for new GOT7 music. If you’ve been reading The Bias List long enough, you’ll know that GOT7 have often become the punching bags for my trend-related complaints over the past … 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 was thinking about it the other day, and realized that … Continue reading
Last year, my favorite Seventeen song wasn’t a Korean title track at all. It was their first original Japanese single, Call Call Call, which harnessed the guitar-fueled dance pop sound that I love most from the group. Because of this, anticipation was high for new J-pop track Happy Ending. It’s been exactly a year since … Continue reading
A.C.E spent much of their 2018 on hiatus in Korea, touring the world with only a handful of songs to their name. I was lucky enough to see them twice last year, but as much as I love the guys, I have to admit there are only so many times you can hear the same … Continue reading
I wasn’t too kind with BVNDIT’s debut single Hocus Pocus, but it wasn’t because it was an objectively bad song. It just felt devoid of any unique point — like musical wallpaper that blended with every other like-minded, tropical-pop offering of the past few years. Luckily, BVNDIT have made a very quick turnaround with their … Continue reading
Since their return in 2016, Ladies’ Code have pursued a more muted, moodier pop sound. It’s been years since we’ve had a proper comeback from the girls, which makes it hard to predict where they’re at now when it comes to genre. Sure, leader Ashley delivered the under-cooked tropical pop of Here We Are last … Continue reading
The Bias List // K-Pop Reviews & Discussion 