As we continue to build towards the unveiling of NCT‘s first full-length album, Baby Don’t Stop is the second volley in a series of pre-releases by sub-units of the group. Last week’s Boss set the bar pretty high, but to be honest I didn’t expect much from Stop. Taeyong and Ten are two of NCT’s most … Continue reading
Twice debuted just over three years ago, but their unparalleled success has been buoyed a work ethic that’s driven a steady stream of singles. Though their Japanese releases leave something to be desired, their robust Korean catalog has largely been a ton of fun. Here are their best: Updated 2-4-19 10. Signal (2017) Signal‘s incessant bass … Continue reading
Twice have enjoyed a meteoric rise in Japan, quickly reigniting the female side of the hallyu wave. I only wish that this success was accompanied by music that felt as fresh as most of their Korean output. So far, singles One More Time and Candy Pop have largely adhered to the tropes one might expect … Continue reading
In the (almost) three years since their debut, CLC have cycled through just about every girl group concept you can imagine. Yet, none of these changes in style has led to lasting commercial success. And quite frankly, none has resonated all that strongly with me either. With new single Black Dress, the girls are moving … Continue reading
Less than a year into their debut, girl group Weki Meki have quickly become lodged in a frustrating dilemma: their album tracks are consistently superior to the songs they’re given to promote. This pattern began with August’s noisy I Don’t Like Your Girlfriend, which came across as nearly atonal compared to the five tracks that … Continue reading
Just over two weeks ago, BoA pre-released single Nega Dola. I was a bit hesitant with the song, but it’s since grown on me quite a bit. That’s one of the frustrating things about end-of-the-month releases. I never really get to reflect their growth in my “top 3 k-pop songs of the month” round-ups. One … Continue reading
Like a handful of mid-tier groups from their era, Boyfriend have established a more lucrative career in Japan than their native Korea. That’s a shame, because they have one of the strongest (Sweetune-produced) runs of title tracks that k-pop has ever given us. I’d love to see them make a resurgence in their homeland now … Continue reading
After last week’s pre-release Star, Highlight’s Yoseob is back with the title track from his second mini album. “Where I Am Gone” may be a baffling English translation that feels like an affront to the very idea of syntax, but its mid-tempo sound returns Yoseob to the days of his 2012 solo debut, Caffeine. It’s … Continue reading
This year, NCT have finally embarked on a promotional cycle as ambitious as their unique configuration. Over the next few weeks, we’ll be treated to new releases by various units within the now 18-member group — all leading up to their first full album. To kick things off, NCT U (a rotational unit free from genre … Continue reading
Now that the top eighteen idols have been crowned and Units B and G are finalized, it’s the perfect time for a retrospective on survival show The Unit’s hefty discography of songs. Like similar series before it, the show spawned a number of digital singles — from full group anthems to competitive sub-unit standouts. With … Continue reading
Most of the time, a k-pop 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 k-pop, I wanted to spotlight some of these buried treasures and give them the props they deserve. Fans of BoA are quite spoiled this February, with both … 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. FRANTS Years … Continue reading
In the overstuffed k-pop market of large-configuration groups, 14U have had difficulty standing out. It certainly didn’t help that they released the exact same song two times last year rather than begin to develop a more robust catalog. Like so many rookie groups, the budget seems to be very tight when it comes to 14U’s … Continue reading
Double title tracks are not particularly common in k-pop, and even less so when it comes to artists from small agencies. Despite this, boy group VAV have released two music videos in support of their recently released mini album. Lead single Spotlight has seemed to garner the lion’s share of promotional attention, with its big budget … Continue reading
Most of the time, a k-pop 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 k-pop, I wanted to spotlight some of these buried treasures and give them the props they deserve. Seventeen’s comeback track Thanks is a complex arrangement of EDM … Continue reading
The winter of 2018 has yet to give us many great ballads. I’m certainly not complaining, as January yielded a steady supply of uptempo pop instead. But it does feel unusual not to be reviewing ballad after ballad this time of year. Highlight’s main vocal Yang Yoseob is here to remind us of the season, … Continue reading
Since their debut in 2014, Halo have been one of k-pop’s most underrated groups. But with their new Japanese single released last month, they’ve delivered just enough singles to qualify for a top ten countdown. Just like any artist with a relatively slim catalog, when I’m talking about their ten best singles, I’m literally talking … 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. BreadBeat Years … Continue reading
Over the past few years, B1A4‘s Japanese releases have become a welcome continuation of the sound they’ve established in Korea. The group self-produces almost all of their material, and that extends to music composed for the j-pop market. This has proven to be a treasure trove for fans like me, as it means more title … Continue reading
Despite her participation in the excellent second season of Sister’s Slam Dunk, 2017 never really gave us that reliably retro Hong Jin Young trot anthem. She did promote one song on music shows, but it came and went without nearly the impact of hits like Love Battery — or even 2016’s Thumb Up. So is … Continue reading
The Bias List // K-Pop Reviews & Discussion 