I’ve listed my “top tens” for many artists, but it’s time to rummage through entire discographies and rank every single from worst to best. This feature will primarily tackle groups who have disbanded or gone on indefinite hiatus. It’s a way for me to re-evaluate my initial thoughts on their singles run. Don’t be surprised … Continue reading
Since their debut in 2020, E’Last have developed a theatrical sound that blends boy group tropes with symphonic flourishes and moments of grandiose melody. Last year’s Creature was a misstep, opting for an anti-drop chorus that sacrificed the group’s greatest assets. Luckily, new single Thrill dives in the opposite direction with a full-throated, rock-infused chorus. … Continue reading
Though they’ve delivered a standout b-side or one-off colab here and there, I haven’t enjoyed a title track from The Boyz since 2020’s The Stealer. I love the guys and think they’re incredibly talented (especially when it comes to performance), but at a certain point that isn’t enough. If an act consistently lacks the kind … Continue reading
I wasn’t going to recap Boys Planet (and technically, I’m still not doing it), but I’m watching the series and thought others might appreciate a spot to discuss it. So, each week I plan on dumping a few of my random thoughts about the show. Again, this will not be a full, detailed recap. But, … 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. Key improved an already-solid album with … 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. The debut album from tripleS is … 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. This is the first “buried treasure” … Continue reading
Beyond the glossy exterior of K-pop’s big budget comebacks lies a whole world of indie artists and idols-turned-soloists. I’m thinking about acts like from20, who happens to have a hand in the song I’m writing about today. Dancing In The Dark arrives courtesy of Hello Gloom, the stage name for IMFACT’s Ungjae. After quietly disbanding … Continue reading
After enjoying 2021’s competition show LOUD, my expectations for TNX were sky high. This was based on their stature during the series and the perceived creativity bolstering PSY’s P-Nation label. But, last year’s debut album turned out to be a disappointment, following too many trends instead of delivering fresh, inventive energy. The pre-release track for … Continue reading
It’s been a rather long hiatus for Purple Kiss, with their most recent mini album released last summer. The atmospheric sound characterizing many of their title tracks isn’t the best match for the summer months, but it’s right at home during the darker days of winter. New single Sweet Juice delivers a fantasy concept that … Continue reading
ONF continue to find ways to remain relevant even when on military hiatus. After releasing a mini album last summer, co-leader and main vocal Hyojin has delivered a winter ballad. Though I’m not generally one for ballads, it’s nice to be reminded that ONF are indeed coming back – sooner than later. The state of … Continue reading
It’s a day of comebacks from ‘girl groups backed by legendary producers.’ While STAYC have Black Eyed Pilseung on their side, TRI.BE’s discography is driven by K-pop legend Shinsadong Tiger. But, this pairing has not been as fruitful as I’d hoped. I haven’t fallen in love with any of their music so far. It feels … Continue reading
STAYC have quickly developed a robust fan base, but for me they’ve yet to eclipse the appeal of their debut track So Bad. Though they’ve worked with producers (and agency heads) Black Eyed Pilseung for every title track thus far, their discography has been surprisingly varied. The more subdued sound of last summer’s Beautiful Monster … Continue reading
After unveiling sub-unit Acid Angel from Asia last year, tripleS have officially made their full group debut with Rising. They’re the latest in a line of new girl groups drawing upon more subdued sounds to create a style that’s effortlessly cool – if not always instantly exciting. As with most of their album, Rising is … Continue reading
It’s been a long ninety days since a K-pop song – title track or otherwise – scored a “9” or higher on this blog. That’s a new Bias List record, if you’re wondering! I’ve often joked that 2023 hasn’t actually started yet, but now we can put that critique to rest. Leave it to SHINee’s … Continue reading
I wasn’t going to recap Boys Planet (and technically, I’m still not doing it), but I’m watching the series and thought others might appreciate a spot to discuss it. So, each week I plan on dumping a few of my random thoughts about the show. Again, this will not be a full, detailed recap. But, … Continue reading
November-December 2008 Overall Thoughts In addition to my monthly K-pop round-up, I’ve taken a look at my favorite three singles from each month since 2009 and factored them into my ultimate Bias List scorecard, which can be found here. The problem is, prior to 2009 it becomes harder to find reliable sources for K-pop release … Continue reading
As a spin-off to my Battle of the B-sides feature, I’m pleased to announce the arrive of “Battle of the Title Tracks!” In this feature, I’ll be pitting three K-pop title tracks/singles against each other and choosing a winner. These songs will mostly be from pre-2016 since I’ll try to focus on music I haven’t … Continue reading
When it comes to Korea and Japan, the difference between release scheduling presents an interesting dilemma for reviewers like myself. With K-pop, I’m usually writing about a song mere hours after it debuted, but J-pop’s extended cycle often allows more time for a track to settle in. There can be weeks — even months — … Continue reading
Since debut, CLASS:y have set their sights on both Korea and Japan, signed under Universal Music for the latter. They remain on the periphery of both markets, though their music is slowly improving. Like so many of their peers, their sound is a hodgepodge of various global elements. They cast their net wide rather than … Continue reading
