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. September 2020 Overall Thoughts Back in late winter, my reviews were often besieged with comments stating … Continue reading
One of my absolute favorite Mamamoo songs is 2016’s Woo Hoo, which wasn’t promoted as a title track at all. Instead, it was a CF release, tied to the release of LG’s G5 mobile phone. Sometimes, not having to conform to title track expectations frees a song. Composers don’t necessarily have to have choreography or … Continue reading
Mamamoo’s Hwasa has a really groovy track on her new mini album called Why. It would have made a great single, but she seems intent on embracing a more introspective route this time around. Though it was draped in the trendy musical trappings of this era, title track Maria was essentially a song written to … Continue reading
The year of Mamamoo solos continues, with Hwasa making a long-awaited comeback. She’s a lightning rod of charisma, and sometimes I think her music relies too strongly on that. She can make anything sound cooler than it is, and if paired with the right song could certainly create something legendary. Last year’s Twit nearly got … Continue reading
It’s hard to believe there was a time when Brown Eyed Girls were gifting K-pop with mainstream blockbusters like Abracadabra and ambitious opuses like Sixth Sense. The group – and its members – has since moved on to more niche material, including a genre-hopping covers album late last year. Solo releases have been infrequent, and … Continue reading
Solo releases can be a great way to uncover artists’ hidden charms – talents or styles they weren’t necessarily able to portray as part of their group. When it comes to Mamamoo, the quartet is packed with three power vocalists, leaving little room for Moonbyul to do anything beyond rapping. So, it’s not too surprising … 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 2020 Overall Thoughts With stay-at-home orders in effect all month, there was certainly time to … Continue reading
Since releasing last November’s mega-hit Hip, Mamamoo have taken a well-deserved break. But, that doesn’t mean the girls haven’t been busy. February saw Moonbyul release the solid Eclipse, Hwasa dueted with label-mates ONEWE earlier this month, and now leader Solar has unveiled a new solo single – her first to eschew typical balladry for something … Continue reading
Though ONEWE’s most recent single never made it onto any of my year-end lists, I ended up liking Regulus far more than my initial review let on. I enjoyed it despite its unnecessary, trap-inspired moments because when the song actually embraced ONEWE’s strength as a band, it totally soared. But overall, I don’t understand RBW … 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. February 2020 Overall Thoughts What to say about February 2020? As the month went on, it … Continue reading
Mamamoo’s massive success has spawned equally popular solo offerings from its members. This time last year, Hwasa unveiled the addictive Twit, which ended up being one of 2019’s most enduring hits. This time around, it’s Moonbyul’s turn. She’s back with her second mini album, which sees her trying on a different style for title track … Continue reading
Honestly, I came into tonight’s festival feeling pretty pessimistic. KBS’s Gayo was largely forgettable, and tonight’s line-up was missing some of my favorite acts. But, MBC ended up balking expectations and being the most enjoyable of the three gayos overall. When I think about it, this isn’t too surprising. I’ve always loved MBC’s more intimate … Continue reading
This is always one of my favorite end-of-year posts, as if gives me the chance to write about a vital facet of K-pop that I rarely touch on throughout the year. Visuals can make or break a song’s legacy, and these ten videos helped to improve and expand their already-strong soundtracks. + Make sure to … Continue reading
The end-of-year festivals officially kicked off this Christmas, with SBS’s Gayo Daejun once again opening the three-night festivities inside the immense Gocheok Sky Dome. Unfortunately, this year’s proceedings were marred before they even started, with Red Velvet’s Wendy suffering a horrible accident during rehearsals. I’m sure that idols were (understandably) concerned about the safety of … Continue reading
It was the best of times, it was the worst of times. This phrase seems fitting to describe K-pop in 2019. The industry was forced to deal with some hard truths this year, and the reckoning was a long time coming. However, that didn’t make it any less messy. For the past few years, I’ve … Continue reading
It was an odd year for award shows. With MNET embroiled in its vote-rigging controversy, the MAMA awards felt like an afterthought, broadcast only one night rather than its usual multi-day spread. The Melon awards weren’t even telecast, opting for streaming instead. Even so, their staging and production felt incredibly grand. In comparison, the MAMAs … 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 2019 Overall Thoughts While November was not the blockbuster month that October was, it offered … Continue reading
Fresh off their success on Queendom, Mamamoo are back with their second title track of 2019. This has been a fruitful year for them, particularly Hwasa. Her name has been lodged at the top of the K-pop brand reputation lists, and her casual but quirky energy has become synonymous with the group’s appeal. Mamamoo have … Continue reading
Queendom has become one of K-pop’s most pleasant surprises this year. Its conceit — five girl groups (and one soloist) competing for performance-based dominance — was shockingly good-natured in reality, allowing each act to showcase their charms without the kind of needless drama these series usually thrive on. In fact, I’d be just as happy … Continue reading
Whether as album tracks or digital singles, the members of Mamamoo have each had their time to shine as soloists. Most of their material has played to the girls’ strengths, which means cool hip-hop for Moonbyul, sassy dance pop and slinky r&b for Hwasa and emotive ballads for Solar and Wheein. There’s nothing wrong with … Continue reading
