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 wanted to spotlight some of these buried treasures and give them the props they deserve. A few of the b-side tracks on CLC’s 2018 Black Dress mini … Continue reading
ONF’s Complete was as close to perfect as 2018 got, and wound up as my favorite K-pop title track of the year. This puts the group in a difficult position. Very rarely is a song as stellar as Complete followed by something just as good. Expectations are simply too high. But if anyone was set … Continue reading
When it came time to draft my “top ten rookies of 2018” list, I wanted to find a place for NeonPunch. After all, their June debut was an early-summer highlight amidst a sea of similarly-pitched 90’s dance throwbacks. But, the girls came and went without much fanfare. With only one song to their name, it … Continue reading
If judged solely by the English-speaking corners of K-pop’s internet fandom, CLC might as well be the biggest girl group on the planet. In their four years of promotion, they’ve yet to enjoy any major milestones in Korea. However, they’ve amassed a dedicated international following eager to support the underdog. That fan base has strengthened … 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
Those who have followed The Bias List for some time have gone on the Snuper journey right alongside me. It’s a story that starts with Sweetune-fueled promise, climaxes with Sweetune-fueled perfection, and takes a nasty little turn with a non-Sweetune-fueled 2018 that is better left forgotten. Time will tell if there are still pages left … Continue reading
J-pop’s enduring tie with anime has helped it retain a sense of bombast when other music markets have moved in more subdued directions. V6’s 50th (!) single is also the latest theme for long-running anime One Piece, and sounds as big and adventurous as that series. Add to that some classic, over-the-top Johnny’s Entertainment sparkle … Continue reading
I vividly remember the disappointed groan I let out last March when it was revealed that NCT’s Empathy album would be filled with songs we’d already heard before. That groan returned a week ago when the project’s long-anticipated Chinese unit debuted with a retread of last year’s Regular. I mean, Regular isn’t even one of the … Continue reading
After a series of scattershot singles, IMFACT hit me hard with last year’s NaNaNa. It worked within a now-familiar genre (deep house), but inverted the structure just enough to simultaneously make it interesting and draw on the guys’ impressive vocals. Thankfully, new single Only U follows the same general sound, even if it feels more … 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 wanted to spotlight some of these buried treasures and give them the props they deserve. Seventeen’s new album is primarily a downbeat affair, which matches 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 wanted to spotlight some of these buried treasures and give them the props they deserve. Over the course of their two mini albums, I’ve come to … Continue reading
The year of debuts rolls on with the first new girl group of 2019. Cherry Bullet hails from FNC Entertainment, home to AOA. Perhaps inspired by their seniors, the girls have been teasing a video game concept similar to last year’s Bingle Bangle. And true to form, Q&A feels like Bingle Bangle with more bite. … Continue reading
I’ve gotta admit, I was worried. When Seventeen started teasing Home as a mixture of “future” r&b (why is everything labeled “future” so hopelessly dull?) and more traditional balladry, I prepared myself for the worst. You all know how tired I am of pop music’s ever-increasing love affair with downbeat pace and moody atmosphere. Add … 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 wanted to spotlight some of these buried treasures and give them the props they deserve. It’s ironic (and feels almost sinful to write), but now 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 wanted to spotlight some of these buried treasures and give them the props they deserve. After a 2018 that saw few notable debuts, 2019 seems like … Continue reading
It feels like it’s been forever since Astro was active as a group. They released their Rise Up mini album last summer (led by the underrated Always You), but scheduling contracts prevented them from promoting. Thankfully, Fantagio Music is making up for lost time with the group’s first full length album. Most of its tracks bring … Continue reading
Apart from having a notoriously difficult-to-google group name, Favorite haven’t done much to stand out in the crowded world of K-pop rookies. Their material thus far has been quite solid, but also quite transient. It feels fun and inoffensive, but easily replaceable by songs from bigger acts. With this in mind, it’s time for the … Continue reading
Despite debuting late in the year and releasing only one mini album to their name, ATEEZ wound up as one of my favorite rookies of 2018. Their hard hip-hop style isn’t usually to my taste, but Treasure’s wall-of-sound vocals and towering arrangement quickly won me over. Better yet, the group proved that they were capable … Continue reading
Over the past few years, GFriend’s title tracks have gradually transformed. Their are still hints of their “powerful innocence” concept, but with the absence of producers Iggy and Youngbae, their sound has grown more nuanced. It’s a shame that we’re unlikely to hear a Fingertip-style banger again (at least as a promoted single), but the … Continue reading
Rainbow Bridge World’s ambitious 2019 includes the debut of two new boy groups — ONEUS and ONEWE. We’re already heard from both, through variety shows like Produce 101 and The Unit and pre-debut releases like last September’s Last Song. But though the agency has found massive success with girl group Mamamoo, they’ve yet to launch … Continue reading
The Bias List // K-Pop Reviews & Discussion 