Among other things, 2019 has suffered a distinct lack of Sweetune-produced tracks. Their work has been relegated to severely under-known boy groups and idol band IZ, with none of their songs making waves outside of small fan bases. So, when I heard that former Kara member Goo Hara would be returning with a Sweetune-penned Japanese … Continue reading
One song. Every day. Alphabetical order. Keep up with EXO’s A-Z reviews here! Baby (from XOXO / Growl – 2013) A large portion of EXO’s first full-length album was devoted to retro, mid-tempo r&b jams, and Baby slots within that framework well. Over a blend of fitful synths and skittering, 90’s throwback percussion, the track … Continue reading
It’s been over two years since I last wrote about Akdong Musician. I’ve missed their musical perspective, but most of all I’ve missed their voices. In the summer of 2017, right before Chanhyuk enlisted, the sibling duo released their spin on light, radio-friendly EDM. Dinosaur marked a fun shift in their acoustic sound, and left … Continue reading
One song. Every day. Alphabetical order. Keep up with EXO’s A-Z reviews here! Angel (from Mama – 2012) As EXO’s earliest ballad, Angel provided the template for stirring work yet to come. It’s still one of their enduring melodies, underlined by a simple, piano-led arrangement that’s bolstered by the evocative vocals of the group’s then … 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. Not only have Twice steadily been refining their sound in 2019, … Continue reading
So far, PSY’s P-Nation label has emerged with a whimper instead of a bang. After his own album was postponed from its original July release, the agency made an inauspicious debut with Crush’s Nappa. That song was fine, but par for the course when it comes to Crush releases. Despite doing well on digital charts, … Continue reading
Twice have had a transformative 2019 so far, embracing a more refined sound while maintaining their immense popularity. Fancy has slowly become my most-played title track from the group, eclipsing their iconic 2016 work. Time will tell if new single Feel Special will overtake that spot, but the song makes a great first impression. By … Continue reading
With a title like “Dumb Litty,” the only feeling I could muster around the lead-up to KARD’s new single was morbid curiosity. How bad would it actually be? Yeah, I pre-judged this thing pretty hard. But, the group is coming off the swaggy noise attack of Bomb Bomb, one of the year’s most obnoxious title … 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. While I like and appreciate Dreamcatcher’s rock-infused sound, my favorite tracks … 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. The first time through Seventeen’s new album, I was a little … Continue reading
Saturday feel like a group in search of a novelty hit. I mean, any act who debuts with something called “MMook JJi BBa” is not looking to forge the next Stairway To Heaven. No, Saturday are in it for the short term, drawing attention with the most garishly upbeat fare they can muster. This approach … Continue reading
Girl group Laboum were at their commercial and musical peak from 2015-2017, book-ended by the pop brilliance of singles Aalow Aalow and Hwi Hwi. There must be something lucky about repetitive, onomatopoeia titles. Since that point, a newly-matured sound has brought the group a niche fan base, but the girls have struggled to cement their … Continue reading
The Produce 101 train rolls on, with agencies eager to throw their musical scraps at participating trainees and project groups before figuring out what to do with them in the long-run. The tragically-named Teen Teen brings together Produce trainees Lee Woojin, Lee Taesung and Lee Jinwoo, which makes me wonder if “Triple Lee” was ever … Continue reading
It’s easy to see why Dreamcatcher have cultivated an enthusiastic fan base. They follow the road-map I usually prescribe for newer groups: stick with a well-matched pool of composers, develop your signature sound, and offer just enough variation within that sound to keep things interesting. Since 2017’s Chase Me, the girls have forged a consistent … Continue reading
As with so many under-the-radar K-pop debuts, 3YE failed to make much of an impression when they dropped their first single this May. In fact, I had to search back to see if I had reviewed the song at all — that’s how little I remember it. On the plus side, the group seems to … Continue reading
When 2019 is over, I have a feeling that the year will have set a record for debut groups. Though my opinion on 2019’s K-pop slate has soured over the past few months, there’s no denying that it’s been incredibly strong for rookies. This glut of new talent sets the bar high and makes it … Continue reading
I’ve made peace with the fact that Seventeen’s funky days are (largely) behind them. International audiences seem to prefer “dark” concepts, and worldwide fame is too tempting to ignore. The danger, of course, is that Pledis Entertainment already has Nu’est, who churn out songs with a darker palette on the regular. With a reliance on … Continue reading
With over 2,600 songs on my iPhone’s “K-Pop Singles” playlist, I thought it would be fun to add a bit of unpredictability to my song review posts. So as a result, we have the “Random Shuffle Review” feature. The rules are simple. I fire up my playlist, press “shuffle,” and whatever song plays first gets … Continue reading
Back in February, IZ*ONE made their Japanese debut with the stirring Suki to Iwasetai. It remains my highest-rated song by the group, but it turned out to be a total red herring. Since that initial album, IZ*ONE’s J-pop singles have been shockingly unpolished. June’s Buenos Aires merged a poor vocal arrangement with an underdeveloped instrumental. … 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 struggled to decide whether to label this a “buried treasure” … Continue reading
The Bias List // K-Pop Reviews & Discussion 