Idol rock back IZ have been active here and there, releasing one mini album each year since their debut in 2017. None of their title tracks really sound the same, which has made it difficult for them to cultivate a solid fan base. To be honest, I probably wouldn’t be writing about them now if … Continue reading
Over the course of three digital singles, Hyolyn became one of 2018’s most magnetic solo performers. Dally, See Sea and Bae were all completely different in style, yet each mastered its intended sound. Because of this, I had high expectations for Hyolyn’s first 2019 work, the grammatically frustrating youknowbetter (니가 더 잘 알잖아). Making things … Continue reading
After debuting in January, Cherry Bullet have made a quick return with new single Really Really (네가 참 좋아). Q&A became something of a sleeper hit, establishing a bright, rhythmic sound for the group. But, the real test comes now, as the girls try to secure their success with a track that betters their previous … Continue reading
To me, a knockout debut should immediately establish a group’s identity. It should convince me that there’s a spot for them in an overcrowded marketplace. And, at its finest, a debut should offer something new. 2019 has seen a few debuts like this, but boy group AB6IX have yet to carve out their personal style. … Continue reading
K-pop tends to cannibalize itself, which can muddle the meaning of “debut” when it comes to new groups. 3YE (pronounced “Third Eye” — because, of course it is) have debuted with their first digital single DMT (Do Ma Thing), but the members have already been active in the industry. All three were part of disbanded … Continue reading
I’ve been surprised by just how many sound-alike ballads the post-Wanna One K-pop landscape has produced so far, but Kim Jaehwan’s Begin Again (안녕하세요) doesn’t surprise me at all. I never expected that he would debut with anything but a ballad (though his mini album showcases a welcome versatility that should be explored further). As … Continue reading
I’ve always appreciated Woollim Entertainment’s ability to curate music that stays true to its artists’ personas. While so many others rush to jump on whatever’s popular at the moment, a group like Lovelyz slowly but surely crafts a cohesive discography that feels like an intentional body of work rather than a ‘try everything and see … Continue reading
JYP Entertainment has been on such a roll lately. Their all-killer, no-filler 2019 singles run has been strong enough that they even had me excited for new GOT7 music. If you’ve been reading The Bias List long enough, you’ll know that GOT7 have often become the punching bags for my trend-related complaints over the past … 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 was thinking about it the other day, and realized that … Continue reading
Last year, my favorite Seventeen song wasn’t a Korean title track at all. It was their first original Japanese single, Call Call Call, which harnessed the guitar-fueled dance pop sound that I love most from the group. Because of this, anticipation was high for new J-pop track Happy Ending. It’s been exactly a year since … Continue reading
A.C.E spent much of their 2018 on hiatus in Korea, touring the world with only a handful of songs to their name. I was lucky enough to see them twice last year, but as much as I love the guys, I have to admit there are only so many times you can hear the same … Continue reading
I wasn’t too kind with BVNDIT’s debut single Hocus Pocus, but it wasn’t because it was an objectively bad song. It just felt devoid of any unique point — like musical wallpaper that blended with every other like-minded, tropical-pop offering of the past few years. Luckily, BVNDIT have made a very quick turnaround with their … Continue reading
Since their return in 2016, Ladies’ Code have pursued a more muted, moodier pop sound. It’s been years since we’ve had a proper comeback from the girls, which makes it hard to predict where they’re at now when it comes to genre. Sure, leader Ashley delivered the under-cooked tropical pop of Here We Are last … Continue reading
When Winner first debuted in 2014, they seemed poised to become YG Entertainment’s answer to K-pop’s more “grown up” side – not exclusively ballad-centered, but not striving to compete with teenage hip-hop either. A lot has changed since then, and ever since 2017’s mega-hit Really Really it seems like the group has been stuck in … Continue reading
Though the girls have more or less denied it, there’s a chance that Me & You may be EXID’s final Korean title track — at least in the group’s current incarnation. This speculation comes after members Hani and Jeonghwa chose not to renew their contracts with Banana Culture Entertainment. Cross-agency reunions are not unheard of … Continue reading
Years after its debut, my favorite NCT-related track is still Without You. I get that hip-hop is much trendier and globally popular, but I will always be a proponent of big pop melodies and powerful vocalists. This style used to be a stalwart of SM Entertainment, but now that the NCT brand seems to be … Continue reading
Though most Weki Meki singles have ended up growing on me, they tend to have a knockoff quality that makes them feel like lesser versions of other girl group material. Almost two years in, I’ve yet to understand what kind of sound Weki Meki is meant to have. Many describe their title tracks as “messy,” … 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. In addition to crafting a very strong singles run, Oh My … Continue reading
RBW’s ambitious double debut of ONEUS and ONEWE has finally come to fruition! ONEWE had to wait a few months longer (and already seem to be getting less promotion), but technically they’ve already “debuted” twice — first as M.A.S 0094 in 2015, and then as MAS in 2017. They say the third time’s the charm, … Continue reading
Taeyeon made her solo Japanese debut last year with the pretty — but extremely safe — Stay. That song jettisoned the funky backbone of Korean single Something New for straightforward, feel-good balladry. Judging from new single Voice, this middle-of-the-road pop style seems to be her go-to J-pop sound. There’s nothing wrong with a little adult … Continue reading
