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Playlist Sunday: K-Pop Point Dances

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Playlist Sunday In order for a performance to be memorable, the choreography has to be strong. Luckily, K-pop is never short of strong dance moves, given that most groups dance and, at least most of the members, kill it. But with so many songs, groups, and performances getting released every week, it’s difficult for anything to stick. That’s why choreographers tend to place a few point dances within the performance that will make viewers take notice and even emulate them. So for this week’s playlist, we’re listing some of our favorite K-pop point dances.

This is the song that started it all for me, both because of its unique use of chairs and because of the sensual dance choreography that fitted perfectly with the song. Though not the best song in terms of musicality, it’s certainly one that I love to dance and sing along to. It’s 2PM’s “A.D.T.O.Y” (All Day I Think Of You), and my personal favorite performance of this song would be during 2013 SBS’s “Gayo Daejun”, when the boys used roller chairs for the dance instead of their ordinary stationary chairs. It was definitely more dangerous but it made it all the more interesting and enjoyable.

— Anna

Also on KultScene: Let’s Discuss: INFINITE & The SM-Woollim Merger

A fast-tempo, synth-heavy track, SHINee’s “Lucifer” is one song which never fails to make me dance. The impressive sharp, almost robotic, choreography is very fitting for the processed song, and what I love most about the dance is how seemingly complex it is. It may not feature flips like a 2PM routine or fancy footwork like a Teen Top production, but the series of rather basic hand tutting of “Lucifer” might as well put this performance on par was them. After watching “Lucifer” performed live, SHINee definitely moved up in my books for best dance group.

— Shelley

I’m not that huge of a girl group fan, but one song that got me into Girl’s Day (or at least got me paying attention) was “Expectation.” Not only is the track really cool and infectious, but their choreography is all around on point as well. Never had I dug sexy girl group dances before this one. Because even if I found the suspenders tacky, I loved the point dance with them and without them. And that wasn’t the only one, the whole chorus and bridge are filled with a few key moves that make the performance memorable. Every time this song comes up, I dance along attempting to emulate them. “Expectation” is definitely my favorite song by this group, and the choreography is one of the reasons why.

— Alexis

Also on KultScene: Which Korean Entertainment Company Is For You? [Quiz]

Out of the many dance focused music videos Korean artists are known for, I personally feel like B.A.P‘s “One Shot” has one of the most aggressive and catchy point choreographies. From their floor work, which includes some intense push up moves, to their floor air body thrusts, to their “float like a butterfly, sting like a bee” fancy arm and leg work and mid air jump, B.A.P makes this all look effortless, but as a viewer it’s almost exhausting to watch. Hopefully we’ll be able to see B.A.P perform more impactful music videos in the future!

–Tam

When it comes to point dances, there are a lot of really memorable K-pop dances, but I don’t think there is anything more iconic for a single K-pop group than INFINITE’s so-called scorpion dance from “Before The Dawn (BTD).” Most popular Korean songs have a dance move that is iconic, and performed during the chorus, such as Psy’s “Gangnam Style” horse-riding dance. INFINITE’s “BTD” has its own dance during the chorus, but it’s the dance move that comes at the end of the song that shot INFINITE to fame for being a group that tries incredibly complex dance moves. The scorpion dance brings all seven of INFINITE’s members to the ground for a second before kicking up and rising in perfect unison. The complexity of the dance, and INFINITE’s ability to perform the difficult move, makes this point dance from “Before The Dawn” one of my favorite K-pop dances.

–Tamar

What’s your favorite Korean song with a point dance? Let us know your picks in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.

Album Review: SHINee’s ‘Odd’

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SHINee is finally back after their successful “Misconceptions” saga and the hit song, “Everybody.” The quintet came back with their fourth studio album “Odd” on May 18. The whole “Odd” album makes it clear that SHINee is clearly unafraid to experiment with both old and new sounds in order to show us a mature side to the boy band. Yet again, this has spelled success for SHINee.

ODD EYE

The album opens up with “Odd Eye,” the first song out of several that were composed by member Jonghyun. As the song begins, we hear fellow member Key reciting spoken word in English. In the background, we hear dramatic violins, then electronic drums and synthesizers drop in as soon as Jonghyun starts singing. The continuous bass in the song makes this a perfect R&B tune.

The track is very sexy and rapper Minho adds a lot to the track with his rap joining Key’s. The harmonies between vocalists Taemin, Jonghyun, and Onew are amazing. The track seems more mature than what we have heard before from SHINee like “Lucifer”, “Sherlock”, and “Hello”. “Odd Eye” talks about falling in love at first sight with a mysterious person, and through the song you hear the boys describing everything they find attractive in this person. This track is a great song to start the album and prepares us for what’s to come.

LOVE SICK

As soon as “Love Sick” starts it reveals a close resemblance to one of SHINee’s past songs, “Like A Fire.” But in reality, the song is actually the continuation of the group’s debut song, “Replay (Noona You’re So Pretty.)” The track features a simple electronic beat that is consistent through the song and mixes the sounds of the piano, metronome, and drums. The theme of the album is SHINee in love. With this song, the boys talk about how much they miss the woman they love and how much they still think about her. Key’s vocals are outstanding in this track and very prominent. The chorus is sang by all of them, and is a throwback to the songs of 90’s boy bands.

VIEW

“View” is the first single from “Odd” and was also composed by Jonghyun. The song is very surprising because at first it starts as a ballad but then the beat starts building up into the chorus and explodes with electro-house and techno beats a la Giorgio Moroder that fits perfectly with SHINee. This song is different from what we are used to hearing from SHINee. It’s not as crazy electronically infused like “Everybody,” but that’s why this track seems very refreshing for them and for K-pop overall. The repeating chorus of “Nomeu Areumdoweun, doweun, doweun, doweun view” , (which in Korean means “beautiful view”) is so catchy. The beat is strong and easy to dance to, making this song very fun and a favorite in the album.

Also on KultScene: CL’s ‘Doctor Pepper’ Song Review

ROMANCE

“Romance” is a very chaotic and fast song. The beats almost seem to come out of a Mario Kart game, but it also has a few latin and tropical influences with the sounds resembling castanets. The lyrics are sung very fast and the beat continues to get faster and faster. We have never heard anything like this from SHINee before, but as crazy and chaotic as the track seems it works perfectly. The vocal arrangement through the song is great, but it seems like SHINee had to practice a lot for this song due to the fast timing. It’s a very difficult song to sing, it almost seems like they are rapping and singing at the same time but the five managed to pull the song off very well.

TRIGGER

With “Trigger,” SHINee introduces us to a very different sound. This is a complete 360 turn from the previous track. “Romance” was very happy and fun but the album takes a darker turn with “Trigger.” With R&B beats, trap elements, the infusion of xylophones, and big bass drops, the track contains a handful of sounds that are rarely mixed together but seem to work well with the lyrics. The song talks about a love affair gone wrong. The affair went crazy and there is no way turning back; SHINee metaphorically says through the song that the only way to end it all is to pull the trigger. The track is dark, sexy, and the vocals of each member also sound different. Jonghyun sings deeper, while Taemin and Onew’s voices feels stronger. Key’s “Pull the trigger” line in the background sounds very seductive.

FAREWELL MY LOVE/AN ODE TO YOU

With the next two songs in the album, “Farewell My Love” and “An Ode To You,” SHINee goes back to what we all love from them: Their romantic R&B ballads that showcases the member’s talented vocals.

“Farewell My Love” opens slowly but starts building up with a steady pace until the chorus. The beat is very sensual and the member’s vocals are showcased beautifully on the chorus. At the end of the song, Minho raps with a deeper tone that fits perfect with the nostalgic track about saying goodbye to the person you love.

An “Ode To You” perfectly depicts the moment in a relationship when you feel that everything is about to end, but there is still hope to continue on. This track is one of the saddest in the album and the music is filled with violins and pianos to enhance the sad feeling of the song.

Also on KultScene:Review: SHINee World III in Mexico City

ALIVE

With the next song of the album, SHINee brings us as the listener back to life. With the past two songs they almost made us cry, but “Alive,” wakes us up again. This is also the first time we hear the group’s iconic line, “SHINee is back”. This song uses the same formula as “Trigger,” but feels less chaotic and more controlled. The track has heavier basses that, when paired with SHINee’s choreography, will enhance the feeling of the song. With love being the continuous theme for this album, this track embodies the feeling you have when you feel completely alive and in love with someone.

WOOF WOOF

“Woof Woof” has different genres in it, a mixture of brass, jazz, and swing. This is the most similar to what SM Entertainment did with SHINee’s senior group TVXQ, in the song “Something.” The song is just very fun and it seems like the boys had a lot of fun recording the song. I can already picture SHINee all dappered up and swinging and tap dancing the song. This song feels very fresh and Key’s English once again is an unexpected pleasure for English-speaking listeners.

BLACK HOLE

“Black Hole” keeps a steady up-tempo drum beat as soon as the track starts. The techno-house feeling from “View” comes back with the synthesizers through the bridges and chorus of the song. There’s some disco and dance that seems to take you back to the ‘70s but it has a very modern feel to it. This is one of my favorite songs from the album and I can’t wait to see them perform this song live.

AN ENCORE

The album ends with “An Encore,” which is accompanied by pianos and strings that explode at the chorus. This song is a beautiful, upbeat ballad that feels perfect for a soundtrack. “An Encore” is a perfect song to end the album with. Through the song the boys have beautiful melodies and harmonies and leave you wanting more from them. It gives you the feeling of saying goodbye to someone but you know that you will see them back again soon.

Overall SHINee delivered one of their best composed albums in their career. With producers like Will Simms (producer of EXO‘s “Wolf” and Girls’ Generation‘s “I Got A Boy”), The Underdogs, Kenzie, Mike Daley and many more they achieved a more mature sound and had fun and experimented with the songs. The album is very solid and fresh and fits perfect with the members who are always evolving and outdoing themselves.

  • SHINee 'Odd'
4.8

What do you think of SHINee’s fourth studio album Odd? Share your thoughts in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.

K-Pop & the Collective Body

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If I were to pick one thing that makes K-pop stand out over other pop music it would be dancing. Not since the death of the boy and girl group in the 2000s has the West seen much dancing at all in music. Even at the heights of the nineties there was no collective dancing as what we see in K-pop. The effort put into dancing in Korea is unparalleled within pop music history. Each member of a group is required to be at least a great dancer. They must be able to pull off complex movements as an individual and as part of a group. The collective dance is key to K-pop but it is not always pulled off.

The many ways in which the collective bodies of a K-pop group moves can tell us things about a group. For some groups, the dance charts an evolution, for others it is a statement of unity.

Nine Muses’ troubles with members has been well documented yet the effect it has on their dances has not. They have consistently failed to do well on the charts since their debut in 2010, and we can find part of the reason for that in their dance. No Playboy is a complete mess. The production is cheap and it seemingly wants to play to the weaknesses of the group’s vocals.

The dance at first glance is what you would expect from the first ever supermodel-dols. Each members struts her stuff across the stage as if it were a runway. After this intro though, they delve into a cavalcade of awkward, erratic movements. The model like movements could have been something interesting to take away from an otherwise failure of a debut. But their long, skinny bodies end up hurting them when coupled with a dance like this. They are all protruding elbows and knees. What should have been elegant looks awkward as a result.

 Also on KultScene: When K-Pop Lineups Change – 9 Muses

Cut to their next single Figaro, which is in general a vast improvement, but brings up problems that would last a lot longer for Nine Muses than bad production. First of all, my least favorite thing in group dancing, the walk around. This is when the member who was last singing has to get back into formation by walking all the way around the group to the back. It is distracting to watch as usually not a lot is happening elsewhere and shows a lack of thought being put into the overall machinations of the dance. In nearly every case, it is clear that it could have been avoided. It ruins what it is otherwise a great mix of perfectly synchronised model and disco movements in this song.

It wasn’t until they were back to having nine members after a series of line-up changes that the dance come together. They returned with Dolls and continued refining their dance until their best yet, Glue. The shame of this is that it was also their last song with this particular group. The changes they went through prevented their dance from finding its footing for so long. It took four songs into their second run as nine to come back with something that really worked. Everything from No Playboy to Gun was mediocre at best.

Glue shows a group who are finally moving as one. They move from formation to formation swiftly and gracefully. A lot of the time they are split in two which is an efficient and satisfying way to control a large group. They even managed to use the walk around yet not let it distract due to these dual formations which can act like a kind of wall to those walking around.

Larger groups will always have this problem so I’m not singling out Nine Muses. One group has shown that coherence and quality can go together when it comes to big groups though. This may be due to their split nature, but EXO have consistently delivered when it comes to choreography and delivery. Their concept of a Korean half and a Chinese half becoming carries over into their dance. This plays out by first having one half performing the first part then being replaced by the other half. For the climax all of the members are on stage performing together. This has been their style for every single when all 12 members were performing. How they perform this is also interesting.

The changing of members here also poses some problems for EXO, but we’ll come back to that later. What’s really interesting is EXO’s manipulation of the stage and their bodies around it. Coming off the back of the ‘Growl’ music video, they began to interact directly with the camera. It would sweep in and out of their formations, giving us insights into places we hadn’t seen before. It adds a layer of participation that works so well with EXO’s fangirls.

 Also on KultScene: #CallMeBabyXWin: Korean Music Shows & the Songs That Win Awards

EXO also handle the shifting of groups within the one performance well. In ‘Wolf,’ they dramatically ran off stage while the rest run back on stage. It works to transition not only the dance but the song too. In ‘Growl,’ they used both sides of the stage as opposing groups. When the song changed, the camera just has to turn around and the switch is made instantly. ‘Overdose’ uses the same technique as ‘Wolf’ but also adds some new elements. The opening is especially great where the camera flows all over the stage to give time to each member. Each performance showcases great form and structure while sticking to the 50/50 theme. They contain some of the most complex moves in K-pop yet never let one move dominate a dance.

The problem of losing members has caused EXO to adapt their style to something functional but lacking for their latest single, ‘Call Me Baby’. Instead of 12, there was 10 (and now maybe 9, oh no wait 8). They kept the idea of not having all members on stage at once but this time it didn’t have to be half and half. Any amount of them can be on stage from 1 to 10 and every time it works. It helps build a more seamless dance as they are not slaves to a formula anymore. What they make up for in structure they lose in theme.

To find a group with a real unity in performance we can look to EXO’s labelmates, SHINee. In particular their most recent singles ‘Sherlock’ and ‘Everybody’ have shown an attention to detail that exemplifies their work. In both, they exhibit a manic kinetic energy between each of them. Seemingly every move they make is connected or passed between them. Even when one member is on his own, the others soon mimic a move he did. These songs are the best examples of a group as one. Each member is only part of a larger performance and each is integral to it working.

It is the ultimate advantage of a smaller group. Bodies move gracefully and collide on a K-pop stage in all manner of ways. When stripped down to five or six they do this with great beauty. SHINee’s ability and clarity of movement is the best example of this. They use their bodies in increasingly interesting and amazing ways to attach greater meaning to their work.

Nine Muses could certainly learn a lot from both of these groups of boys.

This is only a tiny window into what K-pop bodies can achieve. There are so many different takes on the type of dances I just talked about and then there are some that approach it completely differently. VIXX’s themes, miss A’s simplicity, Infinite’s synchronicity, and 2pm’s acrobatics are only some examples of the wide possibilities used by K-pop acts. Each one is as interesting as the last and they all offer new spins on old ideas, something so intrinsic to what K-pop is.

What do you think of these groups’ dances? What are some of your favorites we didn’t mention? Share your thoughts in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.

SM Entertainment: The ‘Brand’

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A few weeks back I wrote about the idea of authenticity that YG Entertainment uses to sell its artists. While I stand by most of my opinions, I feel it comes across as too one sided. I was ready to slam YG and I didn’t stop to consider the ideals of other companies. By other companies I really mean SM Entertainment. They are the yang to YG’s yin. My YG article clearly misses that yang, there is a sense that I prefer a different approach to the YG one, but don’t touch on it. I don’t know if I prefer the approach, but I do prefer SM’s music, so that probably influenced my opinion.

The Asian idol system is a thoroughly transparent one. Fans are allowed to see all elements of how an idol comes to be, their extensive training in not just singing and dancing but acting, PR, and fitness. It is not an entirely glamorous regime, but it’s what it takes to be a star. This transparency means, however, that fans are also under no illusion as to the creators of the music and its authenticity. SM makes no attempt to hide this or push their artists beyond this. So why is SM so popular and yet have no discernible musical figureheads?

Another writer on KultScene got to the heart of this when she wrote about how SM and Disney are very similar companies. It wasn’t totally positive either, equating the recent controversies of SM to Disney’s own troubles with diversity and such. In the context of the companies actual content though, for me, it boils down to the “brand.” These companies are loyal to their brand and what will make their brand the most money. SM has time and again shown that the overall company is more important than any individual. From apparent slave contracts to over-worked idols, no company has had as many high profile departures than SM. The amount of cases show it be a serious problem for young idols and show a lack of understanding from an imposing company.

While groups like Shinhwa and Fly To The Sky left SM after their contracts expired and achieved much success, leaving SM Entertainment prior to the end of the contract has meant difficulties.

The worst of all, of course, is the case where three members left former-quintet TVXQ,  which left Junsu, Jaejoong and Yoochun  (who formed JYJ) unable to attend any Korean television programs. If they do, the station that shows them will potentially not get any SM coverage in the future, losing the station a ton of potential viewers. So JYJ is essentially blacklisted (although Junsu just performed for the first time on television in six years, thanks to EBS.)

 

 Also on KultScene: What Will SM Entertainment Look Like In 2015?

Like Disney, people have grown to essentially worship the brand of SM. Even after all these controversies, loyalty remains and the fans nearly always side with the group and not the individual. This sort of attitude can lead to a company becoming a Disney-like juggernaut, and that’s a problem. If SM continues growing and accumulating smaller companies, like Woollim Entertainment, they can build a possible monopoly. This might not seem so bad since Woollim has been proceeding business as usual with their affairs, but they’re still under SM’s control. If this continues, the whole Korean music industry would revolve around SM, making it possible that if SM goes under, so does all of K-pop.

Let’s steer away from the dramatics for now and back to a real, current problem for SM: the treatment of individual stars. Maybe it’s not a problem, but just a clear difference in style to YG. Emblematic of SM’s love of the brand, they prioritize cohesive groups over individual talents. It was actually listening to F(x)’s Pink Tape and realizing how replaceable they are as a group that gave me the idea for this article. Yet I still think it is one of the best full length albums in K-pop history. Apart from TVXQ and to a lesser extent, SHINee, all of SM’s groups feature members that could be left out and would make no difference to the quality of their music. Similarly, no group has a defining creative head like G-Dragon, CL or even Bobby, whenever iKon debut. Even TVXQ who are possibly the most talented group in K-pop history, do not have a creative head, merely extremely proficient singers and dancers. This lack of strong individuals shows SM are not interested in people who leave the group or company, in order to shine on their own right as solo artists, overshadowing their previous SM-related efforts. When one of them threatens to possibly do this, they are swiftly taken care of, like former Girls’ Generation member and head of fashion line Blanc & Eclare Jessica Jung.

What about the music these large, anonymous groups are releasing though? This is where it gets tougher to pin SM down. SM is known for creating songs it dubs SMP, SM Music Performance. This is a type of song that is created together as a complete song and performance, which cannot be separated. Essentially, these are incredibly complex songs that go above and beyond what a pop song is expected to be. Examples are SNSD’s I Got A Boy and TVXQ’s Rising Sun. What’s really interesting though is that these are the type of songs that big brands would never dream of releasing. They play with structure in strange ways and swap genre without any notice. Pop songs were designed to lull you into security, make you feel at ease so you won’t go against the system. SM does the opposite and its makes for an interesting case.

To find out why SM does this though, is not easy to find out. We can look at the producers of the songs. A lot of them are outside producers, people like Teddy Riley, Will Simms and The Stereotypes. SM would not let them produce such weird tracks without their consent though, and probably would have even specifically picked out songs like this. This comes across as more of a negative in reality, as it makes SM seem uninterested in even their own artistry not just their groups. Always using outside producers gives them an image of business people rather than musicians, but this is not wholly true either. There are many in house writers and producers like Yoo Young Jin, who has worked on almost every great SM song since its inception.

 Also on KultScene: Artist Spotlight: DaeNamHyup

My last and most likely theory has more to do with the Korean public than the music itself. South Korea did not have pop music as we know it until 1992 when Seo Taiji and The Boys burst onto the scene with their musical fusion. They mixed rap, metal, dance, and many more genres to create something never heard before in the country. At the time they used this music to criticize Korean society (see Gyosil Idea,) which Seo Taiji still does to this day, and it worked thanks to the genre mashing and structure bending forms of their songs. They were so popular, however, that this style of music eventually became commonplace in K-pop. So maybe SM’s songs today are not as strange and revolutionary as I thought, but merely the norm in the country.

One thing I can be sure of though is that SM Entertainment and YG Entertainment have completely different ideologies when it comes to their brand. Of what I have written about, they do share at least one thing in common, having lots of great, artsy teasers, but not delivering with the final product (WINNER for YG and EXO for SM) and I hate them both for it. Ultimately, I don’t know what side I come down on in favor anymore. I prefer SM’s music, but I don’t respect any of their individuals as much as I respect CL and her brazen individuality amongst idols. Either way I’m supporting a big brand whose only goal is to make lots of money.

Let’s support neither of them. Go find a smaller company whom you can get behind and encourage by rewarding quality music and artistry with your support. Like Chrome Entertainment, home of Crayon Pop, whose DIY attitude is already changing K-pop or Source Music who have been accused by netizens of making deals with journalists so G-Friend can get on the charts or any other of the large number of smaller, less corporate companies currently struggling to stay afloat.

What do you think of SM Entertainment’s system? Who do you prefer SM or YG? Share your thoughts in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.

[This article was updated on April 21, 2015.]

K-Pop Songs That Should Have Music Videos

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Singers usually promote one or two songs from their mini or full-length album. And in many cases some of the songs are left without a music video or the love they deserve. Every artist has at least one song that fans think should have a music video. People’s choices will most definitely differ, but here are a few we think would make great music videos if not just for the extra promotion of the song, as long as the videos don’t look like they could feature on fulltube.xxx because music isn’t just about being sexualized, we have to grow out of that still after years.

Jay Park I Love You

Jay Park music videos can be extremely sexy and steamy, cute and sweet, or fun and having a good time. I Love You could be one of his sexy ones, or a video that goes the really sexy route, or one that plays with the chance of romance and steaminess. Jay actually did do a video that shows off a killer dance routine for the R&B-inspired song. And based on the dance, the whole music video can just focus on the dance in different settings with different outfits; keep it crisp and simple. The beat and music make I Love You the perfect song to showcase a sensual yet hard hitting dance routine. Sometimes all we need is a great dance music video to give us life.

Also on KultScene: MADTOWN ‘New World’ Music Video & Song Review

f(x) Spit It Out

Any f(x) song would have an equally awesome music video. They somehow manage to make most, if not all, of their songs stick with fans. Spit It Out is a fun, upbeat song that offers many different directions for a music video. An avant garde concept might work best based on the beat, use of ‘80s synths, and the video game sounds that are prevalent throughout. The heavily processed sounds would match a quirky styled music video and the ladies of f(x) can pull off any concept. Out-of-the-box hairstyles, clothing, accessories, and almost cartoon-like settings would create an unrealistic world that corresponds to the lyrics and the reaction of the narrator of the song.

SHINee One Minute Back

In all honesty, SHINee could make a video for any of their songs and it would be well received (in most cases). But One Minute Back has a different sound and musical pattern compared to their other singles. The guys’ vocals sound wonderful together and the chorus is inviting and somehow manages to make everyone sound like a great singer when they sing along. A One Minute Back music video would benefit with close-ups of each member as they’re singing and looking into the camera. A dance routine that utilizes a prop, possibly a chair, would have to be a stop-and-go type dance to match the music and the beat, but the perfect prop can create a memorable dance (similar to Dream Girl with the mic stands) and showcase different performers than what we may be used to.

VIXX B.O.D.Y

VIXX have intense concepts for their songs. They’re mainly dark, futuristic, and creepy in an artsy way. But B.O.D.Y is an upbeat song that’s not too cutesy or sugary. The video would definitely have a lighter theme than some of their most recent ones, but it would showcase the boys’ fun sides without being over-the-top bubble gum pop. For B.O.D.Y, a dance that has one or two moves as basically the whole dance might work best. The song itself isn’t groundbreaking in any way and an intricate dance wouldn’t fit the tone and neither would a super cute one. The guys don’t even have to dance in the video, just having a fun and upbeat VIXX song with a video would be a nice addition to their other singles.

Also on KultScene: Victim Mentality Brings Glam Rock To South Korea And SXSW [Interview]

Seungri Let’s Talk About Love

Seungri did end up performing Let’s Talk About Love, but he never released a music video. In this music video, a concept that uses black, white, and red as the main colors for wardrobe and setting would create a classy atmosphere. Some silhouettes when Seungri sings the chorus and when G-Dragon and Taeyang appear in the song would create a sense of mystery and take the focus away from their facial features. Also close ups of GD and Taeyang as they’re singing/rapping with minimal lighting would emphasize their facial features and play with the shadows and angles on their faces; a sexy yet classy concept for Let’s Talk About Love.

What songs would you love to see have their own music video? Share your thoughts in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.