In May 2014, a few friends launched a blog, mostly so they could share their thoughts on their favorite K-pop stars and maybe get to go to a concert once in a while. After a name change a few months later, KultScene was born, a fusion of “Korea,” “culture,” and “scene,” a website where we wanted to broaden the conversations about Korean entertainment and the fandom community around the industry, writing from the perspective of foreign fans whose lives have been shaped by this thing they love.
Over the years, KultScene has been many things. We were one of the only outlets to cover BTS’s Show & Prove show in LA, their first-ever US show. We discussed why things are the way they are, and why they aren’t. We did trend reports. We interviewed many indie and hip-hop acts that others weren’t talking with. We did fashion breakdowns, and music analysis. We looked into the companies behind the stars we love, and questioned issues in the industry, like racism and appropriation. We had a podcast where we explored topics of the day in the K-pop realm. Our year-end best-of-list were great, and the videos were works of beauty (shout out to the ever amazing Joe Palmer). In the past few years, we proudly started to pay writers after years of heartfelt free contributions, because as we’ve developed our own careers, we wanted to help pass the buck. We weren’t perfect, but we tried our best.
The writers, editors, photographers, and all other sorts of people who worked with us on KultScene are some of the best people out there. Hailing from all over the world and giving so much love, time, and energy, our crew grew from students to professionals, and are now spreading their wings in all different sorts of industries and doing amazing work.
We can honestly say that this was one of the best things we’ve ever worked on. But, sadly, we don’t have the bandwidth anymore for this beloved site. In recent years, we’ve tried to keep things going, but ultimately decided to close this chapter, so it’s with heavy hearts that we say goodbye to KultScene. The site will be alive for now, but one day all that might remain is our memories. And they were wonderful ones.
Thank you to everyone who has been part of it, whether you were helping us out with our CMS or whether you clicked through to an article one time. Thank you for joining us on this journey as we’ve gone from friends just wanting to do our thing to something that meant so much to so many people for many years.
We’re still figuring out what to do with the site and our content, and trying to figure out a way to archive it all, so while we do that the site will still be active, so please enjoy everything we’ve put our love and passion into.
For the last time,
KultScene editors
Alexis, Tamar, Alejandro
https://kultscene.com/wp-content/uploads/2018/02/KSSITE.png360504KultScenehttps://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngKultScene2023-05-19 10:37:322023-05-19 14:35:21Saying goodbye to KultScene
K-pop idols, such as Taeyong, Jay B, and V, are all creatives. However, within their groups, their personal sense of creativity can’t always thrive. The most dedicated fans are already aware of this side of these idols, but it is a side that the general public often does not see. Enter SoundCloud.
Since its launch in 2008, SoundCloud has gained a reputation as one of the biggest music sharing platforms on the internet. The site allows artists, both big and small, to share their music on a global scale and has even given some of the biggest artists popular today their start and especially since there are great legit SoundCloud promotion services, where artists are now getting an amazing boost to start their careers and be seen globally. Plus for K-pop fans, SoundCloud holds a world of treasures.
Although idols creating SoundCloud accounts is nothing new, it has become a more prevalent part of certain idols’ identities in recent years. SoundCloud has become a safe haven, a place to express and experiment with music in a way they don’t always have the chance to with their respective groups.
For the aforementioned members of prominent K-pop groups like BTS, GOT7, and NCT, SoundCloud has proven to be a space for them to share with the world their own style. Though they’re far from the only K-pop stars, or even members of their own groups to use the site, these three exemplify the trend as they use SoundCloud to share musical aspects of themselves not typically revealed through their respective band’s musicality.
Taeyong From NCT, NCT 127, & SuperM
Recently, an idol’s SoundCloud that has been gaining attention is NCT and SuperM’s Taeyong. After teasing unreleased songs during his livestreams on the app V Live, Taeyong created his account and released these songs for fans to enjoy. His latest release, “Swimming Pool,” may be the most emotional song on his account since, gaining over 1.32 million streams to date.
Although Taeyong has had a song officially released through SM, “Long Flight,” his choice to upload his songs one by one on SoundCloud rather than through the company or on a compiled mixtape is an intriguing choice. When he released said track back in 2019 through SM Station, the song received promotions and even a music video. However, Taeyong’s SoundCloud has remained off of NCT’s official accounts, with only the artist himself announcing his new tracks, usually through Instagram. The only indication of his SoundCloud on any official SM account is from a recent vlog uploaded onto NCT’s YouTube channel, where Taeyong gives a behind-the-scenes look at developing the concept for his recent track “Rose (feat. Seulgi).”
Songs featured on Taeyong’s SoundCloud are filled with raw emotion, both in their lyrics and in his ability to capture his feelings vocally. Taeyong has earned writer’s credits on a few NCT songs, including the love songs “Baby Don’t Like It” and “Whiplash.” However, Taeyong’s SoundCloud is almost the opposite, where most of his songs are discussing himself. He explores themes of expressing one’s emotions and the need to let them out, such as in his song “Blue.” On “Dark Clouds,” he sings, “In between the black clouds/The whales that sprout out light/All the planktons inside it are born from the stars to shine on you,” painting an image of suffering from dark times, but having bits of positivity peaking through. In a recent V Live, Taeyong shared that “Swimming Pool” was about how he felt at the beginning of the year, of being trapped in a dark, unsure headspace, emphasizing how his recent releases directly relay his own thoughts and feelings.
With SoundCloud, Taeyong is honest about his mindset. More specifically, how he has been struggling with his mental health and life in general. He is giving listeners a peak into his mind. While he is open about his struggles, he still offers comfort by letting them know that these feelings are okay to have and should be expressed. On this platform, Taeyong has not only taken on the role of songwriter, producer, and composer, but also marketer, art director, and seemingly everything that comes with releasing a song. Unlike his official releases with NCT, Taeyong is now in total control. Listeners get to see a side of Taeyong that has existed all along but now can flourish with very little holding him back.
Taeyong’s personal voice on his SoundCloud account is more vulnerable than the voice we hear with NCT. While NCT have their fair share of emotional songs in their discography, the general public knows them more so for their upbeat hype songs. With little to no worries of the burdens associated with promoting an official release, Taeyong’s SoundCloud is all about the music and his vision. The lack of promotions means that Taeyong can focus on the music – music that is created for himself and his fanbase. Most of the English translations for his songs have been provided by fans, which gives fans the opportunity to interpret Taeyong’s in a way that relates to them.
Like Taeyong’s SoundCloud, Jay B, whose SoundCloud is dubbed Def, has used his account in the past to share music different from most GOT7 official tracks. Songs such as “Sunrise” and his sub-unit work on Jus2 and JJ Project have been some of the few official releases more similar to what fans would find on his account. Many of GOT7’s tracks have heavy instrumentals, leaning towards a sound that is a mix of pop, hip-hop, R&B, and EDM. Sure, the group’s sound has matured, from their debut track “Girls, Girls, Girls” to their most recent release “Last Piece,” but it has consistently remained in the realm of the pop forward genre. As the leader of GOT7, Jay B would ultimately have a hand in the songs that GOT7 would release, but not the final say.
For example, through V Live, Jay B has shared instances where his demos were drastically changed by JYP Entertainment, the group’s former label. His demo for what would become GOT7’s lead track “Eclipse” went through many changes before becoming the song included on their mini-album Spinning Top. From changes to lyrics and instrumentals, the vibes of the two versions are starkly different. Jay B’s version is more laid back in comparison, and built more around R&B and alternative-pop elements. Like in the original demo, Jay B’s productions focus on the vocals rather than being performance-oriented instrumentals, which is the forefront of most of GOT7’s title tracks.
Now that GOT7 has left JYPE, it has allowed the members to explore solo projects. Signing with H1GHR MUSIC, Jay B has begun the transition from idol to pop-R&B artist, releasing official music that rings similar to what he has produced and shown on his SoundCloud. His first single, “Switch It Up,” gives a taste of the music listeners can expect from Jay B in the future. But having his SoundCloud as a reference, this transition is no surprise. SoundCloud allowed Jay B to explore his own style while still being a part of GOT7. Now, Jay B is able to further explore this style, and bring this aspect of himself to center stage, rather than keeping it on the side.
“Switch It Up” fits in with tracks like “Be With You” and “Come Back To Me.” All of Jay B’s SoundCloud tracks are similar in genre, heavy with lo-fi beats and soulful vocals. Much of the subject matter for Jay B’s songs have to do with relationships, but take a deeper look at the emotional aspects that come with love and sex. While Jay B’s lyrics in songs such as “Sunrise” and “Come Back To Me” are similar, they carry their messages differently. “Sunrise” discusses a great love, with lyrics such as “My forever sunrise/Sunshine above my head/An angel for me/Hold my hand and leave,” while “Come Back To Me” is more somber in its tone and carries the message of yearning for a lost love. We see this in the lyrics, “So much time has passed but/I want to stop giving up/Come back to me now/I still need you.” Jay B’s SoundCloud tracks carry more nuance in its emotions, in both their lyrical and instrumental compositions. We also hear this emotion in his vocals – it’s more raw, less fine-tuned, and a bit more blunt in their message than that we would hear in official releases.
SoundCloud has provided a space for Jay B to showcase his original, unaltered work and tap into subject matters that can be deemed risqué for idol music, which is more representative of him as an authentic artist. His SoundCloud allows him to explore these subjects with only his hands touching them.
While BTS have often been credited as a self-produced group for their songwriting and producing of their formal releases, their SoundCloud account has become an outlet for members to explore other sides that fans often do not see through the group’s work. BTS’ SoundCloud is home to many covers and special releases for fans – namely gifts during their annual FESTA, a celebration marking the anniversary of their debut. While all the members of BTS have uploaded their individual songs onto the account, even before the band’s debut in 2013, V has been able to tap into a side of himself that is, in a word, beautiful.
While his songwriting has been credited to official group works (“Blue & Grey” from BE),their SoundCloud account holds a vulnerable side of V that many may not be aware of.
“Blue & Grey” is a song about feelings of sadness and depression, particularly during 2020 and the pandemic. It is a deep subject matter, carried out by a guitar, to give fans a beautiful pop ballad. The instrumental and vocal harmonies from the members only amplify the serious meaning of the song, creating a song that is chill inducing.
On BTS’ SoundCloud, though V’s songs have similar instrumentals and tone as “Blue & Grey,” their subject matters are vastly different. His songs, “Scenery” and “Winter Bear,” are not only a testament to his songwriting ability, but tie in other creative sides to him. “Scenery” plays on V’s love for photography and how he uses the song to capture a moment to remember, but as he does with his pictures. The music video for “Winter Bear” also taps into his role as director (as stated in the music video’s credits) and further showcases this creativity, by featuring footage taken by V himself. While “Blue & Grey” is a universal song for everyone to relate to with a darker subject matter, the songs by V on SoundCloud are personal, and a great introduction to who he is exactly.
These are aspects of V that the public may not see at first glance, but one that posting his songs on SoundCloud has allowed him to express and show. V is known for his baritone vocals, being more on the quiet side during interviews, but letting his quirky personality shine when he does speak. To the general public, they may not realize that past the surface lies a creative soul. SoundCloud has provided fans the chance to get to know V more, and for V to embrace these sides of himself. BTS’ songs show who V is, while SoundCloud shows us Taehyung.
Going forward, we could expect more K-pop idols to use SoundCloud as a way of personal expression. It has already proven to be a powerful outlet for Taeyong, Jay B, and V, who allow the walls put up by idoldom to come down – or at least chip on them. SoundCloud has provided them a creative outlet that allows them unprecedented freedom in their careers, and these three artists have shown that it could very well be an essential part of idol life. Sonically, K-pop is the mix of many genres and concepts, but with companies having their hands dipped in their group’s music, the creativity peak that some idols could achieve is curtailed.
Jay B, Taeyong, and V each showcase how SoundCloud can be a tool for idols’ true personas to co-exist with their personas on stage. It allows for the chance to explore new sounds and themes in their music, without the worry of needing to please a certain audience. While many of their accounts are accessed by fans, the music posted is ultimately for the artists themselves more than anyone else. It could very well inspire other idols to do the same and start a new era of creativity and self expression in the K-pop industry that has not been seen before. SoundCloud allows for more creative growth, and in turn more creative freedom.
SoundCloud has allowed for not only the artists to be their true selves, but for fans to get to know who these K-pop idols truly are. It opens the door for a deeper understanding of not only who these idols are, but where they stand creatively. With there being no pressure that comes from an official release, K-pop idols have free range in terms of the music and the message they want their fans to hear – if they choose to share their accounts. Those who have, are already thriving from them, and with the warm reception that they have received from fans, we can either expect more idols to post their SoundClouds, or the bridging of the music posted on these accounts to become official releases in the future. It’s music on their own terms.
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KultScene is a writer-driven website dedicated to creating a platform where diverse voices’ takes on K-pop can be heard. If you like this post and would like to see more, please consider contributing to KultScene’s writers fund. KultScene’s writers are compensated for their work, time, and insight. Email us for more details.
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If you’re a K-music fan who also keeps up with Western artists, you’re probably seeing many female rappers’ names in the music charts and awards, especially in the U.S. right now where Cardi B, Megan Thee Stallion, and Doja Cat are dominating. And you might also be thinking of many other female rappers who deserve more love, just as these amazing ones that are having their big moments right now.
In the case of South Korea, it’s not that female-fronted rap is at all unpopular — with shows like Unpretty Rapstar (2015-2016) and Good Girl (2020) we’ve been seeing female rappers getting more attention. Yet, some of these women’s stories remain unknown, or not acknowledged enough. One of these stories is Tymee’s, formerly known as E.Via, the Korean rapper and songwriter born Lee Okju.
Though newer Korean music fans might not be familiar with Tymee’s work, she has been releasing songs for 18 years, with recent years seeing less and less music from her. Some may know Tymee for the beefs she has been involved in throughout her career, such as the one with Jolly V before and during Unpretty Rapstar, or her super brief participation on Show Me The Money. Or maybe you’ll remember her as E.Via, the controversial rapper who released meme-worthy songs such as “Oppa! Can I Do It?” before memes were even a thing.
But Tymee is so much more than the dramas and the eccentric songs — she’s barely acknowledged by what they represented for the music scene in Korea. Here are eight reasons why she was a pioneer, a total legend, and why she should be acknowledged as such.
She Pretty Much Pioneered Aegyo-Rap
Lee Okju started her career as an underground rapper that went by the name of Napper. When she debuted in the Korean pop industry formally as the controversial E.Via, her impeccable flow and impressive breath control were still there — but the deep voice she used to rap with previously gave place to a cute, high pitched, almost unrecognizable timbre.
Along with her clothes and overall shy girl attitude, the baby voice was not exactly what one would expect from a serious rapper, and the aegyo merged with fire rap. E.Via’s songs would also be the first time Tymee would present her fast rap, a side of hers that would also become her signature – which was a peculiar combination too.
But, whether you’d find her laughable or good, you can’t deny that E.Via was somewhat fascinating to listen to, and years later, the aegyo rap she became famous for would infiltrate the K-pop industry, becoming basically a mandatory in K-pop songs by girl groups such as Girls Generation’s “I Got a Boy.”
In spite of looking and sounding innocent, E.Via’s songs weren’t really all that suitable for kids. “Oppa! Can I do it?,” the lead single from her debut album, was pretty ambiguous. It wasn’t really clear what she was asking her oppa permission for: the album version included her moaning, while the lyrics also hint at E.Via asking him to hear her rap. The provocative content and slang led music shows such as Music Bank to ban her performances. E.Via, who wrote the lyrics of “Oppa! Can I do it?”, never fully addressed what the song was intended to be — but such suggestiveness would become a part of her brand.
As much as it may be disturbing to hear an infantilized woman performing sexually suggestive songs, or to hear a woman asking a guy permission to do anything at all, the song raised discussions about what artists and women can do, and the ban would only raise the public’s attention and interest to E.Via and her upcoming music.
She Featured Herself On A Song
So far, you’ve learned that Tymee went by different names during her career. Each one of these “personas” had their own features, but they’re all pretty much different sides of her, representing different stages of her life. But could these personas meet each other?
Alter egos are quite common in rap, but there are very few cases of rappers featuring “themselves” in a song — and the most popular ones we can think of, like Logic feat. Young Sinatra’s “Warm It Up,” weren’t released before E.Via’s “My Medicine,” a song in which E.Via featured no one less than Napper, her old alias.
In this sweet yet sad song, Napper raps and E.Via sings. It’s not only an example of Lee Okju’s versatility and emotional depth – you can just feel the pain in her voice, even if you don’t understand the lyrics – but also her creativity. Who would think of such a collab? It’s just genius to bring your two personas to meet and perform with each other.
She Broke Free & Prioritized Her Artistic Freedom
E.Via brought Lee Okju fame and success, but she wasn’t happy, and was also severely mistreated and not properly paid by her talent agency, DLine Art. She couldn’t put up with it further than early 2013, when she announced that she was leaving the company.
But breaking free from her contract wasn’t easy: she had to go to court, and ended up with little to no rights to her music, and not allowed to use the name E.Via. She then changed her stage name to Tymee, and later signed to rapper Outsider’s ASSA Communication, where she would find more creative freedom and control. On the songs she released thereafter, such as “On The River,” she spoke about her mental health issues and how she almost gave up on music. The name “Tymee” would symbolize her desire to be “tied” to music, as a promise that she wouldn’t let anything or anyone steal her passion for it.
Was An IP Genius During Diss War
In 2013, when U.S. rapper Big Sean released “Control,” a featured verse by Kendrick Lamar would inspire the beginning of a diss war in the Korean hip-hop scene. Initiated by rapper Swings (with whom Tymee had history), the war consisted of many rappers shooting and firing back at each other by writing their own verses over the “Control” beat. The diss war had pretty much only male rappers doing it, until Tymee stepped in.
Recently signed off from her previous label and recovering from what almost ended her career forever, she definitely had a lot to say, and she didn’t hold back. “Cont Lol,” which is a play on the words “Control” and “Laughing out loud,” referenced how she found the other rappers’s skills comically laughable. There was also a reference to the video game series League of Legends, showing Tymee’s angry views on hip-hop culture, stating her place as woman in a male-dominated industry (“I’m not a king, but I’m a queen”), dissing rappers and everyone who mistreated her in the past, with no mercy or filters. And as if that weren’t enough, “Cont Lol” also brought back E.Via, — sort of. In a maneuver that would make Intellectual Property lawyers tremble, Tymee channelled her former persona without the need to say her name or to mention anything about her previous works or label, just by using the cute voice she was famous for.
She Was The Best Unpretty Rapstar Contestant To Not Make It To The Finals
After a short passage in Show Me The Money, during which she got eliminated for forgetting her lyrics, Tymee was given another chance to compete in a rap survival TV show, this time, one meant for female rappers only. Tymee’s participation in the first season of Unpretty Rapstar again got attention for her beef with Jolly V, a rapper who dissed her in the past, to which she responded. They both also competed in the same season of Show Me The Money. While Tymee didn’t make it into the semifinals and isn’t even featured on the TV show’s official soundtrack, her performances there were some of the best of her entire career. She shone in a battle against Jace, and later in a collaboration with the same artist. These two verses were so impactful that Tymee would incorporate them into later elements of her career, performing the first one at live concerts and using the second in “Octagon,” a collaboration with Outsider and other label mates.
When you hear Tymee’s crystal clear pronunciation in these verses, her incredible rhyme schemes, lyricism, fierce delivery, and flow, it’s hard to understand why she isn’t considered Yoon Mirae-level of reference for women in South Korea’s hip-hop scene, or why her skills aren’t given the same glory as Korean hip-hop icon Verbal Jint’s.
One Of The First Artists In Korea To Use The Word “Feminist” In A Song
Tymee’s history with Unpretty Rapstar wouldn’t end after she got eliminated from Season 1. In 2016, she would be invited to be a guest judge in the third season, and also released a diss song to the show on her Youtube channel. On “Fuck Pretty Rapstar,” she criticized the contestants who care more about their looks than their rap skills, and proclaimed herself as a feminist that wants to see a fair race in the show regardless of its gender scope.
There isn’t much, if any, history of feminism being mentioned in mainstream Korean songs before “Fuck Pretty Rapstar.” Feminism, as a term, wasn’t that widely known there in 2016 (when participating in a livestream, Tymee was even asked what that word meant). And to be fair, until very recently, it still wasn’t that well known or perceived, as we’ve seen from the controversies that follow female K-pop stars’ when they’re perceived being feminist.
Makes The Music She Wants
Nowadays, Tymee is a part of a music crew called Freezy Bone and isn’t under any label. She is an independent artist whose latest music is less hard rap-driven and leans more towards smoother alternative hip-hop, although her great lyricism is still present. She has said many times she’s not ashamed of her past, but as is noticeable from the abrupt change of style, she doesn’t let it define what she’s going to do either.
With almost a 20-year career, having gone through underground and Korea’s mainstream, and several ups and downs, Tymee’s story is one of determination and overcoming adversity with her best weapon: talent. It’s also a story about identity. Tymee has been through many different phases, styles, and names, but her talent would always show through — even when she wasn’t being 100% true to herself, she still excelled as a rapper— and her love for music would always win. Regardless of what she’ll do in the future or what kind of music she’ll release, Lee Okju should be acknowledged for just how good she is, and for all the fields and forces she touched or impacted.
Don’t forget to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our articles.
KultScene is a writer-driven website dedicated to creating a platform where diverse voices’ takes on K-pop can be heard. If you like this post and would like to see more, please consider contributing to KultScene’s writers fund. KultScene’s writers are compensated for their work, time, and insight. Email us for more details.
https://kultscene.com/wp-content/uploads/2021/07/tymee.jpg10801920Ana Clara Ribeirohttps://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngAna Clara Ribeiro2021-07-20 11:44:112021-07-20 11:44:37Why Tymee should be acknowledged as a Korean rap legend
2PM, one of the top 2nd gen boy groups, made their comeback on June 28 with MUST, their seventh full-album and their first after a five year-hiatus due to the teams’ military enlistments, individual projects such as acting or solo work, and even having a member leave JYP Entertainment – the company that created them – and sign with another label.
For many, male K-pop idols’ conscription once meant the end of the idol or their group’s career as we knew them. As time passed, fan loyalty became stronger and longer-lasting as entertainment companies found strategies to keep them engaged and entertained with other activities. A military reform also helped, turning what used to be a 24-month mourning period into an 18-month hiatus.
Being able to come back to a roaring fandom ready to support your next endeavors is a skill perfected by idols from the second generation — or 2nd gen as it’s commonly referred to. The precedent they set for creating solid fan bases around the world at a time when the internet wasn’t immediately accessible to us through our phones is undeniable. But it is their ability to adapt to the digitized world and connect with fans that crave an onslaught of instant online content what is affording them a second wave of popularity in their careers.
The return of 2PM is the newest addition to a small set of 2nd gen K-pop groups that are making remarkable comebacks after finishing their military services and placing high on the charts, just like they did 10 years ago during their beginnings. Maybe their fandoms aren’t as big as the ones currently dominating the K-pop industry, but they’re keeping up in their own ways and basking on the longevity they cemented years ago.
The most evident case of the group’s relevancy as it relates to the general public was being invited for the first time as a whole group to JTBC’s Knowing Brothers, one of the top variety shows in South Korea. And when it comes to album sales, they broke their own sales records with MUST, with 79,000 units sold during the first week of release — an overwhelming surprise considering that the group returned from a long break from the stage.
Their lead single “Make It,” which was written by member Wooyoung and producer duo HotSauce, has helped reintroduce 2PM to the new K-pop environment. While many remember 2PM from the party anthem “Hands Up” or the theatrics of “Heart Beat,” with “Make It” they’re showing a relaxed yet grown-up image that builds on latter hits like “Come Back When You Hear This Song” and “ADTOY.” MUST is a 10 track album with several of them written by Jun.K and Taecyeon, and also includes an acoustic version of their very popular, now viral, song “My House.”
As the global K-pop fandom as a whole experienced considerable growth in the past couple of years, older groups that weren’t active, such as 2PM, are now hopping back into an even fiercer competition in the ever-evolving industry — and they’re completely owning it. Leaning into the mature charm that made Hottest, their fandom, fall for them in their beginnings, they are appealing and captivating new audiences by staying true to their brand. 2PM’s strengths prevail because of their relatable lyrics that go beyond the simplicity of everyday life, strong synchronized choreographies, and a varied vocal assortment among the members. Also, the fact that the group has kept a fun, strong, and even a sort of chevalier image throughout the years, which earned them the “beast idol” moniker, doesn’t hurt.
In 2017, as a farewell to their fans, 2PM held the 6NIGHTS concert series with over 30,000 fans attending the shows before going on hiatus. When the members were all finished with their military service, the COVID-19 pandemic hit the world, ultimately forcing people to confinement and making social media people’s only connection with the outside — or with their idols, in K-pop’s case. A year has since passed, but in-person activities such as concerts, fan signings, and other events that involve big gatherings have remained suspended.
It’s true that not all 2nd gen idols reach stratospheric numbers of virtual interaction like newer, more social media savvy groups like BTS, BLACKPINK, and TWICE. However, their other media appearances work as the appetizer for these groups’ long awaited comebacks: either acting in internationally broadcasted K-dramas via streaming, opening YouTube channels, jumping on newer social media platforms like TikTok, hosting variety programs, and appearing on different online modes like live streamings and podcasting. All of this further humanizes the idol’s image, expanding on what led them to fame in the first place. As more seasoned idols, being versatile and opening up to technology makes them accessible to younger generations who never had to hunt down a 10 part episode of Strong Heart on YouTube.
But it’s not just nostalgia that’s boosting the comebacks of 2nd gen groups like 2PM, HIGHLIGHT, SHINee, and even Taeyeon from Girls’ Generation. It’s their ability to adapt and grow in an industry that thrives on youth and constantly demands more from the artists, not only with creative input, but also with fan engagement through their online presence.
2PM, who hadn’t been exposed as a group to this very online approach to fan connection, began engaging its loyal fan base by inviting them to join online activities such as streaming parties or reminding fans to stream the “Make It” music video. And doing so worked well: “Make It” hit 3 million views in the first 24 hours of being released, surpassing the fan goal set for 2 million. Then, just two days later, the music video reached 10 million views, making this comeback music video one of their fastest growing videos.
SHINee, with a more active career in the past years, has managed to have a constantly growing fandom while their oldest fans are actively supporting the group, becoming one of the veteran groups with great support in the industry. Their latest album Don’t Call Meand it’s repackaged version Atlantis were praised for showing a mature image of the group whilst still experimenting with various genres and staying true to the colorful personalities that has gained them recognition since their debut. And since variety shows are still a huge necessity to further artists’ profiles with the general public, Key’s weekly appearances as regular cast member on DoReMi Market (also known as Amazing Saturday), has seen his popularity grow with his infectious and sassy persona. This also ultimately helps SHINee’s profile, with many of the group’s biggest hits being frequently aired during the shows’ games and playlists. Also, Taemin’s solos and participation in SuperM kept SHINee adjacent to the current K-pop environment.
Then there’s HIGHLIGHT. After three years of turbulence, the group released their fourth mini-album THE BLOWING, their first comeback since concluding their mandatory military services and as a quartet. The title track, “Not The End” composed by member Gi Kwang, was a reminder to fans that, as the chorus says, they’re still here and it’s not the end, opening a new chapter in HIGHLIGHT’s history filled with the same determination they had during their many group struggles. Now under their self-funded company, Around Us Entertainment, HIGHLIGHT has been more active on social media, connecting with fans through photos and live streamings.
A few weeks prior to HIGHLIGHT’s comeback, member Doo Joon was confirmed to co-star in his first drama since completing his military duty. Similarly, Dong Woon will finally debut as an actor starring in web-drama The Guys I Want to Catch alongside TEENTOP’s Niel, PENTAGON’s Woo Seok, and VICTON’s Se Jun, making HIGHLIGHT one of the few K-pop groups where all of its members have starred in TV and musical theater.
And though women aren’t required to serve in the military, few 2nd gen female idols have remained a staple in mainstream media as Taeyeon, who recently came back with “Weekend.” In addition to her multiple solo releases, she has also been active on TV. After having three members out of eight not renewing their contracts with SM Entertainment, Girls’ Generation as a group went into hiatus — but that didn’t stop the members from standing out beyond music. The iconic 2nd gen female idol group has stayed in the spotlight over the years, with members being active in several fields in the industry.
To name a few examples, Yuri opened her own YouTube channel to stay in touch with fans through Yuri’s Winning Recipe, a cooking talk show so popular among that was recently picked up to also be broadcasted on TV. Yoona, Seohyun, and Sooyoung have further solidified their acting careers with the first two mentioned leading in movies to be released in the next year, whilst the last starring alongside 2PM’s Chansung in the web drama So I Married an Antifan. Tiffany will be a mentor in new survival show Girls Planet 999 and just starred in the musical Chicago. Hyoyeon has released various singles, performs as DJ HYO, and even participated in the survival show Good Girl. Also, the members still under SM promoted as Oh!GG in 2018.
Of course, Girls’ Generation is a unique case for female groups. With most 2nd gen girl groups gone, the recent one-off performances by After School and 9Muses has shown that interest in these legendary groups is still alive. Hopefully these female acts, as well as other beloved 2nd gen groups like SISTAR, can have full-fledged comebacks like their male contemporaries are able to do so.
Before, groups were given an expiration date of around seven years due to various factors, such as creative or personal differences, military service, continuity of education, and contract terms. The once feared and hated so-called “Seven year curse” wiped out several K-pop groups that were huge names in the industry at the end of their contracts. But those who overcame that barrier were the idols who best adjusted to the times and conditions and did not close their vision to being a single thing or settled for what was offered by their companies. The ones that persist today are those idols and groups that worked in different aspects of being creatives to continue growing and reaching different audiences, not just leaning on their fan bases. Still having a solid company, like one from the Big 3 or your own, backing you helps too.
Diversifying into various fields allows these older idols to appeal to fans and general public alike, once again setting an example for newer generations of how to stay active and welcomed in a business as competitive and demanding as K-pop continues to become.
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KultScene is a writer-driven website dedicated to creating a platform where diverse voices’ takes on K-pop can be heard. If you like this post and would like to see more, please consider contributing to KultScene’s writers fund. KultScene’s writers are compensated for their work, time, and insight. Email us for more details.
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Giving up when something does not go the way we hoped it would might be most people’s first instinct. Well, not for the members of Spire Entertainment’s newest boy group, Omega X. All 11 of them come from the same scenario in the K-pop industry: they were part of groups that are currently inactive or have disbanded, or, in some cases, never even got the chance to debut.
Each of the 11 has a particular story in this industry, but some of them were not strangers to each other before joining Spire Entertainment. Xen and Jehyun were members of the group 1TEAM, which disbanded on March 2021; Kevin, Junghoon, and Hyuk were part of the group ENOi, which also announced disbandment early this year; Jaehan, – the eldest in Omega X – and Taedong were both contestants on the second season of the K-pop survival reality show Produce 101, placing 75th and 30th. Also, they were also part of the now defunct boy groups SPECTRUM and GIDONGDAE, respectively.
As for the remaining members, Hwichan is still part of the currently inactive group Limitless; Sebin is a member of the inactive SNUPER; Hangyeom placed 6th on the survival reality show Miximine – which later canceled the debut of the winning contestants –, and was a member of the now disbanded Seven O’Clock; and the maknae, Yechan, ended up in 4th place on the reality show Under Nineteen, debuting as a member of the group 1THE9, which had its disbandment announced on August 2020.
In a business as competitive as K-pop, where young people with a dream train for years for the opportunity of someday making their big break, where new groups debut (and fail) every day, it is hard enough to secure a first chance when it comes your way. But a second chance, it is practically a miracle, and the boys of Omega X are eager to prove they deserve it.
Now, they finally have the opportunity to prove themselves and show the world what they are made of with Vamos, their first minialbum that brings together heavy hip-pop and EDM beats along with Latin rhythms. About the group’s expectations, Jaehan says on the group’s press release, “The 11 of us are thrilled about the release of Vamos, our new start, and meeting the fans.” Regarding the process of making the album, he adds: “We poured our hearts into this album, and now we’re ready to share that energy with our fans.”
With only five tracks on the EP, each of them showcases a different layer of the group, each song allowing the listener to understand a bit more who Omega X are. For those who are just being introduced to them, it is a chance to get to know their personalities and particularities; for old fans of the boys, it is a chance to appreciate a different side of them in a new journey.
The first track is “OX Win Ha!,” which if you have watched their Youtube reality show Loading – One More Chanx, you might have recognized it as their group slogan. This is an instrumental track filled with energy and featuring samples of shots being fired, which make you feel like you have been hit by the intensity of their music. In mere 42 seconds, Omega X already manages to make a statement of their power and intensity.
Next we have the title track “Vamos,” filled with strong beats and a melody that mixes Latin rhythms, hip-hop, and pop together, which is reflected in its multilingual lyrics, with parts in English and Spanish, besides Korean. It is a dancing track that presents the best the group has to offer – be it vocals, rap, or choreography, as it is noticeable from the music video. The music video for the song is a celebration in itself; colorful, stylish, and fast. It doesn’t offer a storyline but, instead, quality entertainment.
The third track on the album is “Ice Tag.” While still keeping up the energy the group has already made it clear it has to spare, this album cut is not as intense as the two previous tracks — it’s sexier. Both in rhythm and in lyrics, which might feel like a call back to the sensation of flirting with someone at a party, a feeling more perceptible in parts such as “Before the city lights go out, let’s run away just the two of us.” Arguably the most romantic song on the album, “Ice Tag” is a banger.
The second-to-last track on the EP is the self-titled “Omega X.” This EDM piece is a sibling to “OX Win Ha!” Both songs fulfill the same role, which is to show the world who are Omega X in all their powerful, intense, and determined glory, reminiscent of a group that so wishes to prove themselves. Thanks to the confident lyrics and the crowd vocals effect present in the chorus, giving an epic feeling to the tune, “Omega X” is even more powerful and successful in its mission than the album’s first track.
Closing out the very first mini album of a group is not an easy task, but “Younger” seems to be the perfect choice for it. With an innocent child’s laugh playing, the track shows it is the most different and personal song on “Vamos” from the first few seconds, and it is also the only piece on the EP with lyrics by the members. A sweet and hopeful melody cradles lines that talk about staying young and enjoying the best moments of our youth. It is a message that certainly carries a special weight for a group formed by boys who are being given a second chance to achieve their dreams.
One thing that gets clear once you get to know Omega X is that they might have preferences but are never stuck in a specific role. For example, Yechan has a great singing voice, but at some moments shares the rapper role with Hangyeom, who shines in the lowest parts of the songs on the EP. Same goes for Xen. Even in a group with so many members, everyone has something to add to the dynamic and shine for their versatility — a trait that will come in handy in determining the longevity of the group.
Overall, Vamos is a solid debut mini album, managing to showcase both the strengths and tenderness of the artists. During their reality show, the boys mentioned they wanted to have a concept that was pure, sexy, and fresh. And with this album, they got their wish granted. Listening to Vamos is an opportunity to get to know a new K-pop group that is bound to be successful, thanks to their determination, talent, and camaraderie.
Omega X's "Vamos"
4.5
How did you like Omega X’s Vamos? Before you dive into the mini album, let us know how much you liked his latest releases! And don’t forget to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.
KultScene is a writer-driven website dedicated to creating a platform where diverse voices’ takes on K-pop can be heard. If you like this post and would like to see more, please consider contributing to KultScene’s writers fund. KultScene’s writers are compensated for their work, time, and insight. Email us for more details.
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Incredibly active since his 2017 debut The Island Kid, pH-1 has become a staple in Korean hip-hop thanks to his solid back catalog and excellent collaborations with a wide range of equally talented performers in and out of his label, H1GHR MUSIC. Looking at his discography over the past five years will make you wonder when he ever has time to sleep because he always has something incredible out.
pH-1’s path to hip hop excellence is an interesting one. Spending his teenage years and young adulthood in Long Island, New York, pH-1 studied biology and initially was on the fast track to working in the medical industry. He even worked as a dental assistant before turning to web development. With an interest in rapping that really kicked into gear during his college years, pH-1’s big break came after Jay Park saw one of his early music videos and reached out. Fast forward to now, and pH-1 is easily one of the most well-known Korean-American rappers in the game.
In the past two years, pH-1 has hopped on remixes with other big names of Korean hip-hop. 2020’s “Gang Official Remix,” a collaboration with Sik-K, Jay Park, and Haon, cracked the top five of the Gaon Digital Chart. Already in 2021, his collaborations have been legendary. First up was “VVS,” an ode to excess that saw pH-1 joining his H1GHR family members on a track that was all about flexing their success. In addition to that, pH-1 shows up on the very fun remix for “Achoo” and knocks that out of the park.
However, his solo releases over the past several years are a must-listen as well. “Nerdy Love,” his January 2020 track featuring Baek Ye-Rin hitting the top 50 on the Gaon charts. 2020 was also a big year for pH-1 because he released his second studio album, X, with H1GHR Music this time last year.
Now, with “365&7”, his latest very spring-appropriate collab with powerhouse vocalist JAMIE, you get another glimpse at his softer side. KultScene had the opportunity to link up with pH-1 to chat about his latest collabs, his creative process, and the future of his music as we get ready to enter the second half of 2021.
This interview was lightly edited for clarity.
“365&7” is such a bright romantic song and it’s absolutely perfect for spring. What did the creative process look like for this song? How did you and JAMIE come up with the theme for the song and the sweet lyrics? Did you work on them together?
pH-1: When I first got the beat, I immediately knew it had to be about love. More specifically, I wanted “365&7” to play around the theme of “time.” Since COVID started, all of our lives have been put on halt in some ways, and we kind of lost sense of time. For example, I remember counting down on New Year’s Eve just a while ago, but it’s already May 2021. This made me realize that time goes by too fast, and we shouldn’t waste any of it — as lovers, friends, or family.
Photo credit: H1GHR MUSIC
Speaking of collabs… your collab with Ace Hashimoto, “GIRLS,” dropped a few weeks ago. How did that collab come into being? Do you have any cool stories from linking up with him for this collab?
I met Ace about three or four years back when he visited Korea. After that we kept in contact, and he asked me to feature on his song “GIRLS”. The song was dope, so I hopped on it. He even came all the way to Korea to shoot a MV with me. But after that, he kind of went on a hiatus. Our management tried contacting him but couldn’t reach him. After about two years, he came back to tell me he was dropping the project. I was surprised but glad that we were able to put a great song out into the world.
When you’re working on your solo projects, do you have a creative routine that always gets you the best results?
It seems to me that all my best songs were written fairly quickly. Whenever I struggle to write a song, it usually turns out not as good as the ones I write fast. I believe that good melodies should come out naturally without having to think too hard.
If you have to get something done on a tight deadline, how do you make yourself meet it? Do you lock yourself in a studio and write all day or do you do your best writing outdoors? What helps you focus?
Yes, I lock myself in the studio until I finish the project. I have never tried writing outdoors, actually. I think I’d be distracted by what’s going on around me, plus the noise. Mood lights help me focus. I turn off all the lights in my room and only turn on blue LED lights to set the mood.
Your 2018 album Gatsby pulled from the film based on The Great Gatsby. What other movies or books have inspired you lately?
I was very much inspired by the film Joker. The script and Joaquin Phoenix’s performance were outstanding. It made me think about people’s tendency to mock or cast out the ones that are different from us, and that we as humans always find ways to justify our actions, even if they are wrong and sometimes malicious. It also made me try and put myself in others’ shoes before judging or jumping to a conclusion without knowing too much about them. Everybody has a sad story, we just don’t know it.
I was rewatching your interview with Eric Nam from last year where at one point you mentioned that you create songs with a certain message and sound for your local audience and another for international audiences outside of Korea, like in North America. You also clearly put out music that has crossover appeal on multiple levels. How do you decide on the messages you put in your song lyrics? How do you deal with a song in progress that doesn’t fit anywhere?
It’s very hard to explain in words. There are certain types of melodies and chord progressions that Korean people are more likely to relate to, more so than the international listeners — and vice versa. I think it’s because the styles of music around the world are so different that people all have different tastes. I always aim to write songs that crossover both Korean and American sounds because that’s who I am. I grew up in the U.S. as a Korean-American, so I have a good understanding of both cultures and what people like in music. All this to say, I have yet to make a song that does not fit anywhere. I believe that whatever I make, it will always fit somewhere. Someone will relate to it, and that’s all that matters. In terms of lyrics, I feel the most comfortable writing about my experiences and emotions when living my life. The biggest theme for most of my songs is about relationships between people.
So far, how has 2021 been different for you when it comes to how you’ve created and who you’ve created with? Have you hit any goals or milestones at this point in 2021 that you thought weren’t possible in 2020?
The writing process definitely has not been easy. Due to restricted activities and travels, I find myself lacking inspiration. I can’t wait to tour different cities and connect with the crowd. It’s really the source of energy for every artist. As far as milestones go, it’s only May of 2021, so I will have to see. But I am very happy that my following and listeners have been growing in numbers every year (thanks to Spotify stats). I just hope that I never stop growing as an artist and as a person.
How do you navigate a balance between making hip-hop that feels mainstream and music that feels authentic to who you are as a person? Have you struggled recently with that or are you secure in your journey through the industry?
I’m always struggling to find the balance. As an artist that has a certain following and fandom, I often wonder if I should make more mainstream songs to reach a wider audience or just do what I’ve always been doing. It’s a constant battle, but I think I’ve been doing a pretty good job balancing both sides of the spectrum.
Let’s talk snacks. What’s your go-to food fuel when you’re working hard on a new release? What about when you’re celebrating a new release like now with “365&7?” How did you reward yourself for another really great release?
I usually order-in because I spend a lot of my time at home. My go-to food is definitely Korean food. It gives me energy to work and makes me feel like I’m really “home.” When in celebration, I like to wine and dine myself. I recently went to a nice Italian restaurant, ordered some fancy plates of pasta, steak, assorted fruits and cheese, and a bottle of wine.
I feel as though you do a lot of genre blending across your different solo and collab releases. Are there any genres or musical styles you want to incorporate into your future rap releases that you haven’t been able to touch yet? If so, why do you think those genres remain out of reach for you?
I want to try blending Dancehall in my music some time in future. I think that Dancehall has remained out of reach for me just because I feel the need to learn more about it first. It has a very unique rhythm and bounce to it that I want to fully get comfortable with so that I can blend it well in my own flavor.
If you could get your newer fans — like the ones who you’ll get after “365&7” — to listen to one of your older songs, what would you pick and why?
If you enjoy moody, sentimental songs, I recommend you listen to “DVD.” If you’re a fan of hard-hitting rap songs, I recommend “Olaf” and “PACKITUP!”
Aside from your own music, what songs do you keep on repeat when you’re listening to music? What’s the most “unexpected” song that you just can’t get enough of?
Recently I have been repeatedly listening to Justin Bieber’s “Peaches.” I think the most unexpected song that I listen to is Rosé’s “On The Ground.” Unexpected because I don’t know too much about K-pop. Rosé is very talented.
What do you think or hope that the rest of 2021 is going to bring for you? Any big musical plans you can spoil for us a little?
I am going to take a little break because I’ve been working non-stop for the past couple of years. I will be working on my album that will be released within 2021.
How did you like “365&7”? Before you dive into pH-1’s back catalog to listen to all of his great work, let us know how much you liked his latest releases! And don’t forget to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.
KultScene is a writer-driven website dedicated to creating a platform where diverse voices’ takes on K-pop can be heard.If you like this post and would like to see more, please consider contributing to the KultScene’s writers fund. Email us for more details.
https://kultscene.com/wp-content/uploads/2021/05/qil.jpg10801920KultScenehttps://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngKultScene2021-05-12 14:24:582021-05-12 14:25:02pH-1 talks creative process, the future, & latest single ‘365&7’ [interview]
As a group, EXO’s built quite the resume over the last nine years: they’re known to be an incredible powerhouse group from their vocal prowess to their catchy pop hits and their elaborate concert performances. But as a mainstay in K-pop, the group has ventured out to multiple fields beyond idol music. They’ve also conquered the fashion world by partnering with high-end brands such as Gucci and have been invited to fashion shows for others like Tommy Hilfiger and Louis Vuitton. Many of the members have also acquired critical acclaim through acting in films, dramas, and musicals. And if that weren’t impressive enough, they’ve become a quintuple million-selling group starting from 2013’s Growl up until 2018’s Don’t Mess Up My Tempo.
Like many other acts under SM Entertainment, EXO had an experimental concept that worked in a lot of ways and didn’t go quite as planned in others. Regardless of the setbacks they faced, each year since their 2012 debut brought new successes and greater opportunities to explore deeper sides of themselves as a group. So when fans’ inevitable questions came up regarding potential solo opportunities, it was never a question of “if” they could, but “when” and exactly “what” would that sound like?
Now that they’re nearly a decade into their careers, we finally have answers to those questions. Through the lens of each member, we’re able to get a better glimpse of the person underneath the “EXO image” and embrace his creativity — although, for some, it’s one and the same. This is a guide, recap, and overall celebration of how EXO’s soloists (with full albums or EPs) have taken the reigns in their careers and sculpted a distinct sound and image to suit their tastes.
Baekhyun: The R&B Connoisseur
Starting with the member who’s arguably garnered the most prominent solo praise in South Korea with nearly two million albums sold, Baekhyun currently has four EPs: three sung in Korean and one in Japanese. His debut with City Lights in 2019 marked a departure from the 28-year-old’s comical personality, and instead opted for a darker R&B and electro-pop showcase with just the slightest hint of his usual playfulness (“Betcha”). Baekhyun’s unforgivable lungs of steel allow him to experiment with different tones in his voice and a range of emotions, from sugar-coated singles like “Candy” to the dripping sensuality of his newest release, “Bambi.”
Truthfully, Baekhyun’s solo career could’ve been a toss-up considering how well-versed he is in various styles — he could’ve taken a more pop route or maybe even soft ballads. However, his sound is almost entirely rooted in R&B, hip-hop, and the occasional coffee shop tune, cementing himself as an all-around, fully recognized entertainer, and even channeling his inner MJ and Maxwell along the way. It’s the reason why he’s now known as the “Genius Idol” among industry peers who respect him and his craft. Every inflection in his voice, cheeky smile at the camera, and smooth dance step is all by design, so if R&B and jazz are your vibes, Baekhyun’s discography will surely be your haven.
If there are two things that best define Chen’s artistry, it’s breathtaking high notes and soothing ballads. Whereas Baekhyun’s voice is full of character and depth, Chen’s is even more agile and refined, carefully tip-toeing the line of power and delicacy.
As EXO’s second soloist, Chen favored the more subdued route for his debut with “Beautiful Goodbye” and its accompanying EP, April and a Flower, in 2019. The album in its entirety is poetic at best and focuses on stories of heartache, as songs like “Portrait Of You” and “I’ll Be There” start with a soft piano and gradually build to a soaring crescendo with Chen’s captivating belts leading the way. His second installment — Dear My Dear — on the other hand, highlights all the best parts of falling in love in a dazed and nostalgic way but still maintains that dove-like softness in his touch. Even casual listeners have been enamored by Chen’s ability to bend the sonic atmosphere at his will and command attention with a single note.
Although many fans had hoped for a rock album from the loud and boisterous artist, it’s not hard to see why ballads were his genre of choice. As energetic as he can be, Chen is also a soft-spoken and private person who cares deeply for the people around him and shows his gratitude in small gestures. He uses his falsettos and vocal riffs with conviction to tell the story of two loved ones as if he were there and it’s a chilling experience with every listen.
Suho: Quiet Indie-Rock Artist
EXO’s selfless leader is the essence of grace and comfort personified, always willing to place his team’s needs and fans before himself. This is especially apparent in his first solo EP, Self-Portrait, a six-track journey of the mellow indie-rock variety — with a touch of pop — in which he co-wrote all of them. In its lead single, “Let’s Love,” Suho lives up to the meaning of his name (“guardian”) in every facet, dedicating the title to his group’s timeless cheer before they go out on stage.
Throughout the steady drums of “Self-Portrait” and the piercing sorrow of “Starry Night,” Suho unlocks yet another side of himself and the things he’s capable of as a soloist that many people outside of EXO-L may not have known. In an interview with Billboard, he revealed that he purposefully listened to soft-rock and band music only to draw inspiration for his album. There are certain easter eggs hidden for fans to find and connect to familiar themes within EXO, but musically, it’s quite the opposite of everything he’s done within the group.
There’s a level of growth that Suho’s experienced over the last nine years. He’s carried himself with a maturity that’s beyond his years, and we see it here as he expresses himself and continues to show his undying gratitude to the ones who helped him get to this point in the first place. “Made In You” is that exact love letter to EXO-L with every ounce of appreciation worn on his sleeve.
Kai: Serving Ethereal R&B
One positive aspect of EXO’s group activities being put on pause, at least for now, is the flexibility and time it gives the artists to step out of their comfort zone and do the unexpected. The emphasis placed on Kai’s role within the group was always to be the main dancer, main center, and the overall face of EXO. Regardless of not having as many opportunities to showcase his vocals, he’s still one of the most recognizable among the general public and gained notoriety through his advanced dance skills and strong stage presence. So when fans realized Kai would debut as a soloist, there were far fewer clues pointing to what that would look or sound like compared to other members.
Thankfully, the answer was well worth the anticipation as Kai delivered one of the most stunning EPs of 2020 titled KAI (开). What’s so fascinating about the dark and sultry soundtrack is the way it pushes the “EXO R&B” agenda even further yet successfully sets itself apart from what Baekhyun is currently doing and what EXO has been known to do. Each song protrudes the same seductive energy as Kai himself and acts as an extension of his stage persona. “Ride Or Die” portrays the slick, ‘80s version of himself with the most gorgeous retro synths playing behind him. And the breathiness of his voice in “Mmmh” is probably the most sinful thing you’ll ever hear, but it’s part of what makes him, well, him.
As confident as he is on-stage, there’s always been this shy and reserved part of him that will constantly doubt whether or not he’s good enough. However, it seems like all of those thoughts were thrown by the wayside when it came down to perfecting his sound and doing something he could be proud of. Kai can sing, and if you didn’t know before, he’s letting you know now.
As the first member to go solo in 2016, Lay’s become an artist that’s hard to pin down when it comes to trying to define his catalog within a certain genre, but maybe that’s the point. He’s deeply intrigued by the different cultures and always seems eager to learn more about the world around him, which is why his music is a mirror image of himself. He covered R&B with his first EP, Lose Control, hip-hop and EDM with Sheep, tropical dance-pop for Namanana, hip-hop and R&B again in Honey, and finally, traditional Chinese music for Lit and PRODUCER. More importantly, though, he’s learned to combine and blend all these different nuances under one Mando-pop genre and make it work for him.
It’s become a running joke within the fandom that he eats, sleeps, and breathes music. Lay is heavily involved with every aspect of his work, which is a probably stark contrast to what he experienced working in Korea. But, that very drive is what led him to found his entertainment company, Chromosome Entertainment Group in 2020 — paying it forward to other artists and songwriters who aspire to be in his position.
It’s been a very strange transition for longtime EXO-L to see Lay suddenly so far removed from the group as he started promoting more in China and less in Korea. But with every con, there’s also a pro, and the level of consistency in Lay’s music is one of the most rewarding pros yet. While he’s been building a literal empire in the Chinese music industry over the last five years, he’s adamant in reminding everyone that EXO still means the world to him.
Putting Together the Puzzle Pieces
Understanding EXO as individuals helps better understand EXO as a unit and vice versa. With each soloist, you take away something new that you’ve learned about them and hopefully even relate to them a little better. Although Chanyeol, Sehun, D.O., and Xiumin have yet to release solo albums of their own, we’re still able to get a sense of their identities in other ventures through EXO-SC, EXO-CBX, and the many SM Station projects they’ve participated in so far. It was revealed earlier this year that D.O. is working on a solo project to release at some point, so it’ll be interesting to see if he takes up R&B, as fans are predicting, or will he be another wild-card?
With a group that’s covered such a wide spectrum of music and continuously exceeds expectations, it’s hard to believe that there’s anything left for them to overcome. But, with nine years and a slew of awards already under their belt, sales and charts are no longer a priority for them. EXO’s gone from young, hungry rookies hoping to leave their mark on the industry to confident, highly respected performers who solely make music for their enjoyment, just as it should be.
What’s your favorite EXO song? Let us know 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.
KultScene is a writer-driven website dedicated to creating a platform where diverse voices’ takes on K-pop can be heard.If you like this post and would like to see more by helping support KultScene’s writers fund, please email us for more details.
https://kultscene.com/wp-content/uploads/2021/04/OTgznU4.jpeg14022000KultScenehttps://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngKultScene2021-04-09 10:51:412021-04-09 10:51:48Guide to EXO as soloists: celebrating 9 years together
Since his time on the popular rap survival TV show Show Me the Money, BIG Naughty has flexed his prowess as a leader in South Korea’s upcoming class of hip-hop. His repertoire includes collaborations with heavyweights such as Beenzino, Verbal Jint, Simon Dominic, Jay Park, Loco, and more.
With only three years in the game, the 17-year-old has been deemed a prodigy in his generation — a title that would be intimidating for many, but BIG Naughty manages to hold it with grace. His ability to effortlessly adapt to various genres while maintaining his authenticity has landed him on the radar of global audiences. With over 300,000 monthly listeners on Spotify, the rapper is proving to be a top player in South Korea’s music scene. And though recent disagreements between South Korean distributor Kakao M and Spotify resulted in a majority of his discography being removed from the latter, BIG Naughty shows no signs of slowing down. (The dispute has since been resolved and the music is back on the platform).
His new EP Bucket List, released under H1GHR MUSIC, navigates the woes of youth, love, and regret. It also features some of the most exciting, big names in Korean music, like Jamie, GSoul, Gray, and DPR Cream. From beginning to end, BIG Naughty takes listeners through a crash course on youth accompanied by various genres from R&B and jazz, to lo-fi.
KultScene had the opportunity to catch up with BIG Naughty and talk about “Bucket List, his inspirations, and creativity.
KultScene: First things first: How are you doing?
BIG Naughty:Feeling damn good.
This pandemic has been crazy. What was it like preparing Bucket List during these unprecedented times?
Actually, I didn’t hang out a lot before the COVID so it was even better for me to finish the album lol.
What was the inspiration behind it?
From everywhere, my friends, love, and maybe you? lol.
I feel proud of myself and also I feel so blessed that I can actually release an album. That’s craaazy.
You’ve been considered a prodigy, did that perception of you make you feel any extra pressure in preparing this EP?
Actually I felt a lot of pressure cause I got so many things in a short term so I thought I had to fully prove by this album.
You’ve collaborated with your peers at H1GHR MUSIC. Did you feel any difference in preparing for Bucket List compared to previous collaborations and releases?
That it feels a little retro?
What was your favorite part of creating this project?
Everything from beginning to end. Especially the artwork that I got to collaborate with Seongsu Museum. And the music video as well…
Each track shows a different side of you, but which one do you think represents you the most?
I can’t choose one. It’s all me, the rebellious side of me in “Brand New World,” a warm-hearted side of me from “Bravo,” and heart-broken side of me from “Frank Ocean.”
Bucket List offers everything from blues to grunge and lo-fi to neosoul. What genre do you enjoy the most, and is there a specific genre you would like to try?
Jazz definitely feels like a genre that will forever last. And it’s romantic~
“Frank Ocean” seems to be one of the most experimental tracks on Bucket List. What inspired it?
It was the time when my first love told me about the artist Frank Ocean, she went off to study abroad, and I missed my chance of telling her how I feel. There are some meanings here and there in the song that only I would know.
Is there a song on the album that you are particularly excited for fans to hear?
“Joker!” I tried out just pure R&B, hope you guys like it!
Throughout the album, it’s evident you’re playing by your own rules. Have you always done your own thing regardless of what the people around you may think?
What are some things on your bucket list? If you don’t mind sharing.
That’s a secret haha.
Since your time on Show Me the Money, you’ve accomplished a lot as an artist. What’s been one of the most significant moments for you? Why?
The day my EP was released, I was so proud of myself.
What do you want your fans to take away from Bucket List and your journey so far?
Dreams! Courage! Don’t lose your dreams and courage going through these hard times!
You’ll feel better after listening to the track “Bucket List”
Is there anything else you would like to add?
Thank you always for all the overwhelming support and love!! Stay safe!
What’s your favorite song on Bucket List? Let us know 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.
KultScene is a writer-driven website dedicated to creating a platform where diverse voices’ takes on K-pop can be heard.If you like this post and would like to see more by helping support KultScene’s writers fund, please email us for more details.
https://kultscene.com/wp-content/uploads/2021/03/bn.jpg10801920Nnehkai Agborhttps://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngNnehkai Agbor2021-03-17 09:43:252021-05-12 14:14:20BIG Naughty talks ‘Bucket List’ & being a Korean rap prodigy [interview]
The first appearance of the bubbly trainees on Mnet’s competition program, Produce 101, was a jarring sight to see. At the start of their debut performance, aired in December 2015 on M! Countdown, 20 young girls appeared in a giant stadium synchronously dancing in a pyramid formation, wearing the same school girl uniform, and singing in unison to the show’s theme song, “Pick Me.” Soon, they were joined by another 20-or-so contestants, floating in on a giant triangle stage. Then another triangle of girls arrived, and another, until finally the stadium was filled with 101 smiling, hopeful trainees, eyes affixed on any chance to get screen time, to show their soon-to-be producers how worthy they were of being an idol singer.
The newly sprung competition show was gaining notoriety even before its first episode — which aired five years ago on January 22 — with its promise to whittle down 101 K-pop idol trainees to a final 11 who would debut as a temporary girl group for a few months before returning to their respective agencies.
South Korea was no stranger to singing competition shows at the time of Produce 101’s airdate, and in fact had been featuring a wide variety of programs starting in the 2010 like Superstar K and Immortal Song. Globally popular idol groups got their start through label-run reality shows as well: TWICE through JYP’s Sixteen, Monsta X through Starship’s No.Mercy, and Sorn of CLC through Cube’s K-Pop Star Hunt.
However, what made Produce 101 and its consecutive seasons so drastically different from other programs was twofold. First, the competition was a multi-label endeavor, allowing collaboration between entertainment agencies both big and small. Second, and perhaps most importantly, the final idol group’s lineup would be expressly determined by fans of the show (called “national producers”), breaking tradition with how most groups are traditionally formed. Or at least that’s what the show’s creators wanted us, the viewers, to believe.
It was no surprise, though, that at the time of its original airing, Produce 101 went on to be a ratings smash during its entire three-month run. The show offered not just fan voting, but an in-depth look into K-pop’s infamous trainee ecosystem, as contestants were judged harshly on their dance and vocal abilities. Given that the competition was a reality show first and foremost, editors of the program selectively highlighted contestants that could deliver the best storylines. Perhaps the best example would be the trajectory of Kim Sohye, a trainee at an acting agency who had come to the competition expecting to fail miserably. Despite being an objectively bad singer and dancer, the show’s focus on Sohye’s desperate drive to succeed and her continual improvements pushed her forward to rank in fifth place at the show’s finale, making it into the debut team.
There was also an intensely reinforced hierarchy that proved to be a main tenet of the show’s voting system. Pressure was placed on the trainees to earn the coveted “center” position in group challenges, where they’d dance in the middle of formations and be able to perform the song’s “killing part,” gaining them more visibility in performances and a chance to earn more votes. And while 11 girls would form the debuting girl group based on a last round of voting in the show’s finale, the highest scoring girl would be deemed the group’s “center,” in all future promotions. Jeon Somi, at the time a trainee from Big 3 agency JYP Entertainment, enjoyed success from her win as “center” in Produce 101’s first season and was arguably the most popular of her group mates at the time.
by Alexis Hodoyan-Gastelum
The group that formed from Produce 101’s final episode, I.O.I, also quickly achieved commercial success, landing numerous lucrative CF deals and winning coveted “rookie of the year” awards. Yet the girls of I.O.I, as immensely popular as they were, promoted for only eight months, which was all their contract allowed for. Additionally, the group’s contract with YMC Entertainment — which was tasked with handling all of I.O.I’s promotional activities — still allowed for members to participate in their respective agency’s activities, which meant some girls promoted in two groups simultaneously. I.O.I’s whirlwind of a promotion period ended almost as quickly as it came, but it set the groundwork for the Produce series to expand and extend its reach.
Produce 101’s second season aired in 2017 and produced the boy group Wanna One, which was even more popular than its first. In the show’s finale, more than 10 million votes were cast by national producers, a number equivalent to around one-fifth of Korea’s population. Learning from the past, Mnet extended the group’s temporary contract from eight months to two years, and didn’t allow members to be active in promotions with their own agencies. Wanna One, led by the group’s “center” Kang Daniel, was massively popular from the jump, becoming only the third Korean group to sell a million copies of their debut album since 1992. Also experiencing a burst in popularity was the boy group NU’EST, who had debuted in 2012 to positive reception before fading to the background over the next four years due to mismanagement. When four of its members appeared on Produce 101 and advanced to the show’s finale, their previous, underrecognized music shot to the top of Korean music charts (only one of those four, Hwang Min-hyun, debuted in Wanna One).
By Jean Libert
The Produce series continued its winning streak with its third season titled Produce48 in 2018, bringing in female trainees from Korea and idols from Japan’s AKB48 J-pop juggernaut to produce an international, multi-lingual girl group. While the show itself suffered lower ratings, the resulting final group, IZ*ONE, has lived up to the critical and commercial success of I.O.I and Wanna One, and promotes both in Korea and Japan as one both nations’ top girl groups. IZ*ONE, which is still actively promoting, signed a two-and-a-half-year contract, a notable amount of time to be active in a temporary group and unable to promote with original agencies. Yet the misgivings of Mnet’s contract negotiations were largely overlooked due to Produce’s domination in the music industry, until 2019.
The fourth season of Produce, titled Produce X 101, was shaping up to be a monumental event. Mnet had announced the winning boy group would have a five year contract as a way to concentrate on both group and individual activities, and a new voting mechanic in the show’s format, where the trainee with the highest amount of accumulated votes by the end of the season would join the final group as its 11th member. The group, X1, was already breaking records in their debut album sales and charting worldwide when their promotions came to a sudden halt. Fans noticed discrepancies in the final vote tallies after the season finale and filed a lawsuit against Mnet. Police then discovered evidence that the votes for X1’s final lineup had been rigged, causing the group to disband a mere five months after their debut.
Further investigations revealed that all four seasons of Produce 101 were guilty of vote manipulation on the part of the show’s producers and agency representatives. The news was a shock and a betrayal of the series’ core ethos in giving power over to the fans. In the end, the show’s PD (producing director) Ahn Joon Young and CP (chief producer) Kim Yong Bum were sentenced to two years in prison on May 29, 2020. Produce 101, much like the lifespans of the groups it produced, had met a swift and unceremonious end.
It’s ironic that while the groups that came out of the Produce series dominated the Korean idol scene, many members of these groups came from relatively small agencies, most not standing a chance of success if they had debuted normally. This is what made Produce 101’s impact on the industry so captivating: it was, in some ways, able to even out the playing field. Kim Chung-ha, arguably the most successful idol out of her former I.O.I members, put her small agency MNH Entertainment on the map when she debuted with the group. Because of her musical achievements, the company has been able to expand, bring on more trainees, and debut more artists. Similar stories abound with other Produce idols, such as Kim Jae-hwan from Wanna One — who started on Produce with no agency backing — and Kang Daniel, who gained enough industry cred to break off from his agency and start his own company after Wanna One’s disbandment. While the Korean music charts are still heavily influenced by artists from large agencies like Big Hit, JYP, and SM, there’s a noticeable difference in the diversity of artists and labels gaining popularity, both domestically and abroad.
However, Produce’s vote rigging scandal in 2019 brought to light the harsh realities of the program, and the impact it had on its trainees. The show had already gone under much criticism in the past for the way in which it was edited, shining harsh lights on underperforming contestants and portraying trainees who had difficulty learning routines as lazy and selfish. Constructed storylines are nothing new on reality television, but there was an insidious factor to putting so much national attention on young trainees, many of whom were minors. One contestant who was often shown performing poorly on Produce’s second season deleted his Instagram due to the amount of hate comments he was receiving from viewers.
This conversation leads to another way in which trauma was inflicted on trainees, by emotional and verbal abuse from the show’s mentors. One could easily point out that criticism is to be expected in the K-pop training system, but to see it play out for entertainment on television made for an uncomfortable watch. It made viewers — especially foreign ones— confront the realities that these idols in training had to experience in order to become the shiny, blemish-free groups dominating the K-pop scene we stan. On the show, contestants were expected to dance and sing to routines flawlessly in less than a week, and were chastised by mentors when they would fail to do so. Moreover, the show would then highlight trainees who, seemingly bolstered by their mentors’ shouting, would spend all night practicing and end up executing the performance much improved. Segments like these promoted unhealthy behaviors and ultimately did nothing to give trainees the actual mental support that they needed.
Yet despite these flaws, I, like many others, watched every season of Produce101, eagerly anticipating new episodes and live performances that I would then rewatch endlessly. Even now, a small part of me wants Mnet to announce a new season so I can have my thirst for more Produce content quenched. I never enjoyed the way trainees were yelled at, or the negative edits contestants received from producers. I didn’t watch the show for manufactured drama. Instead, what I loved was watching friendships blossom between trainees, a fierce love for one another despite intense competition. With every elimination, I cried alongside those who were let go, their lifelong dream of debuting gone for yet another day.
In the end, it was viewer-generated empathy like my own that allowed the show to be so successful. And while it’s definitely for the best that there won’t be another Produce season anytime soon, there’s no doubt the impact it had on the Korean music industry as a whole and the trainees involved.
What’s your favorite project group from Produce 101? Let us know 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.
KultScene is a writer-driven website dedicated to creating a platform where diverse voices’ takes on K-pop can be heard.If you like this post and would like to see more by helping support KultScene’s writers fund, please email us for more details.
https://kultscene.com/wp-content/uploads/2021/02/producelega3.jpg15002100KultScenehttps://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngKultScene2021-02-15 14:13:342021-02-15 14:13:51Looking back at the legacy of K-pop competition show ‘Produce 101’
Looking back on 2020, it was both the best of times and worst of times on the K-pop front of things: there were a lot of great releases, but also a lot of disappointments. On the album front, long term faves delivered great bodies of works, while some newer acts shared surprises that bode well for their future as they develop their discography. Retro sounds, especially disco and ‘90s-inspired R&B, resonated through many albums as artists across the industry leaned into revitalizing eternally familiar pop sounds for a time when everything seemed topsy-turvy and these blasts from the past brought comfort.
Rather than a ranking, like our annual Best of Song’s list, this year some of KultScene’s writers opted to share their takes on the best albums that particularly resonated with them on a personal level during the year that was 2020.
What do I Call You by Taeyeon
Be it for the familiarity (after all, she’s been in the game for almost 15 years) or just for its beautiful timbre, Taeyeon’s voice inspires comfort and warmness. And 2020 was a year when we all could use these feelings.
In What do I Call you, her voice and technique breathe life into five elegantly written tracks, one of them co-written by her (“To the moon.”) Songs like “Playlist” (the perfect lyrical picture for the intimate mood of the album) or “Galaxy” (which obediently follows the rule that every song called “Galaxy” is dreamy and ethereally gorgeous) shows how suitable Taeyeon is for sweet R&B tracks, while “Wildfire” is probably the least blending song in the album, recalling the Taeyeon from “Why.”
But still, it’s a harmonic 15-minute set, the same length of a phone call, or the same amount of time it takes to buy a coffee. Indeed, in a year most of us spent locked at home, listening to What do I Call you might be the closest one could feel to entering a calm cafe on an autumn day.
And if the impressionist-reminiscent cover makes the album look like a work of art, it’s because it is.
— Ana C.
Delight by Baekhyun
It’s difficult to make a no-skip album — especially within the K-pop landscape, where artists and companies generally want to include and experiment with every genre known to men in order to secure something for everyone. But that’s exactly what Baekhyun did with his sophomore EP, Delight, and he did it with ease, style, and a lot of sexiness. A collection of multiple R&B stylings, Delight has something for everyone. And we can talk in circles about how the moods were sexy and the lyrics were provocative throughout the entire EP. But speaking frankly, Delight was a very horny album. From what exactly he’s referring to with all the mentioned flavors on “Candy” or the specific logistics of “R U Ridin?” to maybe being a one night stand on “Ghost,” Delight was selling one thing and it wasn’t Tootsie pops. And given that 2020 was the year the entire world had to social distance, it was quite appropriate. However, at no point was Delight literal or overt, but was a class act through and through, and Baekhyun proved yet again why he’s spearheading the R&B pop movement within the K-pop industry.
— Alexis
Love Synonym #1: Right For Me by Wonho
In South Korea, leaving behind a stable music group on (albeit unfounded) allegations of illegal drug use could be the final nail in the coffin for an idol, but for Wonho it gave him the push he needed to finally jumpstart his solo career. And for the former Monsta X member who regularly participated in the group’s song writing, composition, and arrangement process, this transition to independent artist was only natural.
With his debut extended play Love Synonym #1: Right For Me, Wonho was able to bring his skillset to new heights as he took on diverse sounds, such as with the stripped-back pre-release ballad “Losing You” or the aptly named interlude “Runway,” which bounced with the same charismatic high fashion energy it was inspired by. Wonho’s penchant for higher registers, airy vocals, and breezy melodies also continues to influence his music as the hallmarks that distinguished his songs (“From Zero,” “Do You,” “No Reason”) from his time with Monsta X survive in “I just” and “Lost in Paradise.” The mini album has something for every listener, be it suggestive lyricism or raw poignancy, and with credits on six of the eight tracks Wonho is already proving to be quite the versatile singer-songwriter.
Aside from giving us some of his best output thus far, this album challenged Wonho in other ways, namely by embracing K-pop’s global appeal. Both remakes of “Losing You” and the electro-funk title track “Open Mind” are done entirely in English, and at a proficient level to boot. On “With You,” he sings hypnotically in Spanish (“Adicto a tu cuerpo, mueve tu cuerpo”), a Romantic addition to an even more romantic song. Somehow waxing poetically about how you would go to war for your love or whispering sweet nothings about an addiction to their body hits differently when it’s in a language you can understand. This extra effort to communicate with fans around the world in this way remains the EP’s most attractive quality.
— Shelley
–77.82x-78.29 by Everglow
Everglow delivers (electro)pop perfection with their second mini album, –77.82x-78.29; the number represents the latitudinal and longitudinal coordinates of Antarctica, a place that has been a constant reference in the sextet’s concepts and mentioned in their previous mini album, in the lyrics of “NO LIE.”
Co-composed by the experienced Hayley Aitken – who’s been involved in writing hits for Red Velvet, Twice, Girls Generation, LOONA, and more – and co-written by Everglow’s very own E:u, “LA DI DA” is a strong opening for the cohesive EP. Produced and mixed as an ‘80s dance hit, the track, which was voted by KultScene as the best K-pop single of 2020, fortifies the Everglow brand through cheerleading vignettes (“Everglow forever, let’s go”) and boldly positions the group as heroes of the retro sound candidates, while they’ve already proven, in previous releases like “Bon Bon Chocolat,” how fit they are for more contemporary approaches of electronic dance music too.
The David Anthony & Dsign Music-coined “UNTOUCHABLE” is a sexy and addictive song that shall stand proudly both in the songwriting collective’s amassed history and the K-pop girl group’s one that is being written. Built off delicious synth pop beats, “UNTOUCHABLE” counts on the Everglow vocalists to help set the perfect vibe for its composition, which thrives in rhythmic duality: it’s sultry and slow in the verse and post-chorus, rapid and high-pitched in the pre-chorus. The chorus is an encapsulation of the song’s formula, alternating between a spaced repetition of the lyric “UNTOUCHABLE” and agile following vocals. This melodic back & forth makes a trip that leaves you wanting more: “UNTOUCHABLE” is undoubtedly one of the best K-pop b-sides of the year.
The second half of –77.82x-78.29 is less addictive, yet charming. Even the weakest track of the mini album, “GxxD BOY,” could be a single; and the electro-R&B “NO GOOD REASON” closes the project in style, elegantly adorned by good vocal moments like Aisha’s low note in the second verse. The lower register is not a frequent guest in K-pop (or at least in songs from girl groups,) so this small yet remarkable moment of “NO GOOD REASON” is worth being repeated.
While –77.82x-78.29 is a complicated name, listening to it, and becoming obsessed with it, is very easy.
— Ana C.
The Book of Us: The Demon by DAY6
The third part of DAY6’s The Book of Us series, this mini album is full of surprises. From the relatable title track “Zombie”, which ironically speaks about the importance of continuing to live, to “1 to 10”, a catchy song which contains unexpectedly creepy lyrics describing an obsessed romantic, the whole album covers many (admittedly dark) aspects of love and heartbreak, both lyrically and musically. The band’s foray into EDM with “Love Me or Leave Me” also paid off, and the track became a huge hit when the album was released because of its addictive melodies and beat.
Even as they try out new genres and styles, DAY6 does it all with lots of heart, and this sincerity explodes in leader Sungjin’s self-written ballad, “Afraid”, a heart-wrenchingly beautiful track that talks about the fear of being a burden to the people we love. Considering that members Sungjin and Jae went into a hiatus right after this album was released, this song and the painful emotions it conveys really hit fans hard, as it proved that idols are ordinary humans as well, equally affected by the unpredictability and tragedy of this world. However, the way DAY6 is able to incorporate such human fallibilities into their music is a part of what makes them truly great musicians – with their true-to-life songs, they bring comfort to listeners and prove that no one is truly alone in the struggles they face in this life.
— Anna
NCT 2020: Resonance by NCT
If you’re familiar with Spider-man, then you know with great power comes great responsibility and thankfully, NCT rose to the occasion to save 2020 with their second installment to include every member under the diverse NCT brand.
NCT 2020 Resonance delivered new and refreshing lineup combinations that fans had been dying to see ever since WayV debuted a year after NCT 2018 Empathy. And although Empathy was already exciting enough, it only offered a taste of what NCT was capable of as a whole and didn’t exactly utilize the “mix and match” concept of NCT U to its fullest potential. But, that’s where Resonance comes in. Each new unit shines in its own right and was strategically put together to highlight and even challenge the members to match each other’s energy and strength — “Make A Wish” would be a great example of Xiaojun grabbing its concept by the horns and completely obliterating it in a way we haven’t seen him do thus far in WayV. For this, he’s still living in our minds rent-free.
What sets Resonance apart is the theme’s continuity throughout the album. The tracklist is broken down into three sections: past, present, and future with interludes placed thoughtfully between each section to signify a change in time. Resonance Pt. 2 (a combination of songs from parts one and two) in particular enhances the experience, as it transports the listener on a journey through space and time with exceptional storytelling.
Sonically, the ’90s presence is clearly felt during the past songs like “90’s Love”, “Misfit”, and even “Light Bulb,” which opted for a softer spoken-word delivery from rappers Taeyong and Sungchan — reminiscent of late night poetry slams from back in the day. However, the soothing 1950’s inspiration for “Dancing in the Rain” should not be overlooked, especially since some of its lyrics were penned for the first time by Mr. Valentine himself, Jaehyun. Subsequently, the “present” portion of the album is where we heard a lot of current trap and R&B motifs (“Dèjá Vu”, “Nectar”) and the future introduced plenty of future synths, techno, and lo-fi elements (“Work It”, “I.O.U”). It’s a musical tale of what used to be, what is, and what will be popular through the eyes of NCT — ambitious, yet extremely satisfying.
— Chyenne
BE by BTS
Career peaks are when some musicians are their loudest, using bigger sounds and even bigger ideas to try to beat both the competition and their own past releases. Not BTS, though. As their albums hit new peaks on global charts and break their own sales records, they’ve chosen to zoom in on the smaller, more quotidian parts of our lives. The bedroom, the falling leaves, the ongoing winter (as both a season and a state of mind).
2020 may have been a year of triumphs for BTS, but BE tells us that they, too, felt the weight of all that 2020 was. On the mid-tempo opening single “Life Goes On,” Jungkook sings, “One day, the world stopped without any warning.” And while the travel industry, the economy, and even everyday life screeched to a halt, the earth itself didn’t (“Spring didn’t know that it had to wait / Showed up not even a minute late”). BE is full of these acknowledgements of both doom and wonder, an 8-song thesis on the adjustment, pain, and continuities located in global catastrophe. They even reimagine the bedroom — on “Fly To My Room,” it’s not a space of COVID-induced confinement, but instead a space to “get me outta my blues” and help you feel “brand new.”
Buried within these worldly reflections, however, is BTS grappling with the personal reality of their stardom. “Skit” is, at one level, a conversation between friends whose personalities are globally known and adored. But like its counterpart on Love Yourself: Her, the conversation is also a real, honest reflection on growing from humble beginnings to the behemoth that BTS now is. “I couldn’t sleep at all,” Suga speaks of the night he heard that “Dynamite” hit #1 on the Billboard Hot 100. He’s trying to wrap his head around being one of the world’s biggest stars in a moment when the world itself is on the brink of falling apart.
BE travels across tempos, from the slow and somber “Blue & Grey” to the EDM-pop “Stay” and disco smash hit “Dynamite.” Through it all, the album is introspective and thoughtful, rather than brash and bombastic. Among the already small crop of global stars considered “generation-defining,” BTS is a rare breed who navigate the reality of their success through remarkable humility and poignant self-awareness. It’s not about what you have or what you’ve accomplished — rather, it’s about who you choose to BE.
— Kushal
Reload by NCT Dream
Experiencing the growth of NCT Dream over the years has been like watching our younger siblings as they enter adulthood with pride and confidence. This is especially what it felt like during the Reload era, the last album to feature only six Dream members before welcoming the eldest, Mark, back into the circle after his short-lived graduation from the act.
Although Reload is a rather short EP with only five tracks compared to the group’s previous releases, it could easily compete as one of their strongest to date. Its lead single, “Ridin'”, is a testament to Dream’s maturity and deserved so much more credit than what was given. Notably, Haechan and Renjun’s vocal performances are incredibly clean here and nothing is more comforting than the sound of Renjun’s ethereal vibrato in any song. But when it comes to the stage performances, it’s Jisung who shows the most versatility as he executes each pop and lock with razor-sharp precision.
“Quiet Down” would be without a doubt the runner up as a lead single, if “Ridin'” didn’t exist. Lyrically, it’s one of Dream’s boldest tracks as they address the gossip-loving audience who do nothing but spread rumors and project their insecurities onto others: “There’s nothing I have to prove, you know that. Look at yourself reflected in your eyes.” It’s a powerful hip-hop and EDM based track with an equally powerful message.
“7 Days” and “Love Again” are only two examples of how NCT (across all units) pretty much dominated the ’90s sound in 2020 for both R&B and hip-hop, so it’s no surprise that it’s two of Dream’s best tracks so far. “7 Days” captures the listener’s heart and soul with lo-fi vibes and adolescent schoolyard memories. While “Love Again”, on the other hand, wouldn’t sound out of place at a ’90s house party with the bass thumping against the walls as a crowd of people sing along to, “Hey, my first and last!” An appreciative ode to Dream’s humble beginnings. As the EP comes to a close, you’re brought back down to earth with the beautiful acoustics of “Puzzle Piece,” co-written by Jeno and Jaemin. By that point, you’re probably wishing this EP didn’t have to end so soon. Lucky for us, we have so much 7Dream to look forward to in 2021.
— Chyenne
Map of the Soul: 7 by BTS
As paradoxical as it may sound, BTS expanded their artistic universe to go even deeper into their self-reflection with Map of the Soul: 7. Everything about the album was purposefully huge: the launching promotion included a global art curation series, the tracklist follows a Jungian psychology-inspired storyline, each of the singles had two music videos, including an art film, a “Kinetic Manifesto” and one with a biblical narrative enactment; even the physical album was symbolically huge-sized.
Yet nothing seemed vainglorious or out of place. It was the right mix and the right time for the right band. Had it been done any bit sooner, it wouldn’t be the perfectly timed celebration of the seven-member band’s seventh career year; had it been done any bit later, a lot of it wouldn’t probably been done at all, since the COVID-19 pandemic took over the world weeks after the album’s release.
For the ARMY (BTS’s fandom,) the band’s music has always been a source of strength and support, and Map of the Soul: 7 was that too.
Starting with the philosophical rap “Intro: Persona,” which first appeared in BTS’s 2019 EP Map of the Soul: Persona, and finishing with the resilient, serotonin-infused “Outro: Ego”, BTS travels through different states of consciousness in 7, from the self to the collective and back — or, more accordingly to Carl Jung’s archetypes that inspired the album, from the persona to the ego, linearly. In the hauntingly beautiful tracks “Black Swan,” “Louder than Bombs,” and in the hip hop rhapsody “Interlude: Shadow,” the members speak of their fears; and in the energetic “ON” and “UGH!,” they fight them.
Each of the seven BTS members has their chance to shine alone in the album, in moments of vulnerability and versatility in style and songwriting — one of these solo moments, by the way, is a tribute to versatility itself: Jimin’s “Filter.”
Mega and meta, 7 is a timely self-tribute of BTS’s relationship with themselves individually (“Inner Child”,) as a group (“Respect,” “Friends,”) with their fans (“Boy With Luv,” “Moon,” We Are Bulletproof: The Eternal,”) and with music (“Dionysus”, “Black Swan.”) Of course it is. BTS and their fans have mastered the art of celebrating themselves before waiting for anyone else to do it, so it’s only right that 7 does just that too. As SUGA raps in “Louder than Bombs:” “if not us, who will do it?”
— Ana C.
When We Were Us by Super Junior K.R.Y
This album took a long time (14 years…) to materialize but boy was it worth the wait. While the genre of ballads might sometimes be unfairly criticized as being boring, When We Were Us is a brilliant model example of the beauty of this genre. Apart from “The Way Back to You”, the jazzy R&B offering where Ryeowook gets to display his fairy-like falsettos, the other five tracks are ballads through and through – complete with string instrumentation, emotional vocal performances and reflective lyrics.
While all three members of this subunit are all celebrated vocalists individually, the highlight of K.R.Y and this album as a whole is definitely their powerful harmonies, which feature heavily in “I Can’t,” “Home,” and also the title track “When We Were Us.” The technically challenging harmonies definitely required a lot of practice on their part, but they prove that they are truly better together. It is also impressive that despite their varying vocal tones and singing styles, they do not clash but instead complement each other to create the richest songs possible. While Ryeowook’s bright vocals add innocence, Kyuhyun’s velvety voice brings in warmth, and both balance well with Yesung’s melancholic singing. When We Were Us”\ was released in June, but the album is wonderful to cuddle up and listen to at this time of the year, or anytime you’re in need of a good cry actually.
— Anna
Minisode 1: Blue Hour by Tomorrow x Together
With a barely two year old career, Tomorrow By Together (TXT) is already one of the most consistent K-pop acts, never lacking in terms of music, videos and performance. Their third EP, Minisode 1: Blue Hour, takes their precociously solid discography to a whole new level.
In less than 20 minutes, TXT delivers disco, rock, tropical house and R&B, with catchy pop-molded songwriting like in the groovy “Blue Hour” — the best pre-chorus of the year and a chorus that is no less captivating; — the unexpectedly sad yet danceable “We Lost the Summer,” with which TXT could rival their label mates BTS’s “Life Goes On” if there was a “Songs That Best Describe 2020” contest; and the warm, sophisticated “Way Home.”
But TXT also shines in their rock-star-potential moments, making it even sadder that 2020 brought little opportunities for the band to perform live — songs like the The Drums-a-like “Ghosting” and the energetic “Wishlist” would have definitely been amazing jumping, “put your hands in the air” concert moments.
Minisode 1: Blue Hour makes full use of the five members’s youthful energy, displaying a range that surprised their fans, amassed new ones and consolidated their potential to make music for a long time — and even pivot to new band formats if they ever want to.
— Ana C.
DYE by GOT7
Seven years into their careers as a group, the members’ specific styles when it comes to producing and writing lyrics have become pretty distinct — and DYE was the perfect collection of all the different characteristics that make up the GOT7 sound. Throughout the years, whether produced by JYPE or the members themselves, we’ve come to expect something from the group’s singles: big, house-y productions with intricate choreographies. On their self-penned and produced b-sides, however, is where we’ve been able to see how they marry their individual colors with the collective one of the group. Though DYE was an EP, it’s their most mature body of work to date. JB brought a stronger, smoother R&B influence with “Crazy;” Youngjae’s “Aura” was yearnful; Jinyoung’s “Love You Better” features an array of different styles and flows that compliments each member; and the Yugyeom co-written “Poison,” well, Jackson said it best: it’s a daddy song. Overall, DYE is a sexy album — the members are more in touch with their emotions and how they emote them musically. With the group leaving JYP Entertainment, it’s uncertain what the future holds for GOT7 as a group. But if anything, DYE was the testament that each member is ready and fully capable of shining individually.
— Alexis
Dystopia: The Tree of Language by Dreamcatcher
Owners of one of the most cohesive musical identities in K-pop, Dreamcatcher did it again in their first Korean studio album. “Dystopia: The Tree of Language” is a solid, entrancing work with the best of the dark, punk rock sound the group is known for, as well as bits of the EDM-punk rock infusion that they’ve also explored before, and some punctual moments of calmness between the storm.
While nothing can be more Dreamcatcher than the guitar riffs from “Tension” and “SAHARA,” the group’s distinctive colors also shine in the production of “Scream” and “In the Frozen”, full of electronic touches that add to the haunting mood of the album; and the trap beats of “Black or White” and “Red Sun.”
But the modest star shining in the middle of Dystopia is “Jazz Bar,” an elegant piano and guitar-driven track that transports you to a lobby bar. The vocals here are lowered and smooth; a perfect break in the perfect place amongst the other electrifying tracks.
And speaking of things you didn’t expect to hear in this album yet you’re so glad you did, Siyeon’s solo, “Paradise,” is a highlight too – especially if you, like me, is crazy about that 2010s K-pop template of dance-pop ballads such as Ailee’s “Rainy Day” and Song Jieun & Bang Yongguk’s “Going Crazy” – they all share the same chord progression and sentimental print as “Paradise.”
Dystopia: The Tree of Language is one more addition to Dreamcatcher’s consistent discography and one more evidence that sometimes, even if choreographies and visuals are just as important for a K-pop group, the music can do well alone as it is too.
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