50 Best Korean Songs of 2016: Part 2

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As mentioned in part 1, 2016 turned out to be a year full of surprises in the world of Korean entertainment. Groups we held dear disbanded or lost key members, but it does not do well to dwell just on the negatives. 2016 was a transformative year that saw K-pop’s generation shift, with second-tier groups rising to the top spots and the explosion of new groups, especially girl groups. This year may not had been the best for older fans and their groups, it was a tall glass of fresh water. K-pop’s all about innovation and reinvention, and that’s just what we got this year.

After 2015 being a nearly perfect year in music releases, 2016, on the surface, might seem like it didn’t live up to expectations. However, this was the year of more variety in the industry and a much deserved and needed shakeup. And after much consideration, the KultScene staff painfully narrowed it down to our favorite 50 songs of the year. Make sure to get all the way to the end to see a special year-end video!

25. “Monster” by EXO

The single off of their Ex’Act album, “Monster.” has the same air of self-seriousness as some of EXO’s most iconic works (“MAMA,” “Wolf,” etc.) while shedding the corny lyrics and audiovisuals. The distorted synths are eerie like the monster inside of them, and Chen’s repetition on the word “creepin’” at the end stresses this, well, creepy factor. But what carries the tune throughout are the up and down contours of the refrain, which are inevitably designed to be an earworm. Even if you have never been a fan of the group, you can at least agree this one has staying power.

— Shelley

24. “Drip Drop” by Taemin

In terms of Taemin’s 2016 singles, “Press Your Number” was an extremely digestible track. However, the lead-up single “Drip Drop” made for a much more interesting audible experience. “Drip Drop,” with it’s massive blend of R&B, pop, dance, and hip-hop, together with the beat shifts and whatever’s happening on the chorus, is a song you either love or hate. However, the juxtaposition of the smooth vocals and verses paired with the up-tempo, futuristic chorus and progressions on the second half of the song, and how it dips again on the pre-chorus is a masterpiece in itself. “Drip Drop” is a rollercoaster, but an exciting one we’d keep riding on and on.

— Alexis

23. “Letting Go” by Day6

The unofficial princes of breakup songs return with their sophomore release Daydream and the title track “Letting Go.” In this pop rock ballad, Day6 does what they do best: deliver a heart-wrenching song about young love lost. The boys create lovely harmonization between the vocals and instruments, with none of them overpowering or outshining the rest. But this release was a bittersweet mix of emotions for fans, with keyboardist Junhyeok leaving the group a month before the release. And though the song may or may not be about him, the music video surely plays homage to their lost member with the empty keyboards throughout the video. Overall, “Letting Go” is the perfect combination of music, lyrics, and visuals to get all the feels happening.

— Katherine

22. “Press Your Number” by Taemin

By the time Taemin’s first full-length album Press It dropped, audiences already knew SHINee’s maknae could hold his own from his previous mini album Ace. Moreover, much buzz resulted from the fact that Bruno Mars and the Stereotypes had produced his lead single “Press Your Number.” And while the artists didn’t get to actually collaborate, the American songwriter/producer gave Taemin a real gift, for it completely complimented his style. “Press Your Number” builds up perfectly, starting with snaps, light twinkles, and Taemin’s sorrowful vocals before exploding at the chorus into a full-fledged dance song. Plus, you don’t even have to understand Korean to feel the yearn behind Taemin’s interpretation. K-pop groups are a dime a dozen. So when a real performer comes out of a K-pop group, survives, and excels, they deserve all the kudos. While we all hold SHINee dear to our hearts, we can’t help and crave more Taemin solo singles for they show him at his absolute best.

— Alexis

21. “All In” by Monsta X

Following tradition, Monsta X’s “All In” retains much of the noisy ambitions and fighter attitude that the seven piece hip-hop group have shown in the past with hits like “Hero” or “Trespass.” The opening, with its yawning horns, revving engines, rhythmic claps, and warped electronic beats, is overwhelming, and the raps about patriotic loyalty and protection in the name of love lyrically manifests the song’s belligerent tones and war motifs. In both themes and music, the song is characteristically Monsta X, so then, what about it causes such a visceral reaction? It could be that this time, the clamor and riot of its heavy beats act as a thin veil for the song’s sublimely melodic undertones. The “go hard” sentiments of the past is only second to the optimistic pre-chorus and ballad-like chorus. Especially integral in these hopeful moments are the subtle percussive rings of increasing pitch, which provides us with a much needed contrast and softening effect. It is here where the song’s contours change when we least expect them to. Indeed, under all the polyphony is a delightful gem, a magnum opus.

— Shelley

20. “Angel” by Berry Good

Berry Good’s most glorious moment of the year is a triumph of personality over production. “Angel’s” cheap sheen is the first obvious thing about it. It’d be very easy to switch it off after 20 seconds thinking it won’t go anywhere. Yet the longer it goes, the more you get out of it. There’s a tenderness that grows to absolute euphoric love. The girls hold nothing back; every ounce of them is on this track. Their climactic vocals burst through any sense of balance. You forget everything else that came before and just want to hear it again and again.

— Joe

19. “Knock” by KNK

Hands down and without a doubt, KNK had one of the most impressive debuts of 2016 with “Knock.” KNK couldn’t have debuted at a better time, considering how boring of a year we were having. With a noticeably catchy chorus on the mid-tempo, rich ballad, it’s no wonder they garnered fans so quickly. 2017 can be a blossoming year for these guys if they continue at the pace they’ve gone at in the last nine months.

— Tam

Also on KultScene: 50 Best Korean Songs of 2016: Part 1

18. “The Rain ” by Ladies’ Code

Musically, Ladies’ Code had a fantastic year. “The Rain” is an incredible continuation of themes established by “Galaxy” in both song and visuals. While it is sad that the Korean public hasn’t taken as much notice of the group’s musical blossoming, we here at KultScene definitely have. Taking the soul, trance-influenced vibes of “Galaxy” and adding a dance element, “The Rain” adds another level to an already complex musicality and demonstrates the members’ collective prowess in both vocal and emotive performance. Bravo, Ladies’ Code. The three talents have come back from one of K-pop’s worst tragedies with some of 2016’s best music.

— Kushal

17. “Tell Me (What is Love) by Yoo Young Jin X D.O

SM Station hasn’t always worked out commercially, but it has done a great job as a platform for sometimes experimental and fresh K-pop. It’s also an avenue for several idols to collaborate with other singers, as in the case of EXO’s D.O and Yoo Young Jin’s remake of EXO’s song. Both singers are extremely skilled and they build on each other’s strengths successfully to create the beautiful soulful track “Temm Me (What is Love).” The song has a pretty complicated rhythm, but they sing so effortlessly, it’s just a work of art.

— Anna

16. “Secret” by Cosmic Girls

After a rocky start, Cosmic Girls fulfilled the promise their otherworldly name suggested. “Secret” combines space age synths and symphonies to great effect, creating something befitting the cosmos. Despite this, it still moves with an insatiable groove. “Secret” is grounded by the rhythm section and soars thanks to its contrasts sounds. Similarly, vocals are put against each other to accentuate the range of WJSN’s voices. This works best in the lead up to the chorus with it moving from Cheng Xiao to Mei Qi to Seola. Quivering strings and fluttering voices make “Secret” one of the greatest songs of the year.

— Joe

15. “Very Nice” by Seventeen

Seventeen had one of the most exciting debuts we’ve seen in awhile last year. And while “Pretty U” was a lovely song, “Very Nice” takes the cake for their best single of 2016. “Very Nice” is like taking a big bite out of a cotton candy ice cream on a summer day. It’s sugary, it’s big, and it’s fantastic. Seventeen single-handedly brought back bubblegum pop for K-pop boy bands in a time when everyone was trying to be edgy and swag-tastic. Seventeen, coming from a smaller company, is one of those groups that started from the bottom and have excelled purely based on their talent (and not on the prestige of their company, cough, cough). With “Very Nice,” Seventeen further cemented their brand and showed us all they’re here to stay.

— Alexis

14. “Pieces of You & Me” by Fromm ft. Giriboy

One word: woah. “Pieces of You & Me” is just one of those songs you question where has it been your whole life and is a great introduction to K-indie for anyone who has been thinking about testing its waters. From the gentle toots of the trumpets to the mellow acoustics of the guitars, the song uses grassroots instrumentals to stay true to the independent genre. The slow tempo and brilliant lyrics (Let’s build a castle of our own / I’ll drink all the sad tears) is reminiscent of a simpler time, and is quite fantastic in the word’s original “existing only in imagination” sense. I feel not only protected in Fromm’s fair vocals, but I believe that such a dreamworld exists. Likewise, I also find reassurance in Giriboy’s contrastingly deep and soothing lullabies, for to simply write them off as mere vocals don’t nearly do justice to his feature. Now if only the duo could collaborate on more music in the future, world peace may actually be an attainable goal.

— Shelley

13. “Free Somebody” by Luna

Keep in mind, everyone: Luna was recruited to SM Entertainment for her dancing, not her singing. And today, she is a main vocal and a lead dancer (a very rare sight in the world of K-pop), and also (occasionally, and thankfully!) a solo act. While Korea may not have exactly given this release two thumbs up, “Free Somebody” is incredibly infectious and addictive. Mixing traditional K-pop hooks with EDM and house, the song is incredibly innovative, perhaps ahead of its time even. Not just anyone could do a song like this — it takes the kind of multi-faceted talent that Luna wields so flawlessly to pull this off. Our conclusion: Luna is a gem, and we hope her solo efforts continue as the years go on.

— Kushal

12. “Russian Roulette” by Red Velvet

Red Velvet seems to have a thing for quirky tunes that repeatedly drill their hooks into your brain, and that’s not a bad thing at all. The underlying synths and catchy melody create a retro sound without feeling dated, while the video, like the song, is colorful and a bit strange in a good way. Who would’ve thought that you can make killing your friends look so cute and playful? The visuals of this song is also quite genius with the robotic acting and facial expression of the girls to match the electronic and repetitive beat of the music, making “Russian Roulette” a fun audio-visual experience.

— Katherine

11. “Why” by Taeyeon

Taeyeon showed in this song what she’s truly capable of. “Why” is energetic and melodious, but not in an annoying way that “I” often was; it’s downright addictive. The way Taeyeon’s voice sounds so natural in the midst of the funky instrumentals of the song and how every part of the song seems to blend so seamlessly is audible glory.

— Anna

Also on KultScene: Top 50 Korean Songs of 2015

10. “Better Day” by 100%

After going from a seven member group to five members, to six, and then back down to a five all within the span of a few years, it’s amazing that a K-pop group could still be standing, let alone releasing music. With the return of the group’s leader from military service and the recent loss of another member, 100% held strong and released their comeback song “Better Day.” The song is about wishing to return to a past relationship and has a dark mature sound with a heavily synthesized backtrack. But this song is really all about highlighting the group’s amazing vocal abilities. The vocals on this track are mind-blowing (yes, they sound like that live as well), and Rockhyun and Hyukjin do an extraordinary job conveying that sense of longing that can be felt within every commanding note. The group does a good job balancing soft vocals with powerful notes all while lacing in solid and steady rap verses, creating a dynamic song that is something that should not be underrated.

— Katherine

9. “The 7th Sense” by NCT U

While the different NCT sub-groups released a few singles and even an album this year, NCT U is the clear ground breaking satellite that actually brought something new to the table. To say “The 7th Sense” is yet another K-pop song would be a tragic disservice, for it’s too great to be reduced to such confines. It’s a chaotic yet smooth trap-infused trance; an acid trip meant to mesmerize the senses with the R&B vocals. With every listen, you find new sounds — whistles, doors opening, yawns, monk-like chants — making it a true intricate piece of sonic art. SHINee is the known SM Entertainment group that handles the “experimental” releases, while the “dark” is reserved for EXO. Will NCT U have the “weird” and “interesting” down? One can only hope that this particular sub-group is a permanent one for it dropped the best SM song in 2016.

— Alexis

8. “Fly” by GOT7

2016 was an exceedingly busy year for the members of GOT7. They released their fifth EP Flight: Departure earlier this year, had their Fly Tour, circling throughout Asia and North America this summer, and released their second full-length studio album Flight Log: Turbulence this fall. It’s clear that they took their “Fly” concept to heart, because the guys definitely took flight this year. Ha-ha, get it? “Fly” showed off the members various skills and even charismatic personalities through their individual lines. Considering that they’re still under the control of their company, the members might not openly admit or even have the time to do this, but they’re all still at the prime stages of dating and wanting to be in love, so as cheesy as these lyrics are, can you really blame them? Why are you afraid of being loved, I’m next to you so why are you scared and afraid? Yeah, why would you be afraid of anything if it’s GOT7?

— Tam

7. “Galaxy” by Ladies’ Code

Ladies’ Code may as well change their name to “Phoenix,” because “Galaxy” brought new life to the career of the girl group after one of the most devastating moments of recent K-pop history. In 2014, two members of Ladies’ Code passed away in a car accident, reviving interest in the b-list group and turning Ladies’ Code into martyrs. “Galaxy” turned the trio into survivors, and into one of the most musically innovative K-pop groups of 2016. Rather than return to their original colorful retro-pop styling, their comeback single brought Ladies’ Code into the realm of ethereal, jazzy R&B. The combination of gentle synths with jazz instrumentals, mellow vocals, and lilting chimes is a pure eargasm that doesn’t limit itself to K-pop banality. “Galaxy” doesn’t soar, and it’s not song to play at a party: it’s soft, and it’s simple, and it’s melancholic. And it’s safe to say, it’s near perfection.

— Tamar

6. “FXXK IT” by BIGBANG

Taeyang’s opening lines to “FXXK IT” definitely set the tone for the rest of the song. It’s a bright, delightful and cheerful song; all of which might’ve been purposely done in order to leave fans with positive feels as the members get ready to enlist in the following years. “FXXK IT” is all around carefree and simplistic, and despite this not being your typical BIGBANG adrenaline pumping tune, it’s smooth enough to make you want to get down, get drunk, and party (maybe one day with BIGBANG). This is a well balanced composition; the entirety of the song blends well with no excessive tunes or over usage of certain lyrics. Although it only took them a year and a half to finalize the MADE album, if that’s what it takes for full gratification and perfection, then we’ll happily take it.

— Tam

5. “Oh NaNa” by K.A.R.D

From the first few seconds of this song, it was clear that K.A.R.D meant business. The quality of this song was both incredibly impressive and very surprising, considering that DSP Media’s groups have been on a downward spiral recently due to a lack of musical or popular impact. But “Oh NaNa” is an entirely different story. With two impressive female vocals and two charismatic male rappers, the song is balanced almost perfectly. Not to mention, the “na na na” hook is incredibly infectious. The fact that this song, released only a little more than ten days ago, has been able to make our top five says something tremendous about this group’s potential. Maybe co-ed groups are the future for K-pop. Only time will tell. For now, we can keep jamming and hoping that K.A.R.D will start a trend of stronger music releases from DSP on the whole.

— Kushal

4. “Save Me” by BTS

BTS has had an amazing year, chock full of quality releases with their Wings LP and the compilation album The Most Beautiful Moment in Life: Young Forever, earning them the success and recognition they deserve. In particular, “Save Me” stands out with its addictive melody and instrumentals, which feel fresh while still being definitely familiar. It’s admirable how BTS’s songs are always instantly recognisable as theirs; their group identity as musicians is undeniably strong, which unfortunately can’t be said for many other groups in the K-pop industry. If they keep up the momentum, this identity, as well as the members’ individual talents and charms, will definitely keep the group at the top for a long while more.

— Anna

3. “The Eye” by INFINITE

While it took INFINITE quite a long while to make a comeback, the wait was definitely worth it for their amazing album INFINITE Only. Its title track didn’t disappoint either, with “The Eye” being one of the group’s musically better releases in recent years. Accompanied with a heartbreaking and haunting music video, the song combined unique instrumentals with the emotive vocals of INFINITE’s members. In particular, rappers Dongwoo and Hoya really stood out for their vocal performances in this rap-less song, while Sungkyu’s quiet opening was pitch perfect. While the content of the song is pretty similar to other recent INFINITE releases, its dramatic melody is pretty arresting and makes the song an easy one to put on repeat. The way “The Eye” intensifies through the verse from member to member, building up to the chorus and several mini-climaxes that allow for cool dance breaks, is sonic perfection.

— Anna

2. “Blood Sweat & Tears” by BTS

BTS came back with their widely successful Wings album in the latter quarter of the year, and with it, showed their maturation with the sensual “Blood Sweat & Tears.” At the intersection of the burgeoning Moombahton Trap genre and K-pop, the song about a boy who falls into irresistible temptation uses reggae as its base and finds the perfect blends of EDM and trap to form a wonderful medley of sounds accessible to fans and casual listeners alike. The near whispers of the vocals mesh well with its chill synths too, recreating an epicurean spirit in form and content. But the real highlight of the piece is in its chorus, where the trap influences can be found in rapper J-Hope’s intonation: wonhae manhi, manhi, manhi (I want it more, more more). It’s inexplicably charismatic and familiar. It’s easy to appreciate how the song’s individual parts work in harmony with each other to form a melodious fusion. The title cannot be any more telling of the ingredients that went into its production.

— Shelley

1. “TT” by Twice

Standing tall amongst the wreckage that is 2016 is Twice. The JYP girl group capitalized on a strong debut, turning into human memes, and delivering catchy tunes to become one of the strongest forces in K-pop. Musically, they didn’t really hit their stride until “TT,” though. Black Eyed Pilseung found his feet with them, giving them something quirky but not forceful. Their voices are not strained, but wrapped around the beat as if they are all one. Jihyo’s vocals are much better as a result; her inflection as she sings, “I eat all day and I’m still hungry” is the best part of the whole song. Numerous musical details litter the song that make every new listen rewarding. The synths are in constant flux along with the electro drum beat that becomes more physical as it signals an increase in tempo. “TT” is perfectly suited to be representative of its group. Twice’s joyous oddness was a constant comfort in a year where we all felt like TT. Don’t think twice. Get into Twice.

— Joe

Make sure to watch our video countdown to the best song of 2016!


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50 Best Korean Songs of 2016: Part 1

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After experiencing one of the best years of Korean releases in 2015, the expectations were high for 2016. This year, however, we were all bamboozled on every front imaginable, making 2016 a monumental year but not necessarily for the reasons we expected. Big names in K-pop disbanded, Korean R&B arose as hip-hop did in previous years, and a dominance of new girl groups became evident. It also marked the year the generational shift began, with older groups falling to the wayside to make room for newer acts. Even though we didn’t get to see strong comebacks by more established acts, the newer ones started, or continued, with a bang.

As every year, the KultScene staff determined what songs we thought were above the rest. And after fierce competition, we narrowed it down to the 50 best of 2016.

50. “The Closer” by VIXX

VIXX made a name for themselves with dark, weird concepts that they’ve developed throughout a few comebacks after their debut in 2012. However, ever since last year, the sextet has been experimenting with their sound. And after last year’s releases and another one earlier this year where they veered towards SHINee’s funky pop territory, VIXX went back to more somber, fantasy concepts with “The Closer.” This time, however, instead of relying on the pop-heavy vocals, they mixed it up with early 2000’s R&B for a smoother sound. This track showed just how much the group has grown artistry-wise and proved that what they do, they do it well. A group known for two power vocals in K-pop, the highlight goes to Ravi who, thank goodness, has been on a steady non-cringeworthy rap stride as of late. Now that the cutesy boy band trend is coming back, a concept group like VIXX is highly appreciated. Stay weird, kids.

— Alexis

49. “Secret” by Yuri and Seohyun of Girls’ Generation

There has never been a better commercial jingle than “Secret,” Yuri and Seohyun’s collaboration with Pantene. Yes, the shampoo. “Secret” is a full-blown EDM song that veers towards generic, but the execution by the pair is filled with energy and surprises. Seohyun’s well-recognized as a great vocalist, but Yuri comes into her own in “Secret,” and the song never falls flat, despite the song’s chaotic composition. Pounding beats come to near complete-halts before sonic builds to the whispery choruses. The song is a glorious show of the pair’s diversity as singers and leaves us wanting to see what this duo could do together as an actual Girls’ Generation subgroup. Hint, hint, SM Entertainment.

— Tamar

48. “Don’t Believe” by Berry Good

Perennial underachievers Berry Good rounded out the best year of their careers with this superb slice of tropical house. Jettisoning their trademark big vocals, they let producers Nassun and Big Tone weave “Don’t Believe” into something altogether more professional sounding than usual. The girls bring a restrained pain that rises with every part, starting out with some sort of hope but eventually concluding that “all of me is meaningless.” It makes the catharsis of the dance break more down to earth. Instead of the euphoric joy of “Angel,” Berry Good eke out a final goodbye to love through music and their bodies.

— Joe

47. “Why So Lonely” by Wonder Girls

This song breathed life into the Wonder Girls brand, which had been fading even after the group’s return last year with “I Feel You.” A self-composition mixing K-pop’s trademark sultry female vocals with a unique retro reggae sound, “Why So Lonely” gave the group new relevance as the song blasted up the charts and into fans’ ears. In both band and dance form, the song is catchy and relaxing, and proves that an older group can, in fact, survive and thrive in the constantly changing world of K-pop. After “Why So Lonely” received so much success this year, fans are excited that at least some remnants of Second Generation girl groups will remain intact, but with their contracts expiring in January, we can only hope that Wonder Girls will continue to develop their self-composed sound in the future.

— Kushal

46. “I’m Good” by Se7en

Feels like a current K-pop trend is to go with the kind of instrumentals present on the song, but I’ll admit it’s a great trend. The song feels a bit more current and there’s just enough variation artists can spin on this type of instrumental to make it sound different from song to song. Where “I’m Good” excels isn’t on the instrumental however; it’s on Se7en’s emotional and silky vocals. I also like the use of repetition in the song, it fits in with the beat and adds a layer of depth to the lyrics of the song.

— Anna

45. “Flower” by Bada feat. Kanto

To celebrate her 20th anniversary since debuting as a member of first generation girl group S.E.S, Bada released her Flower album, and the title track is one of the most invigorating electropop tracks we’ve seen this year. The composition is subtle, but intense thanks to gentle synths and the pounding beat. Bada’s soft vocals blend with the building electronic rhythm, reminding listeners why she was one of the most popular K-pop singers of the ‘90s, while rapper Kanto aids a snappy rap to the mix.

— Tamar

44. “Sting” by Stellar

Charismatic girl group Stellar continued their great run of singles and staked their claim to be one of K-pop’s greats with “Sting.” Produced by Monotree member GDLO, “Sting” utilizes tropical house to create a breezy inquisitive mood. A multitude of sounds combine to great effect, giving layers to the song that build with each listen. Synth wails, funky guitars, and simple bass grooves highlight Stellar’s incisive manner of questioning. Along with Digipedi’s best video of the year, Stellar confront male ineptitude with brazen confidence. Their sting, both satisfying and necessary, lingers in the skin.

— Joe

Also on KultScene: Top 20 K-Pop Songs of 2014

43. “Hold My Hand” by Lee Hi

Lee Hi’s debut will forever remain as one of K-pop’s best, and because she raised the bar so high for herself already, it was going to be understandably difficult for her to outdo herself. “Hold My Hand” comes close, though. The song is the latter of the two title tracks off of her Seoulite album, and is yet another stellar throwback to Western soul influences. Lee Hi’s husky voice suits the doo-wop vocals and bassline of the track well, not to mention that the harmonization of her backup singers lends it some musical authenticity. The diminution on “again” towards the end of the song resolves the overall ‘60s girl group vibe she was going for effortlessly, at the same time leaving listeners on a soaring high with the progression in the background vocals. “Hold My Hand” is one song we can all listen to again and again.

— Shelley

42.”All Mine” by f(x)

f(x) may not have formally promoted in 2016, but their clapping EDM SM Station song “All Mine” was one of the year’s best party songs. After 2015’s onslaught of EDM, K-pop took a step back from the genre, but f(x) has always been able to take tried and trued genres and put their own spin on them. “All Mine” is bright and uplifting in its electricity, with the foursome’s voices belting (plus Amber’s rap) above the pounding beats. Plus, f(x) released it with a self-made video featuring Krystal scaring Amber and their friendship is absolutely adorable.

— Tamar

41. “Love Paint” by NU’EST

As far as underrated male groups go, NU’EST, by far, takes the top spot. Truth is that since debuting, the group has consistently delivered complexly crafted pop perfection, and “Love Paint” is no different. This song starts out with orchestral elements before turning into a smooth yet futuristic R&B ethereal experience. The juxtaposition between the first part of the song and the chorus is one of the most layered and interesting transitions of the year. It’s a real K-pop tragedy that NU’EST is slept on popularity wise. One can only hope that they survive another year and drop more pop defying jams.

— Alexis

40. “Home” by Ailee

Unlike her usual K-pop sound, Ailee showcased the more sultry side of her with R&B release “Home.” Listeners are probably used to hearing uptempo and lively songs from her, but her best vocal performances are the ones like this. “Home” might not have an impactful punch or intense climaxes throughout the song, but it’s still enjoyable and still allows Ailee to apply her versatile vocals. For someone who’s been called Korea’s Beyonce on multiple occasions and still puts on outstanding performances, she’s still rather underrated. This song had so much potential, especially when you have a powerhouse vocalist like Ailee and the legendary Yoon Mirae on the same track. Unfortunately, the song was not as well promoted this time around as previous songs. It could’ve done better, especially with non K-pop listeners, if there was a little more promotion than what was done. It kind of makes one wonder if this song would be better recepted if there was an English version? Hey Ailee, how about that?

— Tam

39. “Take Me Now” by FT ISLAND

With a definite lack of rock representation on Korean music charts, FTISLAND does their best to fill that gaping void. The band continues to move far far away from their Korean pop rock roots with their latest self-produced album Where The Truth. The title track “Take Me Now” is probably the hardest rock song they have put out to date, at least in Korea. Although it’s not a sound that most fans are used to, it definitely shows the direction the band has been driving towards these past few years. Throughout the song, Hongki’s voice alternates between haunting verses to a blaring chorus that showcases all of his vocal abilities to a T. The rest of the band does a great job keeping up with the intensity of the song through combined soft and hard vocal progressions to make the dynamic song complete. From the looks (and sound) of it, FTISLAND definitely shed their pop idol band label to make the music that they want. So throw your fists in the air and get ready to rock out!

— Katherine

38. “Crying” by Stellar

If you’re going to play it safe after two years of being the most divisive girl group in Korea, then Brave Brothers is your man. With “Crying,” Stellar have shown they can a rock a classic Brave Sound track just like the rest of them. The tempo is high, the synths aggressive, and the vocals diverse. Like all great Brave Brothers tracks, the details are what make the potentially generic songs not so generic. Especially the delay in Hyoeun’s vocal in the second verse and the layers of synths in the chorus. Even when playing it safe, Stellar are still one of the great K-pop girl groups. You can catch me crying at the club listening to this.

— Joe

37. “Rough” by GFRIEND

Rookie girl group GFRIEND is known to release catchy dance tunes and “Rough” is no exception. With the mix of synth and orchestral instruments, the song creates a more sentimental melody while still remaining upbeat and catchy. The lyrics and the vocals are crisp and bright and seem to have greatly improved from their last release giving a more matured feeling, leaving fans excited to see what else the girls can accomplish.

— Katherine

36. “Someone Like U” by Dal Shabet

2016 kicked off strong with Dal Shabet dropping “Someone Like U” early in January after losing a couple members. They made their comeback by going back to their 80’s synth-pop sound by way of a Brave Brother’s jam and delivering pop flawlessness. The dance track is a big fuck you to that ex who you didn’t even like that much in the first place and now is breaking up with you. And what’s more relatable than a spiteful song dedicated to your ex you can dance to? “Hey! Go meet someone stupid like you,” is truly what we all would like to tell our exes. Dal Shabet is one of those girl groups who sadly don’t get the recognition they deserve. However, “Someone Like U” goes down as one of the best songs in their discography ever.

— Alexis

35. “I Am You, You Are Me” by Zico

Zico has already established himself as a rapper of speed and power, but here he brings it back down to a crawl, preferring grooves over hard beats. Everything about Zico’s “I Am You, You Are Me” is hypnotic and infectious. Something about the chimes or the fingersnaps or the ooh’s of the backing track makes me feel like I entered a place that I should not have, and to say the least, it’s indulgent. The song confirms the Block B frontman’s versatility and artistry, and not for nothing his solo career is one of the best there is in K-pop currently.

— Shelley

34. “Me Like Yuh” by Jay Park

It seems like you just can’t go wrong when Jay Park sings over a Cha Cha Malone track. This time, Cha Cha and Jay tried their hand on one of 2016’s biggest trends, the Caribbean inspired, tropical dance song. After establishing himself as a rapper last year, Jay dropped his album Everything You Wanted and is, well, everything we wanted: an R&B album, which is what the performer does best. His clear standout of the year, “Me Like Yuh,” is somewhere between Justin Bieber’s “Sorry” and Drake’s “Hotline Bling” but with Jay’s signature high-pitched, honey R&B vocals that’s all about the groove and how the song feels. Jay may rap about asses and sex all the time, but there’s just something about when he gets a bit romantic and vulnerable that comes across genuinely. Jay and Cha Cha are a match made in heaven that we can only hope lasts for a very long time and results in many bomb releases.

— Alexis

33. “Very Very Very” by I.O.I

This song is the epitome of addictive. Bringing all eleven members of I.O.I back together, this song served not only to diversify I.O.I’s limited discography, but also reassert their dominance as the monster rookies of 2016. The song uses a fast beat, infectious repetition, and an occasional rap to bring out the members’ various charms — whether it’s Yeonjung’s vocals in the prechorus, Doyeon’s killer aegyo, Yoojung’s outgoing stage presence, or Somi’s powerful roundhouse kick, each member gets to shine in ways that prove I.O.I’s unique and lovable group character. While the group may not be around for much longer, “Very Very Very” is clearly unforgettable, whether you liked it or not.

— Kushal

32. “Toy” by Block B”

They may be better known for their fun, hip-hop songs, but Block B really exceeded expectations with “Toy.” The sedate, dreamy track showed a softer side to the boy band through jazzy piano notes and mellow, scattered synth beats. The song’s composition layers different rhythms and melodies with sentimental vocals, to create the overwhelming, lovelorn ambiance of “Toy.” It’s different than what we’ve seen from Block B in the past, but the Zico co-composed song shows maturity to the group’s sound and we hope to see more of this style from the septet in the future.

— Tamar

31. “Galaxy” Bolbbalgan4

From the first note, it’s clear that this isn’t K-pop as most people think of it. In fact, calling it “K-pop” would be a disservice to this sweet song, since K-pop typically describes songs sung by K-pop idols. But Bolbbalgan4 is an indie duo that appeared on Superstar K6 in 2014 and shot to fame with this single after its release in August. The song begins with an otherworldly, high pitch tone that sounds similar to what one would expect if they licked a finger and ran it around the edge of a glass filled with water. Ahn Ji Young’s sweet, breathy vocals are backed up guitarist Woo Ji Yoon, who also provides harmonies and a quirky rap, and ‘60s inspired instrumentals blended with a medley of soft electronica sounds. “Galaxy,” the fun and innocent sound of the indie rock track, ended up making it one of the most popular songs of 2016 in South Korea.

— Tamar

Also on KultScene: Top 50 Korean Songs of 2015

30. “Bermuda Triangle” by Zico x Crush x Dean

“Bermuda Triangle” is a great fusion of captivating sounds and diverse talents. The combination of these three artists is truly a match made in music heaven. The transitions between the sick beat along with Zico’s killer raps, Crush’s (sudden and shocking) badass verse and Dean’s velvet-like vocals were smoother than butter. All three artists consistently show up and always give a stellar performance in their own individual songs, so it was no surprise that “Bermuda Triangle” was done to pure perfection. If you didn’t love this song right away, then you need to get on it. One of Zico’s earlier lines is “What happened in 1992?,” well, basically, the birth of three phenomenal musicians happened, that’s what.

— Tam

29. “Whistle” by Blackpink

While this song may not be everyone’s cup of tea, it gave the K-pop world a much-needed dose of attitude. With the rise of TWICE, GFriend, and I.O.I and the disbandment of acts like 4MINUTE and 2NE1, there’s been a tragic dearth of edgy, badass girl groups. With the exception of BLACKPINK, that is. With addictive melodies and fast-paced rap sections, this song brings back hip-hop dance themes so reminiscent of K-pop a few years ago, while also including some newer, unique musical elements. As the generational shift brings us back to cutesy, feminine girl groups on top, Blackpink and their songs like “Whistle” do the important work of carving greater musical and stylistic diversity into K-pop’s current era.

— Kushal

28. “Overcome” by NU’EST

The saddest part of NU’EST’s history is that people think their heyday was their debut with the phenomenal “Face.” 2016 was, without a doubt, filled with the group’s most avant-garde singles “Love Paint” (no. 41) and “Overcome.” This is electropop at its finest, and NU’EST’s members at their best; their vocals and adlibs are near flawless on this brassy synth track. Layers upon layers of overdubs flit throughout “Overcome,” as if it challenged the listener to pick out the individual elements. After beginning with punctuated beats, the song incorporates scattering synths, brassy percussion, falsetto, digitized piano notes, and much more to overwhelm the senses. Then, “Overcome” ends off on a gentle, sleepy melody in a way that seems to put the whole sonic experience to rest. NU’EST, we’d like to see more of this in 2017.

— Tamar

27. “Navillera” by GFRIEND

Few do synthpop dance songs as well as GFRIEND, and “Navillera” was an ideal follow-up to the more sentimental “Rough” from earlier this year. The bright, rock-tinged “Navillera” wouldn’t seem out of place on an INFINITE album (and the opening drum beat callback to the opener of “Man in Love”), with its retro-tinged electronica sound. The song’s title is a reference to a Korean poem about a butterfly, and the high-pitched synths and underlying electric strings help create a quirky, fluttering sound. There’s a few verses, but the majority of the song is built around a soaring pre-choruses followed by the speedy chorus, which in actuality serves as an intro for the fast-paced dance break. The guitar solo at the end is so atypical for K-pop that it helps “Navillera” further hone in the idea that this song, and the group, is a long-awaited breath of fresh air.

— Tamar

26. “Bonnie & Clyde” by Dean

Where’s the sign up sheet to be Dean’s Bonnie? Because as long as Dean is Clyde, he’ll be winning over hearts. Every song he’s released has been absolute gold, and this one is no exclusion to the rule. “Bonnie & Clyde” leaves you feeling such a natural high, sitting on a cloud not wanting to get down. It’s just so damn easy to be engrossed in that sweet, bewitching voice of his.

— Tam

Also make sure to check out the first half of this list, featuring our picks for the 25 Best Korean Songs of 2016.

What was your favorite Korean song this year? Share your picks and thoughts in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.

B1A4’s ‘Good Timing’ Album Review

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B1A4
B1A4 always brought something different to K-pop. Of all the boy groups K-pop provides us with, I think this quintet is the one I have personally neglected the most. Their brand of pop tends to lean at a more cheesy ballad angle, which is usually a big turn off for me. B1A4, however, bring a level of innovation to each song that moves them into a space that’s hard to define. To start, think of One Direction through the lens of Seo Taiji’s eyeglasses.

Their leader Jinyoung can probably be thanked for this as his move into producer and composer has not stopped their great run of form. New album Good Timing is probably their best to date. It’s a seriously smooth and diverse long player that retains a sense of playfulness on every track. Best of all Jinyoung and rapper Baro are all over the track list’s credits, a clear reason as to how they perform so well in their niche.

Also on KultScene: Weekly K-pop faves: November 21-27

The album opens with one of K-pop’s patented abstract intros. “Intro” is an interesting little instrumental. A hollow percussive sound taps out a slow beat as sci-fi beeping synths fade in gradually. Those synths are the first sign of B1A4. They’re familiar to fans as a sound they use a lot, especially to contrast with their other signature instrument, the electric guitar. All of the different instruments seem to be reversed. This creates an odd atmosphere, a certain feeling of anxiety that is supplemented well as we move through the album.

Naturally the album then moves into lead single “A Lie,” a not quite ballad about an ending relationship. Like the intro suggested there’s a longing to Jinyoung’s lyrics that have accepted the loss even the pain carries on. Musically “A Lie” is B1A4 at their best. Mixing slight electronics with a band allows a balance of emotions. Pulsing processed drums provide a constant to the verses, giving them freedom to move around whether it’s the member’s vocals or Baro’s raps. The drums take a backseat for the chorus as it provides the emotional brunt of the song, Jinyoung’s falsetto pining as he says he was lying all this time.

“A Lie” epitomizes B1A4’s sound so well that they can move onto different, newer styles in the rest of the album. Tracks three and four provide some lovable pop. “Moment I Fall For You Again” is similar in structure to “A Lie” but takes a more soulful route. Its verses are loungy and its chorus is cheekily inquisitive compared to the passion of “A Lie.” By the time “Good Timing” comes along you’ll probably wish they had switched it up somewhat despite it adding more to the B1A4 brand. This time it’s a bit more ‘80s, the electronic drums are more clearly electronic, and the chorus has a much more prominent hook. I don’t know if I really like it but I do appreciate the fact that they go all out and give it a guitar solo. I mean, it has to be an upside given how few K-pop songs you can play the air guitar to.

“Nightmare” arrives at a great time on the album and probably provides Good Timingwith the impetus it needed to keep it going. “Nightmare” is a hazy reggae track that jettisons the structures and sounds we’ve gotten used to over the first four songs. Interestingly as well, B1A4 uses synths to create the sound coupled with a classic reggae beat. Eventually reverbing guitars and hammond organs bring the highlight in the second half of the verses. As the title informs us, it’s not a sunny reggae track. Not quite on the dub spectrum but there’s an uneasiness to the way it sways.

The album’s opening half is characteristic of the consistency and skill of B1A4. Their unique flavour permeates throughout an album that does not stop giving. “Sparkling” is synth-led urban pop that goes past just sparkling and pops right out. Shimmering synths lead up to the chorus, which then has a guitar take over funk duties as it becomes more chant-like. Baro shines here along with CNU, whose voice has fragility to it that brings out great emotion. “To My Star” provides the smoothest moment yet, with Its synths well supported by keys to make a chilled slow jam before it picks up again.

“Melancholy” does a great job of masquerading B1A4’s anxiety. It’s a contradiction of sounds and words that somehow comes together. Similar to their punchy and weird single from 2013 “What’s Happening,” “Melancholy” has tiny details and big transitions that move the song to place we could never expect. Its effusive synths and dazed vocal delivery constantly clash with the repetition of the word “melancholy.” It’s a mess of tones and ideas that feels true to the melting pot of emotions that exist in this album.

Also on KultScene: KBS K-drama designer Minjung Lee helps bring characters to life [INTERVIEW]

The energetic high of “Melancholy” gives way to a more subdued conclusion. Ballads “I Will Find You” and “Together” have some nice intricacies although do nothing to stand out here. “Drunk On You” meanwhile is a wavy hip-pop track that shows how best to make a predominantly rap sounding song sound good with a pop angle. But, let’s be honest, put B1A4’s vocalists on any track and it’d be hard to not make at least a little delightful.

B1A4’s plight is that they are too unique. In Korea they may have once been popular but now that heavy hip-hop and EDM sounds dominate boy groups it’s hard to see them finding a lot of success. That being said they may attract a more mature ballad-loving audience looking for something to spice up their usual coffee-shop playlists (no pumpkin spice jokes please). Similar to Beast who were more known at home for their mid-tempo tracks. Even internationally their boy next door image is taken over by newcomers like Astro who appeal to on much easier levels than B1A4.

No matter what though, Good Timing shows the diversity B1A4 can find within their own style. Given the length of a full album we get a number of great ideas and sounds that all mesh well together as Good Timing traces the steep highs and deep lows of any relationship. Songs are clustered together in terms of positive and negative views of the relationship. It’s hard to keep up with where they are in the relationship but by the time “Melancholy” comes along it’s impossible to even know what to think anymore. In the best possible way, the album itself is as much of an enigma as B1A4.

What’s your favorite song from B1A4 and this album? Share your thoughts in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.

5 Sentimental K-Drama OSTs Which Give Us Autumn Feels

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Sentimental OSTs

The season marked by the fall of colourful leaves and the creeping of the chill in the air, Autumn is a good time for recollection and reflection of the past year. To celebrate the arrival of this wonderful season, here are five sentimental K-Drama OSTs (soundtracks) from the year so far that will definitely evoke them feels (and possibly get you hooked on some of these dramas).

1. Sunhae Im- “Will Be Back” (Moon Lovers: Scarlet Heart Ryeo)

Currently airing sageuk (historical drama) Moon Lovers: Scarlet Heart Ryeo may have been receiving a lot of criticism at the moment for its awkward directing and editing but there is one thing that the drama nailed perfectly: its OST. To pick one out of the amazing collection available was a near impossible feat but Sunhae Im’s “Will Be Back” is a song that brought me to tears every time I heard it. Maybe it’s because the song was played during two extremely heart-wrenching events in the show, or maybe it’s because Im’s operatic voice blends perfectly with the wonderful instrumentals of the track.Either way, this addition to the OST is by far one of the most moving I’ve ever heard in a K-drama. The song evokes emotion in a way that Moon Lovers sometimes fails to do and is a great asset to the drama (as with the other songs included on the show’s soundtrack).

2. Insooni- “Gift” (Memory)

“Memory” is an underrated gem of 2016, one which never garnered much public attention but satisfied the viewers who stayed with it to the end. Much like the drama Memory, the OSTs were mostly understated and quiet but extremely touching and memorable. “Gift” is a beautiful track from one of Korea’s most celebrated female vocalists, Insooni, and it perfectly translates the deep emotions evident in this well-written drama. The bittersweet and reflective song speaks of the sadness, loss, and regret we are bound to feel as we grow older and experience change. More than that however, the song also describes the peaceful contentment we can feel when we remember the kinship, friendships, and small miracles that made up our past. It’s a song that’s definitely worth listening to this season.

Also on Kultscene: Stephen Alain Ko talks K-beauty chemistry & why there’s no magical skincare recipes 

3. Beige- “I Miss You” (Moonlight Drawn By Clouds)

For the most part, youth sageuk “Moonlight Drawn By Clouds” is lighthearted and adorable, if a little cliche at times. However, the drama also does manage to carry some pretty emotional beats , especially in the moving portrayal of Lee Yeong’s relationship with his deceased mother as well as the unexpectedly sweet romance between a eunuch and a court lady. Beige’s “I Miss You” was stuck in my head as soon as I saw Ra-On’s dance scene and the song did not disappoint. Soft but dripping with emotion, Beige’s voice flowed as one with the gentle string instrumentals backing up the track, creating a sentimental OST for the drama.

4. Roy Kim – “Maybe I” (Oh Haeyoung Again)

Roy Kim’s warm and melodious voice works well with the simple background instrumentals to create this relaxing OST which is at once subtle but also very comforting. It’s worth a listen, especially if you are feeling nostalgic or melancholic due to the weather. The track also suits well with the overall theme and mood of Oh Haeyoung Again, which turned out to be an unexpected hit due to its meaningful storyline and uplifting message.

Also on Kultscene: Song Jieun’s “Bobby Doll” Music Video & Song Review

5. 2NB – “Fall’s Winds” (Fantastic)

Fantastic is a melodrama through and through what with one of the drama’s main characters having a terminal illness and having only six months left to live. There is thus no shortage of heart-wrenching and tragic scenes in the drama which is why I was quite surprised to chance upon 2NB’s “Fall’s Winds”. The song is cheerful but also has a pensive feel to it, made clear through the beautiful and emotional voices of the two singers. I could really go on listening to their harmonies for days.

What songs are on your own Autumn playlist? Share your thoughts in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.

Song Jieun’s “Bobby Doll” Music Video & Song Review

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Jieun
When it comes to female idols going solo from their groups, few can claim quality quite like Secret. Leader Hyosung has been not only been redefining what it means to be sexy but also innovating with her song choices. Lead vocalist Song Jieun, back on her own now with “Bobby Doll”, has had one of the strongest solo careers to date for a female group idol. Her work with the Latin genre, seen here again, and on “Pretty Age 25” (one of the best tracks of 2014) has been absolutely stellar.

Now back with much worn doll concept, Jieun is probably hoping to build a proper solo career for herself given Secret’s lack of promotion. Her skill as a vocalist is not in doubt but does she have the songs and taste to back it up?

Song

The doll concept is an interesting choice for an artist like Jieun. I would have thought that older idols would be inclined to avoid the misogynistic connotations unless a commentary was involved. With “Bobby Doll” it’s hard to see where she falls in the argument.

Written and produced by Park Suseok and Park Eunwoo (regulars of TS Entertainment and the OST world) “Bobby Doll” is a Latin-inspired track that showcases Jieun’s impressive vocal range. The main guitar riff is evocative all by itself, creating a sensual but precise atmosphere. It’s carried by a strong jazz beat and eventually reinforced with similar electric guitar riffs and small chime details. The production is a great example of less is more as the song is still busy and exciting without being overcrowded.

Also on KultScene: Weekly K-pop faves: September 12-18

It’s Jieun’s voice that moves the song around in the absence of any big musical transitions. This makes the first listen a slight disappointment as the chorus takes its time to properly reveal itself. The first chorus seems underwhelming as Jieun doesn’t belt out the big vocals, preferring more rhythmic repetitions of “I’m your Bobby Doll.” However when it moves back into the verse the song slows down revealing Jieun’s many talents;this transition is also helped by a great drum beat that mimics the sound of a wind up doll. First is her usual beautiful voice, then a sort of rap/singing that hits precise marks with her higher pitches. She also goes down to a whisper as if adding a whole different person to the mix. Here the tension is created that makes the second chorus so much more effective. From there the song holds the sensuous but dark feeling, with Jieun’s “la la las” adding a creepy element to the doll concept.

Lyrically this concept is approached in a disappointingly generic fashion. It positions Jieun as the doll, begging to be looked at. She brags about her looks, long straight legs, my skin looks like honey.” Throughout the whole song she is only ever an object desiring a man. The title also seems to be a way of just avoiding copyright issues from Barbie. It even references Aqua’s “Barbie Girl” which I think is a great touch and could be seen as the self-aware moment that unlocks this song.

Music Video

The music video presents an opposite reading of the doll theme though. Directed by Zany Bros (makers of many K-pop videos including from this year 4minute’s “Hate” and Gfriend’s “Rough”) it again shows Jieun as a doll yet works to criticise the one who looks at her.

Also on KultScene: Hyo Sung, BESTie & the Hook in K-Pop

It doubles down on the objectification by having the main creepy male character looking at Jieun through a series of cameras. She sings and dances to his great pleasure on screen. A clear metaphor for how female idols are used and looked at it in the K-pop industry. What’s most interesting is the ending and how it seems aware of how using this concept is almost impossible to be really critical. After seeing herself in the mirror Jieun can finally escape from her voyeuristic prison.

The mirror is an important image. It could mean that finally being allowed to see herself in this position she understands how to stop it so she can finally leave. Yet not long after she steps out into the open she is pulled back in with little difficulty. Even when aware of being controlled by male eyes, and the male-dominated entertainment industry, there is little one can do to stop it. In the end when she looks in the mirror she isn’t seeing herself with her own eyes but merely self-objectifying through the male gaze that designed her. It’s easy to criticize the industry but much harder to actually step outside of it.

Overall

“Bobby Doll” turns out to be a mishmash of ideas both good and bad. Musically she is on as good a form as ever. “Bobby Doll” is a beautifully balanced track with new intricacies to find every listen. Jieun’s sound is one of the most mature in K-pop and I hope her and Hyosung can go back to Secret stronger than ever.

“Bobby Doll” is also however a weird culmination of ideas about female objectification. The video and lyrics are a complete mismatch with the lyrics being a reductive view. The video, although indulgent in the things it takes issue with, has moments of clarity that highlight an interesting if frustrating idea of this theme.

Song Jieun's "Bobby Doll"
3.5

What do you think of Jieun and “Bobby Doll”? Share your thoughts in the comment section below and be sure to subscribe to the site and follow us on Facebook,Twitter,Instagram, and Tumblr to keep up with all of our posts.

DIA’s “Mr. Potter” Music Video & Song Review

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DIA_MR_POTTER
Lesser known girl groups losing their unpredictability after becoming overnight successes is something that plagues my mind all too often. This was a distinct possibility with DIA, a group who were capable of profoundly weird and exciting music before their increase in awareness. Their first song since Produce 101’s and particularly Chaeyeon’s rise in popularity,“On The Road” was a safe but sweet track that didn’t bode well for DIA’s advancement. Luckily now with the help of a certain British wizarding superstar DIA are back with an eclectic mix of sugary and volatile sounds on “Mr. Potter.”

Song

“Mr. Potter” immediately brings to mind DIA’s “My Friend’s Boyfriend” in that it’s hard to know if you’re supposed to be scared or enticed. That’s the best thing about DIA, they take the cuteness we are so used to in K-pop and bring to the absolute max, making us almost uncomfortable. With “My Friend’s Boyfriend” that felt entirely deliberate but on “Mr. Potter” it’s harder to tell.

Written and produced by ATM and STAINBOYS (who remixed Suran’s “Ddang, Ddang, Ddang”) “Mr. Potter” has almost no regard for the cute and goes straight for the heavy sounds. It opens with some great xylophone and moves swiftly onto crushing hip-hop beats and sporadic synths. These work to contrast with the girls’ voices, which are sweet but manic thanks to the layers and quick delivery. They’re almost shrill in a way that will be off putting to many listeners, but for those who aren’t turned off the chorus is a strange heaven.

Also on KultScene: Weekly K-pop faves: Sept 5-11

The chorus keeps the same style of sound but changes the tone to make it slower and more melancholic, usually the opposite of what a chorus should do. DIA’s rare qualities shine in it thanks to the absolute business of it. Sci-fi synths scream as the beat gets bigger and the girls finally let go of their feelings. Their vocals take on a rhythmic chant with high pitched peaks. It’s a vocal style unprecedented in a chorus. It moves the song from a possible rehash of “My Friend’s Boyfriend” without the tongue in cheek aspect to something unique.

“Mr. Potter” moves along with assurance as well, mellowing out a bit to highlight the xylophone again and give room for Cathy to rap without too much interference. Her second part is also interesting; towards the end the song sounds like it’s about to reach its climax but transitions without a hitch into more rapping and xylophone. At every turn “Mr. Potter” is enriched with an unpredictability only DIA could muster up.

Music Video

Despite the strangeness of the song, “Mr. Potter’s” music video will probably be the most contentious thing about it. Even for those who weren’t fans of DIA the video seemed exciting as it could have been an interesting dip into the Harry Potter universe. Unfortunately without knowing the name of the song you wouldn’t automatically guess this was a song about Harry Potter. The video uses iconography from a large number of fairytales along with JK Rowling’s series. It seems a total waste of time regardless of how it turned out. They also copied Girls Day’s “Expectation” choreography (although they have the same choreographer Bae Yoon Jung).

Also on KultScene: 7 fact-finding resources K-pop fans should know

That being said there are a few things I like about it. Maybe it’s just me but DIA seem like a better group of actresses than most other groups. Their expressions are always fun and really in sync with the tone of the song and video. Especially when they’re sitting eating popcorn with glasses on, it’s sort of confrontational as if they’re aware that many fans will be confused by the song and video. The pastel colours are well worn out by K-pop by now but are great here, encompassing the whole video. It genuinely feels like a different world. I also love the bad CGI, it again suggests an awareness on their part that the audience is being tricked.

Overall

I’m so relieved that DIA continue to be a divisive group. “Mr. Potter” hits on a lot of weird levels making it a difficult proposition. Considering this and “My Friend’s Boyfriend” though, it’s clear that this is what they do best. They’re at home parodying the overtly cute girl groups who only pine away for men. DIA bring that to logical levels of mania with an aggressive assurance that sets them apart. Despite the apparent cuteness and subject matter, “Mr. Potter” is a hard track to find cute. It has a pace and electricity that doesn’t allow much thought on first listen. It squeezes you into a bewildered daze, confronted by DIA’s singular charm.

(who else would perform a six minute rock version of their single at a showcase)

DIA's "Mr. Potter"
3.5

What do you think of DIA’s “Mr. Potter”? Share your thoughts in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.

INX’s ‘Alright’ music video & song review

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INX_debut_group_teaser

NA Entertainment’s five member rookie boyband, INX, debuted on August 1st with “Alright.” Sang Ho, Jun Yong, Bon Kuk, Ji Nam, and Win garnered a lot of attention prior to their official debut via promotional appearances in China, as well as showcasing their slick choreography in a dance cover of BTS’ “Fire,” which was uploaded to YouTube.

Song

K-pop fans who enjoy tracks with an old school late 1990s to early 2000s vibe are really in for a treat with this offering from INX, thanks to the pulsating rhythm and electro-pop sound. “Alright” starts in typical K-pop ballad style, but soon picks up the pace with the introduction of some strong and well integrated rapping. Rock guitars and a synthesized techno dance beat then kick in for the catchy and memorable chorus, after which “Alright” goes through several more changes in tempo and style before the song concludes. The members of INX are between 16 and 21-years-old, yet they display extremely mature and combined powerful vocals far beyond their years and it will be great to see where they go from here. The rappers also have an edgy flow and complement the vocalists perfectly, but Jun Yong is clearly the group’s standout performer. The lyrics of the song talk about the struggle to move on from memories of a past girlfriend and the boys interpret the song’s emotion in a heart wrenching manner.

Also on KultScene: Intro to BlackPink

Videography

With a debut song, it is always good to see an accompanying top-notch video, and the one for “Alright” is not only technically and visually stunning, but it also interprets the song’s melancholic lyrics on the theme of heartbreak perfectly via lots of symbolic imagery. The intro depicts all five members blindfolded and chained to chairs, demonstrating how imprisoned they are by their angst. The lighting mostly has a pink and blue colour palette, especially when the members are shown surrounded by roses in several different rooms, clearly lamenting a lost love. But this changes to a yellowish hue during the dance scenes to express a more defiant mood. Towards the video’s conclusion, INX break free of their constraints and smash a vase of flowers to show they have turned a corner and started to move on with their lives.

Styling

INX’s style is classic boyband, with white suits, casual clothes, and black suits high on the agenda. The smart ensembles are mostly worn in the scenes during which the members are restrained or performing choreography, while the casual outfits are reserved for times when INX are looking appropriately distressed. With the white suits only one of the members wears shorts instead of trousers, though they all sport casual white trainers. By way of contrast, the black outfits are worn with eye-catching embroidered shirts, cut off trousers and formal shoes. The simple but stylish way in which they are dressed will no doubt garner the attention of numerous young female fans worldwide.

Also on KultScene: Artist Spotlight: D.Holic

Overall Thoughts

INX demonstrate real promise and potential with “Alright.” On first listen, it sounds like a mismatch of several genres, but because of the members strong vocal talents, the song works surprisingly well. Moreover, “Alright” does a good job at not only bringing the sounds together but providing each member a chance to shine. It will be a lot of fun to keep watching INX, since several of the member’s have truly phenomenal vocals and it will be intriguing to see what they try next. The accompanying music video is shot in a tasteful and artistic way with high production values, while the members’ good looks will go a long way in helping them reach their target audience of teenagers and young women. This impressive debut is well worth a listen!

INX 'Alright'
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Artist Spotlight: D.Holic

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D.Holic
It may seem like a strange to be writing about D.Holic given they are coming to the end of their promotions for “Colour Me Rad.” It was so hard to pin down exactly how they were promoting that I wasn’t fully aware when it was actually happening. Now that they’ve gone through their full swing it feels natural to bring them back into the public eye, especially since they probably don’t have that long left to their career. Trying to pin down girl groups like D.Holic is usually hard anyway though, so I’m used to it by now. When I first stumbled upon the showcase performance for “Colour Me Rad,” I was at first shocked to see they had come back at all, and then spent a long time trying to find out everything about what they had in the works.

Working under an unknown label, experiencing member changes, and copying their successful peers are the hallmarks of most lesser known K-pop groups. D.Holic have done all of that and more. There is nothing obviously unique about D.Holic when compared to groups of a similar popularity as them, yet there is something about them that keeps drawing me back, wanting to know more. Let’s see if we can find out what that is.

D.Holic debuted in October of 2014 under H.Mate Entertainment. The name (one of the best ever) is still a mystery to me, but I bet the meaning behind is really stupid and fun. D.Holic started life as a five member group with an international slant thanks to Japanese member Rena and Chinese member Hami (Korean members Duri, Danbi, and Nine round them out). They debuted with single album “D.Holic Dark With Dignity” (amazing titles are a trend with these). Their single was called “I Don’t Know” and the public’s reaction to it was similarly ignorant.

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That becomes even less of surprise once you hear the song. Produced by Quasimodo “I Don’t Know” is a weird track, a sort of loungy pop with its soft keyboards and sporadic horns. There’s a haunting echo to the girls’ voices that shifts the mood from simple slow jam into something a bit more sensual. There is some great work with vocal layers too, where you can actually hear different voices. This is all rounded out by that cheapness that accompanies many idol groups from less than mid-tier companies. The keys are flat and the horns don’t take enough of a front seat. This type of track needs quality production, without it we can’t get into the flow. It needs to strap us down with the bondage D.holic model in the video. The song doesn’t even try to hide Rena and Hami’s weak vocals, which show up painfully right before both the first choruses. Worst of alI it has a pointless feature from Chinese rapper and friend of Topp Dogg Andy.A47 and a useless ballad as a b-side.

After a weak start, D.Holic didn’t come back for another year. Creating your magnum opus takes time after all. Listening to their release from July of 2015, “Chewy” actually might make that statement true as they clearly played to their strengths more.

It also started their year long collaboration with producer team Urban Cla6ix. Park Junsu and Jung Yeonhun worked with D.Holic for this mini album and the preceding single album “Murphy and Sally.” On “Chewy” they seem to be taking cues from EXID, who were in the midst of their huge rise at the time of release. There is a case to be made that this might be their signature sound and it just happens to be similar to EXID. Although I couldn’t find anythig that predates “Chewy” or “Up and Down,” consider “Magical Show” a song the pair produced for Chinese star Li Yuchun.

“Chewy” is a volatile mix of whining synths and horn sections all over a booming hip-hop beat. Its synths bounce around during the verses, ready to take the song into territory bordering on messy. It’s held down by a more subdued chorus though and turns the song into something all their own. It includes a number of great flourishes too, the Indian style synth after the first chorus, the at-once enticing and terrifying refrain of “chewy chewy” and the fact that the song is about the girls’ hearts feeling chewy.

Best of all, they learned like EXID to distribute the vocal parts in a way that was best for the group. The previously anonymous Danbi now raps with a distinctive bite, Rena has a chorus part but her vocals are not pushed beyond their means. Curiously though in the video Hami raps the second verse but when performed live Danbi does it. It clearly sounds like Danbi so they must have just wanted Hami on screen for longer considering her good looks. Despite that it all comes together to make something that fits D.Holic in a way no one could have predicted. It’s one of the few cheap masterworks from an obscure girl group. It was also somewhat of a success for D.Holic, garnering 2 million views on Youtube compared to the 78,000 of “Murphy and Sally.” How those views translated into sales however, I do not know.

Urban Cla6ix’s work on this album’s ballad b-side “Miss You,” is worth noting for one thing as well. It sounds as if they took a stock ballad D.Holic had recorded and just added the synths from “Chewy.” It doesn’t make the song a weird classic like “Chewy” but it is something to behold.

In the four months it took D.Holic to return with “Murphy and Sally” lead vocalist Nine left and was replaced by Hwajung in a straight swap thanks to her own strong vocals. Their second collaboration with Urban Cla6ix is a peppier version of “Chewy.” It’s a song about one of those days where nothing seems to go your way but you keep pushing on anyway. Structurally it moves along with little concern for a listener to keep up as if the girls are ignoring their bad day. It opens with Hwajung’s simple verse which seems to set up a cheerleader type song with “oh oh oohs” when she finishes. It however, moves straight into a rap by Danbi which is powerful and surprisingly long and once that’s over into the chorus. Maybe it’s more a build up to the “never ever give up” chorus that was introduced at the start but it is comes unexpected again with its slower pace and bigger vocals.

This could have all worked towards a greater coherency if there was more time. Before the second chorus the songs moves as if it were one large thing rather than a series of parts. Omitting another rap in the second verse but it’s off track though. A sense of symmetry would have been really interesting. “Murphy and Sally” doesn’t come near the heights of “Chewy” yet retains D.Holic’s weird sense of structure. It’s a mess that should have been a b-side and allowed to shy away from pop standards.

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Speaking of messes, D.Holic’s latest single and their promotions for it have been all over the place. The day before their first showcase for “Colour Me Rad” it was announced that Danbi and Duri had left the group and had been replaced by EJ. They would continue as a four member group with EJ taking up rapping duties. That in itself would have been enough of a difficulty to start with. The showcase where they performed “Colour Me Rad” for the first time was not publicized at all, the video wasn’t released for 23 days after, and their first TV performance was only a week before that. All this after Hwajung said they would disband if they didn’t sell over 1,500 copies of their album. Maybe their company want them to disband so they wouldn’t have to spend what little money they already were spending on them.

Their demise seemed imminent. Going for a mainstream EDM track seemed like they were given at least a bit of a chance to succeed. “Colour Me Rad” was written and produced by Park Seulgi (Super Junior’s “This is Love,” Luna’s “I Wish” & “My Medicine”), Lee Jinkyung (possible former member of JQT ), Geum Songsik, and Jo Soyeon. It’s a pretty straightforward Big Room EDM track, a successor to T-ara’s “Sugar Free.” It’s the best produced of D.Holic’s songs but their least idiosyncratic despite the use of cowbells, an instrument much ignored by K-pop.

It does have some great moments though with EJ especially adding much needed character. Her raps lead up to the chorus and inject an angry energy that is distinct amongst all K-pop. She is a curiosity herself with her hot pink hair and ever present face mask. The mask does seem to be a gimmick as in every photo of her (even on her Instagram) she has her face covered and judging by some photos there doesn’t seem to be anything wrong with her face. It’s a weird gimmick for D.Holic to deploy since you need to be known for something like it to take off. Pre-Muzik Jiyoon won’t be worried regardless.

Apparently “Colour Me Rad” has sold enough copies so we have not seen the last of D.Holic. Boy am I glad. No group has carved out such a style for themselves and continued to work quite like D.Holic. For each year they have been active their music has taken a different tack. Each one showed a confidence and growing boisterousness that D.Holic have performed with glee despite a lack of success. It’s this drive, actually declaring they have to sell a certain amount of records or else they’ll be over, is something that really attracts me to them. There’s an honest and great desire apparent that sometimes gets lost amongst the flash of K-pop. These girls want to be up on stage. Colour me mad but here’s hoping to another three years of them doing exactly that.

What do you think of D.Holic? Do you hope to see more of them in the future? Share your thoughts in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.

Suran, Nine Muses A, & Up10tion: Single Roundup Review

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Suran, Nine Muses A. Up10tion
The month of August got off to a blistering start for the K-pop world. Heavyweights like Hyuna, Taemin, and Girls’ Generation have comeback in some form alongside burgeoning rookie groups Oh My Girl and Monsta X. However, there have already been much more to see and we want to highlight some of the quality music that new and old groups are putting out. Tracks range from the hot tropical sound of the moment to exciting new sub units to tough boys trying (and taking ownership of) cutesy concepts.

”Paradise Go” by Suran

Indie soloist, Suran is probably best known for her work with Primary and Beenzino up to now. She has been carving out a career for herself though with some excellent and distinct work (check out the abstract R&B in “I Feel”). This time she’s going for something a little more summer friendly with tropical track “Paradise Go”.

Producer ca$hville captures the essence of the trending tropical house/chillwave sound, which the description in the Youtube video of “Paradise Go” shoves down our throats. Its bobbing synths, electronic drums, and Suran’s laidback vocals create the relaxed atmosphere perfect for summer. The song takes its time moving from moment to moment, hard to be sure if we have entered the chorus or if it just happened already. While I like how this fits with the mood of the song it does nothing to the genre. It feels like just another entry in the already full trop-house when someone like Suran could have done something interesting to reinvigorate it. There are snippets of new ideas, like the auto-tune before the chorus, which threatens for a moment to upend what we know about songs like this but in the end all we get is a well produced but uninspired song.

Also on KultScene: Weekly K-Pop Faves: August 1-7

”Lip 2 Lip” by Nine Muses A

Star Empire have probably been feeling Nine Muses’ popularity slip for a long time. Now that they lost another two members it really seems like they’re on the way out. So it makes sense for them to try something a little different with sub-unit Nine Muses A. Their single “Lip 2 Lip” doesn’t go for any new concepts opposing the original Nine Muses. But what we do get is some classic pop.

“Lip 2 Lip” isn’t particularly catching at first listen. It’s a relatively safe song choice with little surprises. It is well produced by Star Empire regular Jeong Changuk, with bursts of synths and backing band. The sounds work best on the song when either of these are taken leaving only one, especially for Sojin’s rap which just has the guitar, bass, and drums. It lets her bring her whisper up to a confident breathy tone. Transitioning directly into Kyungri and Keumjo’s duel verse also works really well. Both their voices combine for the most satisfying part of “Lip 2 Lip.” I also like how it escalates before slowing down for the bridge. Postponing the valley for a moment makes it work all the better as it winds down for a great conclusion.

Lyrically it’s fun too with the girls professing their love for a boy that’s not exactly typical. This is best articulated with Keumjo’s simile, “You’re like a rugby ball” (as she holds an American football in the video). Sojin’s mentions of black and white holes also conjure interesting images.

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

”Tonight” by Up10tion

Of all the rookie boy groups out there in the past two years, Up10tion are one of the few that have caught my eye. Their debut “So Dangerous” was okay and their follow up “Attention” was great but both times they showed invention in their choreography. With their latest track, “Tonight,” they have gone the cutesy boy route, similar to fellow rookies Astro and A.Cian. This concept is one that I can rarely get into. I can’t seem to ever put my gender bias to the side with tracks like this as they always feel awkward and a bit sad to be honest. There are times when a group can get past thatthrough sheer energy and fun. This is one of those times.

“Tonight” is an attack of bright brass and strings. It shines at every moment from the extended intro to the raps, which even with the deeper voices don’t sound out of place. It’s cheesy and energetic, exactly what a song like this should be like. It’s a testament to their talent that they can deliver a song like this so well despite their tough guy origins and not fall into embarrassing territory. It’s something few others have transitioned to as well. While not at the level of Seventeen yet, Up10tion are one of the only lesser known groups threatening more popular acts with quality rather than just a rabid fanbase.

Which of these songs do you like best, “Paradise Go” by Suran, “Lip 2 Lip” by Nine Muses A, or “Tonight” by Up10tion? Share your thoughts in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.

Unicorn’s “Unicorn Plus: The Brand New Label” Album Review

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Unicorn
The life of a fan of obscure K-pop girl groups is a dangerous one. The fear that they may never come back or in case they do, it’s with members you don’t recognize (either thanks to plastic surgery or new members) is constant. Then again, there is nothing like the feeling of finding a snippet of new music after months of trawling through forums, google translated fan cafes, and defunct instagram pages. The latest of my flop faves Unicorn recently brought me that sweet relief. They, like many before them, lost member Winnie due to bad health, and have switched companies (from Show Brothers to Cartoon Blue). Whatever the music turns out to be like, that company switch has at least given us an iconic album title, “Unicorn Plus: The Brand New Label.”

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“Unicorn Plus: The Brand New Label” starts like many other K-pop albums with one of my favourite motifs: album intros. These usually work well in not only being a primer for the whole album, but as abstract musical pieces by themselves. Unicorn’s here does well to move them away from their edgy cuteness to a more chaotic sound. Fidgety electronics beep and crash among beautifully affected vocals. May not be as inspired as other intro classics, but is effective as it is.

It also transitions perfectly into lead single “Blink Blink.” The song is a type of production that suits Unicorn really well. It’s taken directly from SM’s school of weird bubblegum pop where f(x) and Red Velvet studied so well. It combines marching band trap beats with sporadic horns and unwieldy synths in the chorus. It’s something that time and again should not work but just does in “Blink Blink” thanks to expert work in structure. Expertly simple, really, since anything other than the standard pop formula would have distracted extraneously. The highlight is the pre-chorus with its double barrel vocal style. Both vocals are sweet and rousing in a way that sets up the at once twinkly but banging chorus.

Even at that, however, it is lacking overall compared to SM’s girl groups. That’s what girl groups like this are for sometimes, showing us how lucky we are for all girl groups. Unicorn still did a great job, and the best part is maybe the video, which is appropriately seizure inducing and kaleidoscopic.

The following track — again — could also be seen as generic of the current pop climate. “Sun Shower” opens with verse of synths that sound exactly like a less tropical “Work From Home” and not as a way of distancing, but only because they were probably too cheap to recreate them well. These big EDM tracks are all about the chorus though, and that’s where Unicorn soar. The song drops into a sea of floating synths that have a scuzzy edge Crystal Castles would be proud of. The girls shout rather than sing in a moment of great sincerity. EDM tracks like this work best when those feelings of joy burst out.

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You know an album is good when groups replace the mandatory ballad album filler with an upbeat groove. Unicorn’s is “I Need You Tonight,” a smooth jam mixing guitars and synths for a late night opine. The verses combine breathy vocals and incisive raps to great effect, giving us a two sides to this song, the desperate and the forceful.

It’s great to have Unicorn back, especially with good work like this. It repurposes a bunch of popular sounds to fit their sort of cute kind of manic style. None of it is particularly original, but it each song works and is a lot of fun. Vocally, the girls are at their best, with each chorus showing a different side to them. Of course, the best thing about it is that it exists in the first place. My hunger has been satiated for a moment, but it won’t last long. Now where is that new D.Holic video?

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