Entertainment Archives - Page 10 of 42

‘Age of Youth’ is the sweetest, most realistic, & most underrated K-drama of 2016

August 26, 2016/in Entertainment, Television /by Tamar Herman

Watching a K-drama is typically a lot of fun, whether they’re feel-good romances or haunting melodramas. But over the past few years, there has been an uptick in Korean television shows whose sole purpose is to highlight the feelings of a generation. The Answer Me and School (sans perhaps the last 2015 installment) are two such series praised for their capacity to make the audience recognize the trials young people go through. JTBC’s soon-to-be-ending drama Age of Youth strives to do the same, but rather than focus on a generation, it emphasizes the stressors in the lives of young women modern day Seoul and South Korean society as a whole. It does such a phenomenal job that it’s going to be depressing come the award season when Age of Youth will likely be overlooked in favor of bigger budget and high-profile dramas.

Between the superb acting, endearing plotlines, and well-written script, Age of Youth is one of the best dramas South Korea’s seen this year. While high-profile dramas get a lot of attention both locally and internationally, Age of Youth is slowly garnering attention. According to Wikipedia, the show achieved nearly 3 percent of ratings nationally in South Korea during the Olympics, nothing to scoff at. So what’s the big deal and why is this little, 12-episode drama grabbing the attention?

[Disclaimer: Some spoilers are included but no major plot points.]

1. It’s All About The Ladies

These five roommates may not be the best of friends, but they still root for one another through all the ups and downs of the last few months. Have a job interview? Here are some shoes to borrow. (Or not…) Need a drink? We got you, whether you need a raucous party or just to be left alone to nurse your beer and a broken heart. Miss a shift at work? Here are four replacement workers! Break up? We’ll throw you a party! And, my personal favorite, started dating and you’re an innocent cutie (who may not have committed patricide)? Here, have a folder full of porn.

If you’re a fan of K-pop, you’ve probably heard the idea of a girl crush girl group (BlackPink and Twice, anyone?) But Korean dramas aren’t exactly known for their strong, tough “girl crush” characters for women to look up to. Handsome men? Check. More or less independent women who still swoon the minute they see one of those men? Check. But women doing their own thing? Sometimes…? That’s what this whole show is about. The quintet are one another’s cheerleaders, sometimes lovers, and even though there are still misunderstandings the beauty of the show is that the five women truly support one another.

Also on KultScene: Reading The Political Signs of ‘Descendants of the Sun’

2. The Actresses Are All Fabulous

I was a bit doubtful, considering that Age of Youth had no names I recognized except former T-ara member Ryu Hwayoung (who looks a lot like actress Park Shin Hye) and former KARA member Han Seungyeon, who play a high-end call girl and a blinded by love student in an abusive relationship respectively. But all of the stars are phenomenal actors. The viewers will root for the five women, even at their worst. And by worst, I mean when you find out that at least two of the main characters have killed people.

credit DOLLIU on Tubmlr

Han Yeri in particular evokes a sense of sadness even though she has the least lines in the show, but she is such a consummate actress that every movement is full of meaning. And if you don’t absolutely hate the characters played by Ji Il Joo (slimy Doo Young) and Min Sung Wook (the restaurant manager), then you should go back and rewatch because those two actors make it believable that there are such detestable people in the everyday world.

3. No Chaebols

Can it be true??? Chaebols, or the (usually young and handsome) heirs of family conglomerates, often play a role in many popular South Korean dramas. But Age of Youth is almost entirely devoid of this K-drama cliche. Some characters come from wealthier backgrounds or earn more, but overall, most characters are regular, everyday middle class Koreans living in random neighborhoods throughout Seoul. This is a drama so, of course; everybody still has the best phones and looks stylish, but it’s a step in the right direction to make relatable television. It’s clearly one of the best dramatizations of everyday life out of Korea, and the U.S to be honest, this year.

4. It Talks About All The Big Issues

Sex, depression, stalking, murder, death, poverty, finding direction, workplace harassment, and prostitution are just some of the things that Age of Youth addresses.

While many dramas make a big deal of sleeping with someone, in this drama, it just is normal. The budding romance between Park Hyesoo and Shin Hyunsoo’s characters, Eunjae and Jongyeol is sweet and innocent, but the minute they kiss the next question the other girls ask is when they’re going to have sex, no coyishness whatsoever. This is the real world, and these are real young women with desires.

And as for finances, it simply makes sense a few episodes in when the roommates discover one of their peers is selling herself for money; it’s the only way to live fashionably in Seoul. (Some social commentary, maybe?) A recurring theme, several characters encounter situations where they face being forced to reject money in favor of preserving their self-respect. Even debt is portrayed realistically, as something horrifying and life-threatening. And the debt collectors aren’t ruthless gangsters as in most dramas, they’re just guys trying to collect even while feeling bad for harassing a college student to pay for her mother’s mistakes.

5. We’re All People

The first episode gave us a basic introduction through the five women living in the house together. And while it seemed like the story would be centered around newcomer Eunjae, but by the end of the episode the screenwriting enabled viewers to see the point of view of each of the quintet and has since followed that pattern. It was, in essence, a maturing from the typical K-drama trope of following just one or two main characters. Age of Youth is all about the process of growing older through college years, and those few minutes of understanding the other housemates for the first time seemed like the first baby steps that will lead the path to adulthood (which, unfortunately, will likely arrive when the final episode airs this week).

via arangs on Tumblr

Also on KultScene: How effective will China’s ban on K-dramas be?

6. It’s Not Just About Romance

If you haven’t realized yet, this show isn’t the typical K-drama romance. These girls sit around chatting sometimes, do laundry, exercise, play pranks, bicker, date, go to school and work, etc. Thankfully, Age of Youth is filled with young women who are literal Wonder Women doing their own thing and it’s very clear that happiness doesn’t innately mean finding Mr. Right. It’s still a K-drama, so that definitely helps, but these ladies are searching for their paths in life first with romance coming as just one part on a path to self-fulfillment. Even though each of the five women have some sort of loveline, the relationships are used more to depict personal growth and character development rather than the innate goal of this drama.

7. But We’re Still Rooting for Happy Endings

While Age of Youth is atypical for a drama, it will still likely aim for the happy ending trope and that’s not particularly a bad thing. (Although if one of them gets a sad finale… Well, it will just prove how quasi-realistic this show is!).

Even though it’s not all about love, each of main characters are young teens and twenty somethings (the youngest Eunjae is 20 by Korean standards, likely 18 internationally, while the eldest Jinmyung is 28 Korean age/26 internationally) and looking for happiness. For some of them, at the moment that hopefully includes the men who have been cheering them on as they overcome their hardships and for others it means finding out what makes them happy.

Have you watched Age of Youth? Which roommate is your favorite? 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

August 18, 2016/in Entertainment, MUSIC /by Eve Backhouse

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'

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.

How effective will China’s ban on K-dramas be?

August 17, 2016/in Entertainment, Television /by Joan Vos MacDonald

Early in July 2016, South Korea and the US agreed to deploy the US Army’s Terminal High Altitude Area Defense System (THAAD) to the Korean Peninsula as North Korea continues to test launch intermediate-range ballistic missiles. South Korea says it wants the system for protection against North Korean missiles, but China feels the system will be used to spy on strategic Chinese locations. To retaliate for South Korea’s defensive move, China has banned Korean entertainers from appearing in China and banned K-dramas altogether. Enforcing that ban and asking Chinese viewers to stop watching K-dramas may be a bit more complicated than that for a variety of reasons.

It’s hard to know how the Chinese people feel about this ban. China’s state news agency Xinhua said there’s support for the ban because the Chinese love their country more than they love K-drama, but Chinese viewers might find it hard to break up with this highly addictive form of entertainment. In some ways, the choice forced on viewers can be compared to that much loved K-drama trope: the love triangle. On one hand, there’s a government saying love of country comes first. On the other, there’s hyper-addictive entertainment with attractive stars that has won Chinese hearts. Who wins? China’s government may want to take note. In k-dramas the female lead usually chooses the more attractive and charismatic alternative.

The popularity of South Korean entertainment media in China has never pleased the Chinese government. Every new K-drama success prompted a warning from the government. When the recent drama Descendents of the Sun hit over 400 million views, the government issued a warning saying that “watching Korean dramas could be dangerous, and even lead to legal troubles.” While that particular statement did not explain what those “legal troubles” were, dramas reportedly caused a pregnant Chinese woman to almost miscarry after bingeing on the fried chicken consumed in the drama “My Love From The Star” and another young woman to develop glaucoma after binge-watching a drama.

Also on KultScene: 5 Things To Know About ‘Uncontrollably Fond’

The government has long decried the values K-dramas depict; values that are more in line with capitalist countries, such as the U.S., and cautioned citizens against their not-so-subtle influence. Following the recent political defense move by South Korea, the Chinese government decided to ban appearances by Korean drama and K-pop celebrities.

For starters, Chinese viewers have become used to Korean content. By 2006, Korean dramas already accounted for more of the programming on Chinese television than any other foreign programming and the demand continued to grow. This, in part, is why China’s political advisory body, the Chinese People’s Political Consultative Congress (CPPCC), held a meeting in 2014 to discuss the dangerous appeal. The focus? Why could the Chinese government not make comparable television dramas that appeal around the globe when China had long considered itself the standard bearer for Asian culture.

While the Chinese government and industry pondered the question a lot of money left China earmarked for Korean entertainment companies and the makers of the products promoted in them. As successive dramas aired, the price for episodes went up, funneling even more Chinese money to Korea. The YSL lipstick shade worn by Jun Ji Hyun, star of the 2014 drama You Who Came From The Stars, sold out almost immediately. Chinese imports of South Korean beauty products doubled in 2015. Moreover, increasing numbers of Chinese tourists traveled to Korea to visit drama sites, including “You Who Came From The Stars,” often outnumbering Korean tourists at the same sites.

Doing business in China was profitable for the Korean entertainment community, which increasingly catered to fandoms there. The variety show Running Man made more money from the sale of copyright for the Chinese version than it did domestically. The casting of stars in K-drama or variety shows was influenced by their popularity in China. For example, Park Hae Jin was a smart casting choice in Cheese in the Trap not only because he was right for the part, but also due to his huge following in China.

During the last decade more Hallyu actors appeared in Chinese dramas and Chinese actors became more common in Korean dramas. Dramas such as Descendants of the Sun, starring Song Hye Kyo and Song Joong Ki, and Saimdang: The Herstory, starring Lee Young Ae and Song Seung Heon, were filmed completely in advance, partly to make it easier for Chinese censors to screen out sensitive material that might offend Chinese audiences. Censorship is a must when dramas air in China. For example, Doctor Stranger had the North Korean segments removed before it could be shown in China, as the government supports the North Korean regime.

The Chinese government also wanted some of the K-drama revenue to stay in China, insisting that Chinese companies had to invest in or co-produce any dramas that could be shown there. As a result, Seoul and Beijing signed a Free Trade Agreement in June 2015, and Chinese investment in the entertainment industry surged to $86 million in 2016. That’s a considerable amount of Chinese money entangled in the future of K-dramas, especially considering that future may be uncertain.

After the Chinese government threatened to ban Korea’s pop stars and actors, China’s Morning Post newspaper quoted industry experts saying that they were told to postpone any plans for new programs that involve South Korean stars or copyright for South Korean shows. Additionally, appearances by Korean stars were immediately canceled, the first being events for Uncontrollably Fond stars Kim Woo Bin and Suzy Bae and Park Bo Gum of Reply 1988. Song Joong Ki, the star of Descendents of the Sun, has seen his ads removed from China’s smartphones. The smartphone company Vivo cited “unavoidable circumstances.”

So what does that mean for Korean-Chinese productions? According to the American entertainment publication Variety, Chinese-Korean co-productions and talent are to be restricted, but shows already being filmed and aired may be exempt. However, there are Korean stars appearing in Chinese productions. Ji Chang Wook and Yoo In Na are currently working in China. Actor Ji Chang Wook stars in the Chinese drama Whirlwind Girl 2. Rumors spread that it was taken off the air but on August 2, his agency Glorious Entertainment denied those rumors saying that the program still airs. Yoo In Na is currently filming a Chinese period fantasy drama titled Love Weaves Through A Millennium 2, a remake of her K-drama Queen In-Hyun’s Man. Production did stop briefly after the announcement, but Yoo In Na’s agency, YG Entertainment, cautioned jumping to a conclusion. There has been no announcement that the show will be cancelled.

Also on KultScene: ‘Cheese In The Trap’ & ‘Answer Me 1988’: tvN’s 2nd Male Lead Problem

As for films, The Korea Times reported that Lee Min Ho’s film The Bounty Hunter grossed $29 million since its Chinese release in July. Will Korean films face the same restrictions and will Chinese audiences be ready to skip the next drama of the megastar so many fans love? That remains to be seen.

One thing is sure, however. The ban will hurt the bottom line at Korea’s entertainment agencies. China is the biggest foreign buyer of Korean cultural content. No sooner was the ban announced than stock in Korean entertainment companies dropped, although since then some companies have recovered slightly.

South Korea is not likely to withdraw from THAAD, so China may find it difficult to rescind its ban. The government has drawn a line in the sand and it may be a line that some Chinese viewers are tempted to cross; a ban on the Hallyu could backfire by making K-dramas seem even more appealing. Will more Chinese drama lovers travel to Korea more often to see their favorite stars or possibly find new viewing sources to satisfy their drama fever? After all, K-dramas are a hard habit to break.

What’s your take on the Chinese ban? 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.

Artist Spotlight: D.Holic

August 16, 2016/in Entertainment, MUSIC /by Joe Palmer

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.

Also on KultScene: 8 misheard K-pop lyrics pt. 6

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.

Also on KultScene: Artist Spotlight: 4Ten

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.

8 misheard K-pop lyrics pt. 6

August 15, 2016/in Entertainment /by Alexis Hodoyan-Gastelum

As long as K-pop artists put out music, the chances of foreign fans mishearing the lyrics are large. We’ve talked about it in previous installments: we think a certain line is in English, but it’s actually Korean, or it’s the other way around. Either way, in most cases, it makes for a funny experience. So let’s do this one more time and list the latest misheard lyrics.

1. “1llusion” by Dok2

What we heard: “Is it Ilsan? Is it really Ilsan? Let me know it’s Ilsan if it’s really ill”
What it says: “Is it ill son? Is it really ill son? Let me know it’s ill son if it’s really ill”

tara t-ara kpop gif confused misheard lyrics

via imlikesoblonde

2. “Knock Knock” by I.O.I

What we heard: “Knock knock knock knock”
What it says: “Tok tok tok tok”

via lotsofkpopgifs

Also on KultScene: Fave songs performed at Dok2 & The Quiett’s NO RE$T Los Angeles stop

3. “RE-BYE” by AKMU

What we heard: “It’s ok”
What it says: “Iksukhae”

wu yifan kris confused gif misheard kpop lyrics

via lotsofkpopgifs

4. “Symptoms” by SHINee

What we heard: “Chillin’… Chillin’”
What it says: “Gipsugi jjillin … jjillin”

confused kpop gif annoyed misheard kpop lyrics

via lotsofkpopgifs

5. “Bang Bang Bang” by BIGBANG

What we heard: “Come on donkey”
What it says: “Geomeun dokgiui”

confused gif misheard kpop lyrics crayon pop

via pandawhale

6. “She Is” by Jonghyun

What we heard: “I like this bitch”
What it says: “?????”

confused tiffany snsd girls generation gif miseard kpop lyrics

via aminoapps

Also on KultScene: The Big Three: K-Pop Record Label Mid-Year Review

7. “Artificial Love” by EXO

What we heard: “She don’t love me naked, artificial love”
What it says: “She don’t love me, naegen artificial love”

shocked siwon super junior gif misheard kpop lyrics

via Tumblr

8. “Pick Me” by I.O.I

What we heard: “Pin me pin me pin me up”
What it says: “Pick me pick me pick me up”

via lotsofkpopgifs

What are some of your misheard K-pop lyrics? Share them with us 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.

[Renders: Michelledae, Charley1990B, hyukhee05, Leeeunki29]

Intro to BlackPink

August 12, 2016/in Entertainment /by Kushal Dev

It’s been years in the making, but YG Entertainment’s newest girl group is finally here! And only days into their debut, BlackPink is already proving to be a formidable force in the world of Korean girl groups. As fans swarm to YouTube and other media to watch the videos and listen to the music, let’s go into the basics of BlackPink’s history, formation, and members. If you didn’t know much about the girls before the release of their songs “Whistle” and “Boombayah” a few days ago, you’re in the right place to learn more.

The announcement of a new group from YG dates as back as far as 2011, when the label announced that a girl group reminiscent of Girls’ Generation would debut in the following year. In 2012, YG Entertainment began teasing the possibility of not one, but multiple girl groups debuting under the agency, becoming sister groups to the explosively successful 2NE1 and BIGBANG. It came down to two groups, the first being SuPearls, which was composed of four strong singers aiming to release vocal-oriented music instead of the typical K-pop sound and singing skills. This group was supposed to have current YG soloist Lee Hi as a member, among three other vocalists from “K-pop Star 2.” Without much more detail, YG revealed plans to debut another girl group before 2012’s end alongside SuPearls. The stage was set for these girls about four years ago, but as we can see, they didn’t take the stage until much later.

Also on KultScene: Fave songs performed at Dok2 & The Quiett’s NO RE$T Los Angeles stop

Clearly, YG faltered on its 2012 plans — SuPearls was disbanded before debut, leaving Lee Hi to take the stage on her own, and the other new girl group was nowhere else to be seen. That is, until CEO Yang Hyun Suk reopened the possibility of the girl group debuting in 2013, but failed to happen as well. 2014 saw another such announcement, and more discussion of the girl group resembling SNSD, only to let fans down once again as both 2014 and 2015 passed with no formal debut.

But as the years went on, we weren’t entirely clueless about the girl group. If there was one person a YG fan could have guessed would be a BlackPink member, it’s Jennie Kim. Her name was all over YG releases between late 2012 and early 2013, when she featured on G-Dragon’s “Black,” Seungri’s “GG Be,” and Lee Hi’s “Special.” Whether it was rapping or singing, it was pretty clear that Jennie Kim was being prepared for debut, no matter how long it would take. Member Rosé underwent similar preparations, even though she wasn’t directly named in her feature on G-Dragon’s “Without You,” (instead, she was called “? of YG New Girl Group” for the better part of four years). As this was happening, members were being repeatedly added to the girl group and cut. It seems that, considering the intended connection to Girls’ Generation, that YG desired to debut a girl group much larger than 2NE1, probably closer to GG’s nine members than 2NE1’s four.

As time went on, however, Yang Hyun Suk and the rest of YG management must have changed their minds, because BlackPink in its final form consists of only four members. Only two months ago, YG reported that a fifth member would be revealed, only to later take back that announcement and go forward with a four-member girl group. What prompted the last-minute switch? We don’t know for sure, but recent trends in girl group debuts might have played a role in the decision. Given that TWICE, Gugudan, DIA, and I.O.I, among other girl group debuts these past two years, contain in excess of seven members, going with only four members gives the girl group an immediate edge — they stand out simply because they’re different in size. And, of course, it gives YG room to plan another girl group in the near future.

And finally, we have BlackPink. It took five years since the initial announcement, but YG’s next girl group is finally here. To go on further, let’s discuss the four members.

Also on KultScene: Inside KCON 16 LA

Jisoo is 21 years old, and is the only member of BlackPink to have been both born and raised in South Korea. After training for over five years, she takes her place as the main visual and a vocalist in the group. Before BlackPink, she appeared in multiple CFs in addition to Epik High’s music videos for “Spoiler” and “Happen Ending.” With a pretty face, she serves as the group’s face, a role very important to the popularity of some K-pop groups (see: Yoona of Girls’ Generation, Nayeon and Tzuyu of TWICE, Suzy of Miss A, etc.).

At 20 years old, Jennie Kim is the member we all expected to see among BlackPink’s final lineup. She serves as the group’s main rapper, while also covering vocal and dance sections as well. As previously stated, she has demonstrated her talents in previous YG releases leading up to her debut. She boasts experience with English and foreign cultures, as she is from the Netherlands and has studied abroad in New Zealand.

Rosé is the group’s main vocal, another English-speaker who comes from Australia. At 19 years old, she shows strength in both her dance and singing, which is not surprising given her four years (at least) of training at YG. As previously stated, her feature in G-Dragon’s “Without You” served as the main precursor to her group activities.

Last but certainly not least is maknae Lisa, who comes from Thailand. At 19 years old, she is the group’s main dancer, second rapper, and vocal. Her Thai ethnicity makes her the first YG idol to be entirely non-Korean, and her exposure to different cultures has clearly benefitted her understanding of language, as she can speak English, Korean, and Japanese in addition to her mother tongue. Prior to her five year training period in YG, she was part of the Thai dance crew “We Zaa Cool” alongside GOT7’s BamBam. She made appearances with YG’s NONA9GON brand in the years before her debut.

What do you think of BlackPink? 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

August 8, 2016/in Entertainment, MUSIC /by Joe Palmer

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.

The Big Three: K-Pop Record Label Mid-Year Review

August 3, 2016/in Entertainment /by Kushal Dev

Whether you’re an Inspirit, Pink Panda, Blackjack, S<3NE, B2UTY, or anything in between, you probably know the names of some of K-pop’s biggest record labels. From SM to YG to JYP to Cube to others, each label plays a huge role in the present and future of K-pop’s stars and the industry as a whole. And every year, some labels grow in power while others get closer and closer to obscurity.

Halfway through this year, some labels have tons to work on, while others are definitely killing it. Let’s take a look at some of K-pop’s biggest record labels and talk about their strengths and weaknesses from throughout the year. The evaluation will be based on the following five categories: Artist Management, Artist Popularity, Music Quality, Music Popularity, and Overall Success. For the first part, I’ll be discussing SM Entertainment, YG Entertainment, and JYP Entertainment, affectionately known as the Big Three labels. With the biggest overall success, popularity, market share in some areas, these companies are on a separate level than other labels, and therefore deserve an article of their own.

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

SM Entertainment

The worldwide leader of K-pop entertainment is still thriving. With major artists like EXO, Taeyeon, Red Velvet, and more leading the first half of the year, SM has clearly spared no expense in maintaining its seat on the throne for K-pop kings and queens. It seems like every week or two brings a new album release out of SM, along with actual weekly song releases through SM’s ambitious STATION music project. Collectively, the frequency and efficiency with which SM releases are things other labels can only dream of emulating.

And with that, there’s an emphasis on solos and subunits. So far, we have seen solo releases from Taeyeon, Tiffany, Jonghyun, Taemin, Yesung, Ryeowook, Luna, Amber, to name a few, with rumored solos in the works for Seohyun, Yuri, and Onew. The amount of fanbase power that each artist, whether in solo, subunit or full-group releases, ensures SM’s continued relevance and money-making abilities. Each mini-album sells a few ten-thousand albums and brings the label more profit. Artists are also receiving more creative freedom, with SHINee members Taemin and Jonghyun having extensive control over their own solo releases. With Taemin, NCT’s Ten, and Hyoyeon all participating on Mnet’s “Hit the Stage” in addition to tons of schedules for non-enlisted Super Junior members, Girls’ Generation members, and f(x) members, it seems SM is also doing a good job of keeping its artists within the spotlight.

SM’s only major weakness this year, however, is completely self-inflicted (and also very noticeable). With minimal promotion for some solo releases and a seemingly compulsive desire to dive into alternative and electronic genres, SM is losing the Korean crowd on digital charts. EXO’s “Call Me Baby” made #2 on 2015’s First Half-Year Gaon Chart, proving that “Call Me Baby” was a strong and popular release throughout and beyond its promotion cycle. On 2016’s Half-Year Chart, the highest-charting SM song is “Everytime” by Chen and Punch at #11. This song wasn’t even part of SM’s promotions, as it was part of the “Descendants of the Sun” OST. Aside from a few STATION releases that went without promotion on music shows and 2015’s “I” by Taeyeon, the only SM song in the Top 100 that was actually promoted this year is EXO’s “Monster,” which sits at #100. Clearly, SM is taking horrible losses in the digital market.

It seems, however, that SM knows their songs aren’t demolishing the charts, and seems to value the quality and quantity over digital success and public popularity. While it might be frustrating seeing our faves so low on the charts, SM seems to have an agenda — even with new group NCT, which is aiming for world domination. We’ll just have to wait to see more of what SM is planning. The only other weakness is scandals, which have hurt artists like Krystal, Kai, Victoria, Lay, and Zhoumi. Since we have yet to see the full effect of these scandals in the context of a musical release (except for Zhoumi, but there aren’t many negative effects since he was never super popular in Korea to begin with), these scandals are still only minor losses for SM.

For the first half of 2016, they get a solid 8.5/10 from me.

YG Entertainment

Angry fans everywhere can tell you that YG is slacking. The once-great label was home to domestic and international chart-topping groups, with huge fanbase power in tow. Now, it’s another story, and YG is entirely to blame for its mistakes. As expected of a group with ten years under its belt, BIGBANG is slowing down with releases, especially considering the fact that none of the five members have enlisted in the military yet. As a result, we are left with the remains of 2NE1, which continues on a downward spiral of mismanagement, and newer artists like WINNER, iKON, Lee Hi, AKMU, and, originally “by the end of July” now August 8th, Black Pink. These artists are by no means bad, but YG fails to give them the proper management to make them succeed. They still don’t make many TV appearances, and have huge hiatuses between comebacks. Lee Hi lost a lot of traction and momentum once YG delayed her comeback for over three years — WINNER had a similar situation, waiting over a year for a comeback as well.

This isn’t to say that YG doesn’t have some successes this year — while many say that WINNER’s comeback was a failure, this isn’t entirely true, as their one mini-album yielded three top ten singles this year. Lee Hi shot the same number of songs to the top ten with her album “Seoulite,” and Akdong Musician achieved a number-one hit with the catchy “Re-Bye.” Even iKON got into the top three without any promotion with “#WYD.” Not everything is in shambles for YG, as their newer artists are clearly decently popular, but there’s definitely a lot to criticize.

Let’s look at the current situation — 2NE1’s three-member summer comeback is nowhere in sight, WINNER’s E.X.I.T. series, which was supposed to yield four albums throughout the year, has only seen one album release with the year’s seventh month having come to a close. iKON’s July comeback never happened (aside from a few random singles), BIGBANG’s MADE album from last year is still lost in the void, and only the next week will be able to show us whether YG actually puts out Black Pink on August 8th like the company is saying. It seems the only good things about YG this year are the quality of the music (even though it takes an eternity to be released) and sub-label recruitments from HIGHGRND and The Black Label. On the whole, YG gets a 4/10 from me. Burn.

JYP Entertainment

Arguably the most successful label of the year, JYP has made quite a comeback of its own. I love a good underdog, and seeing JYP rise from the ashes of its pre-2015 decline has been quite exciting. With the explosive success that is TWICE, the label is definitely raking in the dough this year. Based on further analysis of the Gaon Chart, it’s evident that TWICE’s second mini album “Page Two” has already sold more than any previous Wonder Girls or Miss A album, and TWICE’s two mini albums have, in less than a year, collectively outsold the entirety of Miss A’s discography. With tons of CFs and variety appearances in tow, TWICE has clearly given JYP new life.

But TWICE isn’t JYP’s only success this year. With successful releases from Baek Ah Yeon, Baek Yerin, and Wonder Girls, the label is a huge success in terms of musical and artist popularity this year. Wonder Girls is an especially large win, considering that the group was in danger of becoming irrelevant after last year’s “I Feel You.” Through “Why So Lonely”’s breakthrough success (the song still tops charts almost a month after release), Wonder Girls have proved the resilience of both their group and their label. JYP teaches us all that a label is truly successful when both its older and newer groups can make waves in the K-pop world.

Along with profits piling in from TWICE, GOT7, and a successful Japanese release from 2PM, JYP is killing it in all aspects of success. It’s also definitely notable that its artists are being promoted well — many are given creative freedom, constant releases, and stable promotion. Each TWICE member has made upwards of seven or eight variety appearances since debut. While Tzuyu and Sana are currently the most popular members, JYP is taking the time to bring Jihyo and Momo some attention as well, given their recent appearances on shows like “King of Mask Singer” and “Hit the Stage,” respectively.

Keeping all of this success in mind, JYP has taken a few hits this year, specifically in GOT7’s scandal and Fei’s recent solo release. While GOT7’s controversial actions definitely hurt their reputation in Korea and possibly abroad, the group still has a lot of room for upward advancement, given their increasing sales and ability to tour worldwide. Fei was never incredibly popular, and her recent support of China in the South China Sea dispute has really hurt her Korean reputation as well. The result was catastrophic — the single fell off of most charts within a day of release. Recognizing these minor losses as nothing more than, well, minor losses, JYP gets a stellar 9.5/10 from me.

Also on KultScene: An Ode to SHINee on the Eve of KCON LA 2016

And that wraps up the Mid-Year Review of the Big Three. For the first time in years, it seems like JYP has become the overall best label of the year so far. We can only hope that their success continues, while praying that SM can get themselves a hit or two before the year’s end and that YG lives up to at least a fourth of its promises.

The ranking is as such:

JYP Entertainment — 9.5/10
SM Entertainment — 8.5/10
YG Entertainment — 4/10

What do you think of the Big Three so far this year? 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

August 2, 2016/in Entertainment, MUSIC /by Joe Palmer

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.”

Also on KultScene: An Ode to SHINee on the Eve of KCON LA 2016

“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.

Also on KultScene: The Other Top 10 Korean Songs of 2015

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.

Fei’s “Fantasy” Music Video & Song Review

July 22, 2016/in Entertainment, MUSIC /by Joe Palmer

Many Chinese K-pop stars have been hitting the headlines lately for their public statements in protest of rulings made against China’s claim to large parts of the South China Sea. The ins and outs of this don’t interest me too much but it’s interesting to see the effect that it’s having on miss A’s Fei and her solo debut. It’s likely these idols (f(x)’s Victoria, Fiestar’s Cao Lu, and Super Junior-M’s Zhoumi along with Fei) were just hoping it would help their chances of expanding into the Chinese market and avoiding a Tzuyu-sized scandal. Korean fans however, have not reacted well and Fei’s debut single “Fantasy” is charting terribly likely because of it.

Letting politics get in the way of an actually important topic like pop music is only hurting the fans themselves however. “Fantasy” is the most sensual release of the year and has a video bursting with sexuality like we have maybe never seen in K-pop before. You’d be a fool to ignore it.

Song

Written and produced by Park Jin Young with help from the brilliant Marcan Entertainment team of producers, Denzil “IDR” Remedios and Ryan S. Jhun, “Fantasy” is a subdued mix of glittering synth pop and lush R&B. Dreamy crystal synths reverberate throughout over a beat that can barely even be called a beat: it’s a variety of 808s that tumble in and out without drawing too much attention to themselves. They create the languid atmosphere that pervades “Fantasy.” It shimmers slowly across your mind, implanting different feelings with every listen.

Also on KultScene: “Let’s Fight Ghost” Diverges From Previous Ghost Dramasc

The structure does nothing to alter this atmosphere. “Fantasy” moves from verse to chorus with little caution, maintaining the sexual energy rather than bringing things up a level. This lack of movement does not hamper the song in anyway. The second verse and bridge add serumbal sounds to keep things interesting. Fei is taking her time to seduce you. Her breathy vocals ls iin verse turn to sensual opines in the chorus and finaly, a climatic moan in the bridrige-a perfect slow burning progression of sexual possibilities.

The lyrics play up the sexual elements as Fei is a woman ready to fulfill the fantasies of her lover. “I’m your girl now, You can tell me your hidden fantasies” she whispers in the verse. It’s hard to see where “Fantasy” falls in terms of being a positive or negative song for female sexuality. Lyrics like “I’m your girl now” and “I made up my mind” suggest a submissiveness that she is almost being coerced into this by the man. Yet she also takes quite an active role, telling him not to hesitate and to tell her all his fantasies. Even in these more active parts however, it is always in service of the man, “I wanna do everything for you tonight.”

Music Video

As a male I can’t really say whether or not it is ultimately offensive to women. What I will say is that it is an interesting new angle when considered alongside the video. It takes the fantasy to literal levels as Fei plays a digital sex worker, specifically a Virtual Reality sex worker. As a male, I would be lying if I said I hadn’t been on sites similar to https://ehocams.com/ to watch some cam girls and I know that they are getting increasingly popular these days. And now with VR, there are even more options for people. Considering the sexual nature of the music, it doesn’t surprise me that the video goes down this route.

A man sits down in a dingy neon lit backroom as a woman puts VR goggles over his eyes. As soon as they are on him he sees an underwear clad Fei with her hula-hoop. Whether the hula-hoop is merely a prop for her dancing or a particularly female symbol for her openness to any of his fantasies is unclear.

What’s really interesting is how the camera depicts this sexual digital world. I don’t know if it’s just me but there seems to be a lot less close ups in this video than most K-pop videos that feature the artists. It isn’t until around the one minute mark do we get a good look at Fei’s face and even then we might be slightly distracted by her new Day-Glo orange hair. Most of how we see Fei is in wide or medium shots where her body (always in some sort of underwear) is emphasized. For the VR viewer, this disconnects the person who owns this body from herself. He can watch and take peasure without thinking about an actual person as she has become an object, a fantasy. It’s clear a lot of people enjoy VR porn and it’s allowing people of all ages to explltSce: miss A “Only You” Music Video & Song Reviewc

Aesthetically this is enhanced by a weird digital sheen. The quality seems to have been deliberately made worse for the parts when Fei is dancing in her synthetic realm. It gives the viewer a feeling of discomfort, that maybe we are not supposed to be watching this let alone taking pleasure out of it. Reality is being distorted just enough for us to see the falsity yet not enough for us to stop. In a rare clear shot Fei, lit by a single light, lounges on a bed looking directly into the camera. It is the most brazenly pornographic image in the video. It’s almost like something you’d see on somewhere like twinkpornvideos.xxx, that’s how extreme we’re talking. Its clarity is disturbing in comparison to the previous shots and the POV element brings the viewer right into the action, making us complicit.

The final part of the video uses similar techniques to deliver the conceit. The man takes off his goggles seemingly finished with his viewing but Fei then buffers into his view in real life. She continues her dance as he watches mesmerized and then starts to walk towards him, takes off her top and leans in to kiss him. It then cuts to directly to a red title screen with the name of the song, “Fantasy.” It seems like Fei is coming to life in order to be with this man, a conclusion that would be disappointing normally. The camera tells a different story though. As she dances Fei is shot in the same style as before. Wide shots that offer no intimacy. More telling is how these were (I think) shot with a lower frame rate which is what makes it look like it’s skipping a bit. Our view is of the real world but the Fei that is dancing before us is definitely not real. This is the danger of porn and virtual sex. For the viewer, the person he watches on screen becomes indistinguishable from real life people. Either he can only find pleasure in the virtual or he starts to expect real people to act like his virtual loves. He expects them to fulfill everyone of his fantasies without hesitation.

Overall

2016 has been a bumper year for female soloists with Taeyeon, Luna, Hyomin, Hyosung, and more. They have released a large variety of great tracks all showing a great maturity in their individuality. Like most of them however (except Taeyeon), Fei is proving to be less than popular with the public. This is a great shame considering “Fantasy” biting thesis on modern sexuality, as well as being a beautiful slow jam. Its charms don’t end there also as the choreography makes use of hula-hoops and backing dancers in really interesting ways. Slip into Fei’s “Fantasy” for the future of sex.

What did you think of Fei’s “Fantasy”? Let us know in the comments below. We’d love to hear you thoughts and don’t forget to follow us on Facebook, Twitter, Instagram, Tumblr, and Bloglovin’ so you can keep up with all our posts.