During the first few frames of “Let’s Fight Ghost,” starring 2PM’s Ok Taecyeon and Kim So Hyun, it seemed as if the drama might be haunted by the past of other recent tvN spectral dramas, like “The Master’s Sun,” Oh My Ghostess,”and “Who Are You.” The dramas set the bar for spooky tVN shows as they featured plenty of gloomy ghosts and star-crossed supernatural pairings. But “Let’s Fight Ghost” takes a different horror rom-com angle; a lighter, leave-you-grinning take on the veil between life and death.
Taecyeon plays the part of a college student well, but then it’s the right kind of role for him. The 2PM rapper has a boyish, wide-eyed charm that makes him a likable if not nuanced actor. He always seems slightly embarrassed that anyone has asked him to act, but his earnestness and charismatic smile are seductive. He’s appealing enough as a character who’s hired to take out ghosts — a sort of supernatural fixer or gangster ghostbuster. As an actor, Taecyeon knows his way around ghosts. It’s not his first drama dealing with them firsthand: he played a supernaturally challenged detective in “Who Are You?”
Here Taecyeon plays a main character who sees ghosts just like Gong Hyo Jin’s character in “The Master’s Sun.” But in this ghost story, the person who sees spirits is a man with his fists up rather than a tormented woman trying to avoid the apparitions. Rather than trying to run from the specters, only to eventually be scared into carrying out their mission, Taecyeon’s ghost visionary both seeks out and literally knocks ghosts out into submission. And, unlike So Ji Sub’s ghost-repellant character, Taecyeon’s love interest does not make ghosts disappear. Instead, she’s a ghost in her own right.
That’s where the star-crossed lover part comes in…
It doesn’t get more star-crossed than falling in love with a person who is not alive. It rarely works out well, even in K-dramas. Yes, Park Bon Pal, Taecyeon’s character, can see and talk to Kim Hyun Ji, the spectre played by Kim So Hyun, but the relationship is likely doomed by her lifeless state. Kim Hyun Ji’s lack of physical substance will definitely make it hard for Park Bon Pal to introduce her to his friends and family. Admitting that he was dating a ghost might qualify him for some extensive therapy.
And as for the relationship, Taecyeon and Kim So Hyun seem well matched in energy. He’s actually a decade older than the child actress, but she qualifies as his acting senior, since she debuted 10 years ago while he’s only been acting for six. The drama explains their age disparity by saying she’s been dead for a while so that she is actually older… Dead years apparently count…
Actress Kim So Hyun is always appealing in fresh wholesome way, but this time, she plays a sassy student ghost eager to be kissed. Kim’s Kim Hyun Ji can’t remember her former life and is somehow convinced that kissing Taecyeon’s character will help restore lost memories. One of the actress’ last roles was playing twin students in “Who Are You: School 2015?” What this role lacks in complexity, compared to her character in “Who Are You: School 2015,” it makes up for with sheer sassiness. And Kim seems worlds older. At 17, this actress is no longer a child but becoming a beautiful and flirtatious leading lady.
Ghost dramas don’t always do well, although “Oh My Ghostess” and “The Master’s Sun” were both successful, ratings-wise. “Let’s Fight Ghost” is more like “Oh My Ghostess,” as the romantic parameters of the plot were well established early on. It’s not as comically tortured nor funnily foreboding as “The Master’s Sun.” The “Let’s Fight” ghosts are frightening, but can be physically vanquished. So far, they don’t expect emotionally wrenching missions to be carried out, no grieving family members to contact, no secrets to reveal.
Kim So Hyun’s ghost is not as quirky as Kim Seul Gi’s virgin ghost in “Oh My Ghostess.” Nor is she as tragic as Ji Hyun’s heartbreaking ghost in SBS’s 2011 drama, “49 Days.” But like both of those ghosts, she has a mission of her own: she needs to revive her memories. And to do so, she only needs to get closer to Taecyeon’s lips. Her past and future depend on the kind of kiss that woke Sleeping Beauty.
So far, “Let’s Fight Ghost” is as fluffy as a dandelion puff and as PG as an after school special, but it’s entertainingly light and silly. The cinematography is quick paced, with a graphic novel feel, and the actors look like they’re having fun. Contributing to the fun are performances by Kim Sang Ho as a has-been exorcist, Lee Do Yeon as a love-obsessed ghost, and Kang Ki Young and David Lee as intrepid ghost hunters and videographers. The tone may change in subsequent episodes, but it’s worth a watch if you are in the mood for an uplifting romcom.
Are you watching this drama? What do you think? Please let us know in the comments 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.
https://kultscene.com/wp-content/uploads/2016/07/Screen-Shot-2016-07-21-at-9.42.51-AM.png536997Joan Vos MacDonaldhttp://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngJoan Vos MacDonald2016-07-21 06:49:432016-07-21 06:49:44“Let’s Fight Ghost” Diverges From Previous Ghost Dramas
Park Dae Min’s latest film “Seondal: The Man Who Sells the River” premiered in Korea July 6th and makes its North American debut on July 15th. The comedy-driven period caper film delivers 121 minutes of face-paced hilarity, a few tide-changing emotional punches, and a hearty cast of characters to drive the straight-forward plot to its fitting end. Director/Writer Park (“Private Eye”) has written a piece that follows the basic layout of the caper film genre. What makes it stand out from the pack is the comedic element and the acting of scene-stealing star Yoo Seung-Ho, whose bold confidence and awareness of nuance creates a memorable character in the form of Kim Seondal/Kim In-Hong.
Spoilers to follow.
“Seondal” is the story of a con man, Kim In-Hong played by Yoo Seung-Ho, who has seen ugliness in his time and decides to live life by having fun. What is fun? Conning the rich, powerful, and not-so-bright of Joseon-era elite out of their inherited riches. Joining him on his adventures are Bo-won, played by the enormously funny Go Chang-Suk, puppy-like Gyun-yi played by EXO’s Xiumin , and chameleon actor Ra Mi-ran as Bodhissattva Yoon. The foursome’s cons are presented in a fluid stream of action. Costume changes flow into one another as In-Hong escapes from those who pursue him, his handsome face accompanied sharing satisfied smirks with the viewers. The con men run through stunning sets and landscapes as they take advantage of the idiocy of the noble class and the gullibility of the chief-of-police.
The major enemy of the film is the governor of Pyongyang province (currently the capital of North Korea) Sung Dae-ryun, played by actor Jo Jae-Hyun who can take any villain on paper and bring him to life in the most terrifying of ways. Jae-Hyun is the only clever opponent the con men have faced and he is to whom they decide to sell the Daedong River.
While most of the cons involve great fun, amusement, clever lines, and wonderful physical comedy, where the film weakens is in the quantities in which they are presented. The first hour is nearly all cons until the sudden catalyst midway through arrives and changes the game for In-Hong. Pacing changes after that, feeling sluggish until the end during the final showdown. What makes up for this sudden shift is the background music. “Seondal: The Man Who Sells the River” makes use of mixing musical genres, including throwing in Bach’s “Air on the G-string,” modern caper film orchestra scoring, and classical/traditional Korean music fusions. Such a combination makes the mood of the film solid no matter how pacing waxes and wanes.
The romantic elements in “Seondal” were off-putting. It felt like it should have been left out. The state of the relationship is dubious in its sincerity and never clearly defined, which slowed the pacing. Luckily, Yoo Seung-Ho is a charming suitor and saved the romantic scenes from entirely flopping.
Although young, Yoo Seung-Ho is a veteran actor whose powerful presence on screen shows both his experience and carefully-shaped raw talent. His comedic skills were nonetheless pleasant surprises after his more serious roles in “Remember” and “Imaginary Cat.” EXO’s Xiumin chose a role that mirrored his bubbly personality to make Gyun-Yi a good character and a great place for the idol to take his first step into the film world. Go Chang-suk was also a pleasure to watch as he bolstered every scene with his energy and he balanced out Yoo well.
Are you planning to watch “Seondal: The Man Who Sells the River”? It will be shown in six North American locations: Los Angeles, New Jersey Atlanta, Dallas, Honolulu, Toronto, and Vancouver. For the full theater list, please visit: http://www.cj-entertainment.com/. Check out the movie trailer for a peek at the zany fun and hilarity:
Share your thoughts about the flim 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.
https://kultscene.com/wp-content/uploads/2016/07/Untitled-design-7.jpg7681024Lisa Espinosahttp://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngLisa Espinosa2016-07-14 08:49:052016-07-14 09:06:05Yoo Seung-Ho Shines in Comedic Caper “Seondal: The Man Who Sells the River”
As every new girl group we see these days seems to be in someway infected by “Produce 101,” the boys are going about business as usual. ‘80s loving Snuper are making their second comeback of the year after their mediocre ode to getting out of the friendzone “Platonic Love.” The other group of boys are the anticipated brother group to MAMAMOO, Vromance. They are debuting with a similar style to MAMAMOO and Hwasa is on board to help out in the video. What I love most about both of these groups is there wonderfully silly names. Snuper is apparently a mix of “supermen” and “super,” and Vromance is “bromance” with a “v” to signify vocalists.
”You=Heaven” by Snuper
Speaking of stupid titles, Snuper’s latest single is called “You=Heaven.” Iconic. It also has nothing to do with the lyrics. I imagine the songwriter thought it was a cool enough title to ignore the actual content of the song.
True to their first two singles, Snuper deliver an ‘80s inspired synth pop track but with more of a twist than the previous times. Produced again by the legends we see far too little of these days, Sweetune, “You=Heaven” is part ballad part summer bop. Sweetune have only produced for Snuper so far this year, so they must have some sort of deal but it seems they are ready to give up entirely. “You=Heaven” has the structure of a potential K-pop classic. Mixing genres and sudden tonal changes are a great part of what K-pop does, yet here it feels tired. The individual parts of the song need to be equally dynamic but in different ways. Starting off with a ballad slows everything right down and this isn’t even an interesting ballad. It’s even more cheap sounding and dull than OST tracks.
There are light synths that play under it, preparing us for the chorus which is a total switch up. “Stop” they shout as the song turns to motivational cheesy pop. The moment it changes is exciting; it feels like it could become something interesting with these genre changes. The synths are naturally crystal clear and could be used for a group better suited to something like this. Snuper’s raps and their apparently stronger vocalists are actually quite weak. Hearing them even on the track ruins any momentum they might have had.
From the chorus on, “You=Heaven” sticks with the synth pop, not letting up until the very end. It’s an interesting structure as it feels like the chorus never actually comes to an end. Without the opening and with a bit more work into giving it some sort of ebb and flow, it could have been great. Yet, by the end, I almost wished they would go back to the ballad. The cheesiness goes past any kind of infectious fun to plain annoying.
A lot more was expected of Vromance. RBW Entertainment’s latest group come hot off the sassy heels of MAMAMOO, one of the biggest breakout stars in K-pop at the moment. Recreating that spark would be difficult but they have started to attempt it by going for a similar sound.
Their debut single “She” is a soulful, R&B track for the summer. It recalls MAMAMOO through the strong vocals and copious use of horns. The comparisons end there, however. I don’t want to continually compare them to MAMAMOO, but it is the best way of explaining why “She” doesn’t work. While MAMAMOO’s charms come from not just their music, their unique aspects permeate everything. Their sense of humour and individuality can be heard in their voices and how they work with the structure of their music. Vromance unfortunately have nothing of this quality. Their voices are fairly indistinguishable and the song maintains its laid-back nature throughout. Almost the opposite of Snuper’s problems yet it still doesn’t work. Their vocals are strong but the instrumentation is flat and does nothing to support them. Even the endlessly wonderful Hwasa can do nothing for them.
Verdict
Having a silly name has turned out to be not as fruitful for boy groups as I had hoped. 2016 is turning out to be another weak year for K-pop boys. Without exciting new groups (Seventeen being the exception) to galvanize things, it doesn’t look like it’s going to change anytime soon either. Snuper and Vromance do nothing to help by sounding like tired veterans so early into their careers. Even with an exceptional producer like Sweetune, Snuper have shown their mediocrity. In the shadow of MAMAMOO, Vromance have done the same.
The obvious verdict is that they are equally bad and we all lose.
Who do you prefer Snuper or Vromance? 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.
https://kultscene.com/wp-content/uploads/2016/07/Untitled-design-11.png800800Joe Palmerhttp://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngJoe Palmer2016-07-13 15:51:302016-07-13 15:51:30Snuper & Vromance: Review of the Stupidly Named K-Pop Boy Groups
We are very excited to reveal our first premiere, the official remix of Jonghyun’s “Deja-Boo” by EDM artist IMLAY. Over a year after the original release of the song, the 21-year-old IMLAY built on Jonghyun and featured artist Zion.T’s award winning song. The new abstract bass-styled remix turns things up a notch for a funkier version of the track that’s a summery take on the jazz original.
“I had a great time making my first K-pop remix,” IMLAY told KultScene. “Initially, I thought Korean lyrics would not match well with EDM sounds. But it turned out better than I thought. I hope everyone enjoys!”
If you don’t know IMLAY, now’s a good time to get to know the rising producer: he worked on BoA and Beenzino’s recently released “No Matter What” and performed an opening set at Jonghyun’s release party for “She Is” earlier this year. He will appear at SM Entertainment’s Spectrum EDM festival in October so if you’re in Korea check the festival out. SHINee, Marshmello, Dimitri Vegas & Like Mike, and other popular EDM artists are also featured in the lineup.
Listen to IMLAY’s EDM twist on “Deja-Boo” for the first time right here:
What do you think of the remix? Which version is better? Share your pick in the comment section below and be sure to subscribe to the site and follow us onFacebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.
SM Entertainment’s most confusing group to date has come back to shed a little more light on what they do. NCT’s latest incarnation,NCT 127, consists of all the members from NCT U minus Ten (so that’s Mark, Doyoung, Taeyong, Taeil, and Jaehyun), plus new members Yuta, Winwin, and Haechan. I think it’s best to not even try keep up with the boys in this group. Their lineups are likely never going to be the same twice. It’s the perfect representation of a capitalist pop group, a name brand that attracts with interchangeable parts. Whoever is in the group doesn’t really matter, as long as they’re pretty and can dance (a good voice is optional).
NCT 127 do show somewhat of a different side to the NCT amalgam though. The brooding “7th Sense” and dull “Without You” gave us two sides without any real connection. With two new releases “Fire Truck” and “Once Again,” NCT 127 go closer to what we expect from rookie groups. A child-like sense of fun can be heard in both and works to save what could have been a bad release.
“Fire Truck”
“Fire Truck” is sort of like if “7th Sense” was produced by a child on a sugar rush. It was in fact produced by a bunch of SM regulars: LDN Noise, Tay Japser, and Ylva Dimberg. This time, they went for a much heavier hip-hop, EDM based track. “Fire Truck” bumps and crashes with bassy synths and trap beats. Sonically, it’s little more than generic though, despite the business of it all. At times it’s even grating to the ear, as it progresses with little intricacy or interest in transitions that are not breakdowns.
It has two saving graces, however, the first being that youthful mania. All of the vocals have a demented strain to them. The raps are delivered with a punch as if their lives depended on getting these words out. The “hey yay yay” build part is probably the most annoying of the whole song, yet works like a chant from a bunch of kids. The autotuned whining that follows is also probably very irritating for a lot of listeners, but I love the brazen attempt to make it as silly as possible. These guys are kids, so it makes sense for them to perform a song like this.
It makes just as much sense that they’re using a fire truck as a metaphor for burning love. “Where are you looking at, Mr. fireman on the floor, Let’s make a fire, I’ll cool down this heat” Taeyong raps at the opening, making very little actual sense. It’s playful and stupid and almost makes me like this song. If Red Velvet are that kid you see running around screaming and feel jealous that they can be that free, NCT 127 are the kid sitting near on an airplane that cries, then sleeps, then cries again, then laughs, and finally sleeps again.
The second saving grace is the choreography. After re-watching a “7th Sense” live show, the thing that really stood out for me was the choreography. These are some talented kids who obviously spend a lot of time with choreographers figuring out the most inventive ways of performing a song. This might be a reason that “Fire Truck” turned out to their lead single. It is a weak track but is very danceable, and did they dance to it or what? It mirrors the crazed silliness of the song by having an inordinate amount of moves within small amounts of time. Taeyong, for example, has so much to do just in his own rap (so he can be forgiven for not rapping live).
What I like most is the SM signature of group interaction. This style is becoming more prevalent with groups like VIXX and Seventeen using it for all of their songs, but its roots lie in SM groups like EXO and particularly SHINee. Thematically, it works for NCT as highlighting the group rather than individuals. There’s a kinetic energy between them that seems like second nature to them. It also gives them big moments for their choruses, including cartwheels, a flying person, and a sort of puppet-like move which looks eerily natural. Best of all, they don’t wallow in these moves but immediately after continue with just as difficult synchronized dances.
NCT 127 take a different route with “Once Again,” the song they are promoting alongside lead “Fire Truck.” Produced by SM Swede regulars Andreas Oberg and Chris Wahle, “Once Again” is an R&B tinged bubblegum pop track that harkens back to other SM classics;it reminds us of Super Junior and SHINee’s more low-key moments. It’s expertly produced horns and funky guitars are so refreshing beside “Fire Truck.” The vocals as well are far superior and all so smooth and clean. The layered vocals in the chorus especially delight; these vocals are something SM are particularly good at and it’s great to see it hasn’t stopped.
It bustles with a wonderful summertime energy, which the lyrics are also about: young summer love. It’s the perfect fit for these young boys. Between this and “Fire Truck,” two young identities are shown. NCT go someway to representing the many contradictions of what it means to be young. Musically compared to “Fire Truck,” “Once Again” can seem a little flat or crystal clear in execution. I guess it depends on your current outlook on what it is to be young. Right now, the laidback freedom of “Once Again” appeals to me. Although I can see myself getting tired of it and looking more toward the twisted state of “Fire Truck.”
What do you think of “Fire Truck” and “Once Again”? Also what are your impressions of NCT as a whole? Share your picks and thoughts in the comment section below and be sure to subscribe to the site and follow us onFacebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.
Every few months, there’s a big K-drama that garners a lot of hype either because of the popular actors taking a roll in it or because the plot is something truly innovative. Right now it seems like everybody in the K-drama world is talking about Unaccountably Fond, the new show featuring Kim Woo Bin and miss A’s Suzy. The show premiered yesterday, so before you start watching we have a few things we think you should know.
1. Kim Woo Bin is a Rising Star
Rising? He’s already here according to many die hard Kim Woo Bin fans. But in actuality this is Kim Woo Bin’s first time as the main lead of any Korean drama; he was relegated to the second male lead role in both “The Heirs” and “School 2013.” After years of modeling and impressive roles in film (including my personal favorite “Twenty”), Kim is ready to transform himself into a swoon-worthy K-drama male lead who is set to romance a certain K-pop princess.
2. Suzy is the Reigning Darling of South Korea
The miss A member and actress Suzy (Bae Suji) had a breakout role in the film “Architecture 101” in 2012 and has been in demand ever since. “Uncontrollably Fond” is the fourth drama that Suzy takes front and center in, her first since she partnered with Lee Seung Gi in 2013’s “Gu Family Book.” Suzy has charmed the hearts of many South Korean and international fans of K-pop and K-dramas, and now it’s time to see if she can win over the heart of Kim Woo Bin.
Suzy also released the “Ring My Bell” as part of the soundtrack so make sure to take a listen.
While “Uncontrollably Fond” appears to be a simple K-drama romance featuring two popular actors, that’s not all there is to it. Lee Kyoung Hee wrote the heart wrenching 2012 drama “The Innocent Man” featuring Song Joong Ki, Moon Chae Won, and Park Si Yeon. If that drama had anything to show for it, it was that the writer had no qualms stomping on the viewers’ hearts and putting characters in difficult positions If this lives up to Lee’s reputation, prepare to keep a tissue box close. Warning: Be cautious of getting too fond of Kim’s character based on a life-altering issue we find out about in the first episode.
4. Director Park Hyun Suk Loves Spies
While “Uncontrollably Fond” doesn’t appear to be a spy drama, director Park Hyun Suk has a reputation as a bit of a spymaster between 2015’s “Spy” and 2011’s “Perfect Spy.” Does that mean that we want this drama to have spies? Definitely not. That would be altogether too dramatic, even for K-dramas. But it’s just something to keep in mind considering that the show is setting itself up to deal with mistaken identities, terminal illnesses, and who knows what else.
As far as Korean dramas go, “Uncontrollably Fond” starts a bit slow. But within the last few moments of the first episode, things pick up and set the tone for the rest of the series. This is a spoiler-free list, but let’s just say that you’ll be itching to watch the next episode right away so you can see what past connection the main characters share.
“Uncontrollably Fond” is available on DramaFever, so head over there and check out the first episode.
Are you watching? Are there any other dramas you’re watching right now? 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.
https://kultscene.com/wp-content/uploads/2016/07/Teaser-Uncontrollably-Fond-Cover2.jpg6741205Tamar Hermanhttp://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngTamar Herman2016-07-07 10:40:352016-07-07 10:40:375 Things To Know About ‘Uncontrollably Fond’
The last week in June was kind to us girl group lovers. A string of releases from old and new groups brought K-pop back to life after a slow month. They also brought with them a number of familiar sounds with two groups showing influences from recent times, and Brave Brothers doing what he does best with his favourite girls. The rookies also show us that if a company has a member in I.O.I or participated in “Produce 101” then expect them to debut very soon.
“This Place” by Subin
First is probably the most well-known of this group yet has had the least promotion for her music. Dal Shabet’s vocal goddess Subin released her first mini album “This Place” alongside a digital single of the same title. She previously dropped her debut single, the underrated “Flower,” in May of this year to little fanfare as well. Whatever Happy Face’s strategy is, it does not involve actually promoting Subin. Nevertheless, they are fitting her with music that sounds like it’s coming from every inch of her body.
The lyrics certainly do, anyway. They have an ephemeral beauty to them just like her voice, which tails off as she breathes out each syllable. “Swept away to the wind, The leaves that walk, Something sweeps away my spirit,” she slowly lulls us into the song. Subin croons alongside a crisp piano, reminiscent of Joe Hisaishi’s work on the films of Studio Ghibli. Each note is pronounced and reverberates beside Subin’s voice. It hits the ballad sweet spot of being simple but not boring, emotional but not maudlin.
Brave Girls’ new incarnation is proving to better than the original. They’ve been together for five years now and still have little to show for it. Under the tutelage of Brave Brothers though, we can count on them for quality pop tracks. “Deepened” from earlier in the year is one of the songs of the year and they stay on form with “High Heels.”
It’s a classic of his, using an object as a title and as a means of expressing a young girl’s love. Also present are the catchy chants and simple structure. Doubling down on the Brave Brothers formula of total functionality, “High Heels” has a two choruses. The first is almost identical to the verse but with bigger vocals (which mark it as a chorus alongside the mention of the title) and some guitar. Layered vocals bring this first chorus to a strong climax before the second one starts immediately with the chant of “high, high, high heel.” A mix of horns add the last bit of flair. It’s such an effective way of making a song constantly exciting. This is all added to by having the rap come straight after the first double chorus as well. Hyeran is fast becoming one of my favourite idol rappers. Her delivery is strong and confident, and has an odd nasally quality I really like.
“We” by Pledis Girlz
Pledis Entertainment’s girl groups are probably my favourite of the companies outside of the top two (SM and JYP, I don’t know a YG), given their groups are consistently innovative in sound and style. That‘s probably why their latest group, the ingeniously named Pledis Girlz, have got off to a disappointing start.
Their debut (if it even is a full debut given their name) “We” is another indicator of the GFriend reign. From the opening pianos, strings, and chimes, it’s clear the direction they were going in. This brand of schoolgirl pop is GFriend’s impact on the K-pop industry. None of these songs have been particularly bad, each one hits the mark in terms of the formula. It’s getting tired though, and with little to show in ways of upgrading, Pledis Girlz look like imitators. However, two things are quite satisfying. When the beat kicks and the strings really start to move, that feeling of joy pop music gives me is brought straight back. It sounds like the opening to a delightfully wholesome kids TV show. Also, the rap is something GFriend lack, and here it’s especially good thanks to the playful delivery and the music taking a back seat.
A problem for Pledis Girlz might be their rushed nature thanks to the desperation of companies trying to debut girls from Produce 101. Gugudan are another one of these, coming from Jellyfish Entertainment with Sejong and Mina being fully fledged members of I.O.I.
Gugudan take a similarly safe route as Pledis Girlz, but with a little bit more kick. “Wonderland’s” glossy electro pop is has an energy that eclipses the other rookies of the week. It mixes a cavalcade of sounds to create something that never stops moving forward. The guitar and bass rhythm section is a funky delight that is heard in and out between verses. The vocal rhythm of the chorus bounces along with it and the twinkles and blasts of synths. It has an unpredictable exuberance that carries it the whole way through.
“I Like U Too Much” by Sonamoo
TS Entertainment’s Sonamoo took on the much harder task of copying Red Velvet. After failing with their hip-hop concept at debut, Sonamoo switched to a chaotic style of pop for “Cushion.” Calling this a copy does a disservice to these girls, though.
“I Like U Too Much” opens with supreme harmonies of the chorus. It sets out where they can go from there on in as it moves into a sweeter verse that recalls Girls’ Generation more than their younger label mates. It has another double chorus with the first being an exciting bubblegum pop of synths and the second those aforementioned harmonies. Each part is more addictive than the last all leading up to a blistering bridge of more harmonies and duelling speed vocals. The lyrics perfectly match this unstoppable force by telling the story of a girl in a love that is out of control. “Oh Baby I want to bite you, Can’t leave you alone,” they shout at an unsuspecting boy. I feel the same way about this song.
Despite increased reliance on using sounds from groups who are still a big part of the environment, Korean girl groups are in a seriously good place right now. Even if they are imitating, the youthful joy is still palpable in every note they produce. Sonamoo especially look like they can grow to be an incredible group given continued support. Which should be easy since TS has seemingly completely forgotten about Secret. All of these girls have potential to do great things in the future.
What’s your favorite of these five songs? Let us know in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.
https://kultscene.com/wp-content/uploads/2016/07/Untitled-design-9.png800800Joe Palmerhttp://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngJoe Palmer2016-07-04 10:11:192016-07-04 10:11:19The Best K-Pop Girls of June
What’s real and what’s not is a big question, but one thing we know for sure is that reality shows are not real. Much of the action is staged, and many of the conflicts are hyper-exaggerated to provoke laughter or tears and generate ratings. Despite this obvious artifice being general knowledge, reality/variety shows continue to be very popular both in the U.S. and Korea.
Reality shows are so popular that they are moving into K-drama. Lately, these shows have even inspired a trend of fictional TV about the making of reality shows.
In the U.S. “Unreal,” a show about the Machiavellian schemes maneuvering a reality show styled on “The Bachelor,” scored big at several award ceremonies, winning honors that included Critic’s Choice Awards and a Peabody. K-dramas have taken the bait too. From the hilarious to the chill-invoking, several K-dramas have tackled the topic of the unreality of reality shows, using the topic to explore the bigger question of how one’s sense of reality is vulnerable. “Wanted” is the latest of these dramas.
In “Wanted,” an actress is planning to retire and leave her unhappy marriage when her son is kidnapped. The only way she can ensure his survival is to film a reality show with missions doled out by her captors. The husband she is about to leave is the producer of the show.
The plot premise raises plenty of questions about the role of the media in tailoring what viewers think of as reality. Who kidnapped the child? Is the kidnapping real or a publicity stunt? Did her soon-to-be ex kidnap the child to make money? Who can you trust? Should TV shows give criminals the wrong idea by publicizing crime?
The drama, which stars Kim Ah Joong, Uhm Tae Woong and Ji Hyun Woo, has only been on for a few episodes but already plot developments have demonstrated that reality is all a matter of perception and that perception can be manipulated.
It’s not the first time that K-dramas have tackled reality shows from a dark perspective. “The Liar Game,” starring Kim So Eun, Shin Sung Rok, and Lee Sang Yoon, focused on the filming of a psychological survival game wherein participants trick and lie to each other. To win, you had to be a really good and confident liar. What’s real and not real? What’s the truth and what’s a lie? The contestants and reality show participants were often not sure what the truth was and which goals to pursue. If they were honest when they began the game, they lied to survive. The sinister game show drama kept viewers guessing until the very end.
Other K-dramas have tackled the reality show format on a lighter note. In “Eccentric Daughter-In-Law,” a fading K-pop star attempts to revive her image by appearing on a “We Got Married” style reality show. Only the singer, played by Kim Da Som, is paired with more than a prospective husband, played by Ryu Soo Young. She also acquires a prospective mother-in-law, played by Go Doo Shim. It’s a very traditional family and the fading K-pop idol Kim Da Som is not the daughter-in-law that Go Doo Shim’s very critical character was expecting.
“Producers” focused on the variety type of reality show, but there was plenty of staging going on in that drama too. While it mainly focused on the characters who made the program, it provided plenty of glimpses of the off-screen manipulation that goes on when producers film reality/variety shows. The producers, played by Cha Tae Hyun, Gong Hyo Jin, and Kim Soo Hyun, knew that their show needed ratings to survive and they worked hard to make it dramatic, placing characters in difficult situations and pitting them against each other. Called a “variety drama,” it was actually filmed by the variety department at SBS, rather than the drama department.
“The Greatest Love,” starring Gong Hyo Jin, Cha Seung Won, Yoon Kye Sang, and Yoo In Na, was one of the first to parody a reality show. Also based on the real matchmaking reality show, “We Got Married,” the drama shows that true love can even happen in the unreal world of staged entertainment. That has not been the case with the real “We Got Married,” which has featured real-life couples but has not resulted in matchmaking a lasting relationship.
The reality show is here to stay. Part of the appeal may be seeing people react in real time to unexpected situations. Whether it brings out the worst or the best in participants, it has become a staple in prime time entertainment. Does it work in K-dramas? The viewers will have to decide.
What are your thoughts about the reality TV concept within K-Drama? Let us know in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.
https://kultscene.com/wp-content/uploads/2016/07/Untitled-design.png7681024Joan Vos MacDonaldhttp://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngJoan Vos MacDonald2016-07-02 11:59:392016-07-02 11:59:39The Unreality of Reality TV Reaches K-Dramas
Why were there two songs called “Why” released on the same day, 28th June? What links these tracks, one by titan of K-pop Taeyeon and the other by flop girl group Wanna.B? Nothing really, but the coincidence of their titles is an excuse to compare both the songs. In most cases it is probably irrelevant, but I think it might be interesting to see directly side by side the gap between the biggest and smallest of what K-pop can give us.
“Why” by Wanna.B
Watching Wanna.B’s “Why” for the first time we get an air of familiarity before anything else. The video and sound is almost a direct jack from Mamamoo, particularly “Um Oh Ah Yeah” for the video. Their sound continues the jazzy horns but tones them down considerably with more emphasis played on an overall mix. More pop oriented than Mamamoo, but the hallmarks are there. Even the whiny raps come off distinct like Hwasa’s own peculiar drawl. This proves that they are really starting to have an impact. The GFriend clones were coming all over the place, but only have the Mama-mimes shown themselves. It does represent some sort of a step up for Wanna.B though, who last year put out an After School inspired track “Attention;” Everyone knows After School are so 2013 (I don’t mean this please let them come back Pledis).
Why Mamamoo? The pop comedy angle is an interesting one that can garner a lot of fans if done well but be embarrassing done wrong. I don’t think Wanna.B will pursue it quite like Mamamoo, but it is present here with the gurning actors and cosplay settings in their video. Musically, it sits in an awkward position between a Mamamoo inspired jazz belter and a Brave Brothers classic. It sticks to the structure but never fluctuates in intensity. Like many songs, a rap is used as the break/bridge. The vocal itself works well, the delivery is accusatory and playful whipping around the beat. Yet the song never takes off alongside it. It sticks to its plucked strings and horns, which again are nice sounds but stagnant within these confines.
Wanna.B’s why is for a man, obviously. They curse themselves for not being able to seduce a man with their high heels, perfume, and general things that make them prettier. Like the music, there’s no progression of ideas. One might ask, why?
“Why” by Taeyeon
Taeyeon’s very own “Why” also provides us with a sense of deja vu with first listen. Since discovering producers LDN Noise on SHINee’s “View,” SM have used them for a number of songs, essentially letting them define the current SM sound. Given their name it’s no surprise that it’s a typically British house/garage sound. They return to production duties here alongside Rodnae Bell (EXO’s “Monster,” SNSD’s “Mr Mr”) and Laura Dyson, with lyrics by Jo Yoon Kyung.
In adapting to SM’s house sound, Taeyeon has not completely lost her original solo colour. The laid-back pop of “I” and “Rain” is in fact bolstered and allowed to move up with it. Those previous songs relied on her vocals to progress the song. “Why” builds constantly thanks to both the vocals and music. It begins with a verse that alone would have been seen as fairly generic. Yet it builds nicely, with subtle tropical hints of what is to come. The soaring chorus that follows is a perfect mix of the two sounds. Taeyeon’s vocals, which I thought might not have fit, are beautiful in their inquisitiveness alongside thumping house beats. Those refrains of “good, good” come for my very soul. The chorus transitions directly into another verse while continuing on the blend of house slow-jam. It progresses the song without an abrupt moment. This is what Wanna.B sorely lacked. While different in genre, Taeyeon’s “Why” rises and falls and adds new elements at every turn. Wanna.B’s “Why” picked its direction and could not see otherwise.
Taeyeon’s track continually makes the right choices in production, particularly the bridge which firsts gives Taeyeon her vocal moment but allows the music to take over for the big break. LDN Noise knew this was not a regular Taeyeon track and knowing that they allowed her to shine in a different manner. The lyrics that drive the production are also more interesting than Wanna.B. They are the correct use of a title like “Why.” Taeyeon is a curious traveller, moving at random in search of beautiful moments, “The needle that would turn on a compass, Blooming abundantly at the place where it stops.” She projects an openness to allowing life to happen to her. It’s a feeling that fits with her new sound, an unfamiliarity driven by fresh experiences.
Why Taeyeon and Wanna.B?
It has proven to be somewhat unfair to compare these two. Although, like I mentioned before, there are things we can take from this. Namely as the gap between big and small companies gets smaller with regards to production level and to a lesser but growing extent sales, it seems like the bigger companies are still getting better. The sound quality between Taeyeon and Wanna.B is not vastly different, yet Taeyeon’s “Why” is vastly superior. SM have always proven to be sharp hit makers and they continually remain on top because of their adaptability. Not only that, but they also make the hip sounds of the time their own, creating new structures to place sounds in. SM’s ingenuity with the song as a total experience is why they remain on top.
Wanna.B, on the other hand, have taken a popular sound and look directly from a single group, watered it down a bit, and made it sound like the most classic of K-pop tracks. Through these filters, the special things about each of these elements is lost. The individuality of Mamamoo, the inexplicable joyous pop of a Brave Brothers track, and Wanna.B’s own flair are all forgotten. So disappointingly we leave knowing that the big dogs win again. Yet Wanna.B are only one of a string of lesser known girl groups with releases towards the end of July. Maybe there is hope.
Which “Why” do you prefer? Taeyeon or Wanna.B? Let us know WHY 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.
https://kultscene.com/wp-content/uploads/2016/07/Untitled-design-8.png800800Joe Palmerhttp://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngJoe Palmer2016-07-01 10:41:322016-07-01 10:41:32Battle of the “Why:” Wanna.B vs Taeyeon
K-pop is one of the fastest-changing industries known to man, woman, fanboy, and fangirl alike. Just think about it: two years ago, MAMAMOO’s derpy quirks, Sana’s “Shashasha” and GFriend’s stage falls were almost or entirely unknown to the public, Korean or international. But fast forward a few debuts and comebacks later, and the world of K-pop has changed immensely. I recently explained why the Second Generation of K-pop Girl Groups is slowly (and painfully) falling apart. And now, some seven or eight years since the fateful debut stages of legends like Girls’ Generation and 2NE1, the New Generation of Girl Groups is here carry the torch forward.
The advent of a new generation is pretty exciting — it essentially only happens once every few years when a wave of popular girl groups hits the scene around the same time. Starting in the late 1990s, the First Generation consisted of groups like S.E.S, Fin.K.L, and Baby V.O.X. It was about ten years until the Second Generation came around, with Girls’ Generation, KARA, Wonder Girls in 2007, joined by 2NE1, SISTAR, 4Minute and more in 2009-10. Now, we finally see the Third Generation, starting with MAMAMOO and Red Velvet 2014 and joined by TWICE and GFriend in 2015. The exact breakdown and timing of the Generations is something commonly debated by K-pop fans (and believing it breaks down differently than I described is totally cool, too), but it’s pretty clear that, regardless of how you define the generations, a new wave has come to dominate K-pop post-2014.
While our past faves may be beginning to fade, the K-pop phoenix is reborn again with the advent of the Third Generation. And the new groups both parallel and differ from their predecessors immensely. Let’s take a closer look at four of K-pop’s newer stars, and see how they stack up next to top Second Gen groups SISTAR, f(x), 2NE1 and Girls’ Generation.
SISTAR has quite a reputation in the K-pop world. With unforgettable hit-after-hit, the four member act has asserted its place among girl group royalty since their debut in 2010. Most notably, SISTAR is known for their memorable hook songs, which tend to define an entire season of the year. They are affectionately considered the Queens of Summer Bops, launching 2012’s “Loving U,” 2013’s “Give It to Me,” 2014’s “Touch My Body, ”and 2015’s “Shake It” to the number-one spot on the Korean charts every summer. And, as this is being written, the group’s latest release “I Like That” inches closer and closer to a perfect all-kill as well. Few groups have been able to cultivate such a long string of hits. [ed note. It is currently within the top 5 on numerous Korean music charts.] With so much public recognition for their songs, SISTAR has one considerable weakness in the spectrum of girl group success: fandom strength. Since the group is so known for its public popularity, it lacks a strong fandom to buy up albums and sell-out concerts when the chance comes around.
GFriend, a six-member girl group debuted only last year, boasts a similar situation. So early into the game, the group has two very well-known songs: the cute, catchy and stage-fall inducing “Me Gustas Tu,” and the intense and memorable mega-hit “Rough,” which dominated charts early this year, becoming February’s monthly number one song against frighteningly powerful artists like Taeyeon of Girls’ Generation, who released her single “Rain” around the same time. Digitally, GFriend shows a lot of potential, and boasts a lot of public popularity and recognition as well. While they are quickly being noticed as a top girl group, GFriend isn’t exactly known for having a huge domestic or international fandom. While this could definitely change in coming years, and the groups are stylistically and musically very different, GFriend seems to line up with SISTAR’s legacy right now — captivating the public with a stellar title track and leaving the albums to a small, dedicated group of fans.
Like SISTAR, f(x) is one of K-pop’s Second Gen giants, but for a different reason. While SISTAR is more public-friendly and promotes music that people can quickly find fun and engaging, f(x) is known for an experimental style, bringing in exotic musical styles that are less familiar to the Korean crowd. They brought some alternative electronic with “Rum Pum Pum Pum” in 2013, EDM with “Red Light” in 2014, and house with “4 Walls” last year. The now four-member group has introduced and familiarized diverse musical styles among the South Korean music scene. For a K-pop girl group, it’s pretty impressive that they’ve maintained relevance for so long even though their songs aren’t the most public-friendly off the bat. The SM-produced group also has a huge fandom behind it, as albums regularly sell in excess of 80,000 copies and concerts quickly sell out.
And as f(x) enters its later years (it’s now been about seven years since their debut), labelmates Red Velvet are poised to follow in their footsteps. With distinct R&B, alternative and electronic influences, Red Velvet has become one of K-pop’s newest jewels, with multiple top 10 singles “Happiness,” “Ice Cream Cake,” “Dumb Dumb” and, most recently, “One of These Nights.” With a very distinct and eclectic musical style, Red Velvet sets itself apart and succeeds. Much like f(x), Red Velvet has established a unique musical color with a strong fandom behind it, as their two mini-albums and studio album have all topped album charts and sold about 50,000 copies, much more than other girl groups at the moment.
Now we get to the really big leagues — digital and talent monster groups with strong domestic and international fandoms. With the most number-one singles of any act in South Korean history, 2NE1 is exactly that. Iconic hit after iconic hit, the group was known since 2009 for promoting multiple singles from the same album (something very rare in K-pop, but typical of YG groups), and succeeding with each and every one of them. Since their debut in 2009, 2NE1 have launched immensely successful songs to the forefront of K-pop trends, starting with their debut single “Fire,” is one of the best-selling songs of all-time in South Korea. To date, the group has never promoted a single that charted below number four on weekly charts (that totals to seventeen top-four songs), and consistently sold albums into the 100,000s. They are also the only of K-pop’s girl groups to complete two full world tours, demonstrating their fandom power both within and outside of Korea.
While a stylistic 180 from 2NE1, MAMAMOO aligns most closely with where 2NE1 stood in the K-pop world a few years ago. With a similar four-member structure and powerful vocals, rap and dance, MAMAMOO has the incredible stage presence, talent and personality that made 2NE1 so successful to begin with. The group already has two top-three singles “Um Oh Ah Yeh” and most recently, “You’re the Best,” and MAMAMOO is known particularly for having a large and supportive fanbase. While Daum Fancafe isn’t always the best metric to determine how many fans a group has, the numbers tell us something interesting here: MAMAMOO currently has about 75,000 members in their fancafe and counting. They were the fastest girl group to 50,000, and their numbers exceed other majorly successful girl groups including AOA, 9M– USES, f(x), and even 2NE1. Going off of that, all 8,200 tickets to their first solo concert sold out in only one minute. And considering that 80% of the ticket sales were to female fans, the group is definitely finding its place as 2NE1’s successor.
There are, however, some major differences. While 2NE1 went for badass electronic pop music, MAMAMOO is one of K-pop’s only jazz-influenced pop groups, bringing in some of those elements in “Mr. Ambiguous” and “Piano Man.” The group also regularly performs on shows like “Immortal Song” and makes appearances on varieties like “We Got Married,” something 2NE1 rarely did (another YG custom). With impressive talent and stage presence, MAMAMOO is all set to rise up in the Third Generation of K-pop, just as 2NE1 did in the Second.
Last but the opposite of least, Girls’ Generation epitomizes what it means to be a successful girl group in Korea. With nationwide public recognition, a frighteningly large fandom, international acclaim, and strong digital sales, the group definitely led the Second Generation. Once GG made it big in 2009 with iconic title track “Gee,” no one stood a chance against them in the fight for the number-one spot among girl groups. From Korea to Japan, Girls’ Generation has become a household name and a nationwide craze. Speaking of Japan, GG was arguably the most successful Korean girl group there, as their debut Japanese album sold a whopping 870,000 copies. Even the Korean version of their 2011 album The Boys sold 140,000 copies in Japan — yes, the Korean version — not to mention over 450,000 album sales within Korea itself. As we can tell, it’s pretty hard to live up to a monster girl group like GG. So who is the ringleader of the Third Generation?
Right now, it seems to be none other than JYP Entertainment’s TWICE. Right off the bat, the groups are structurally similar — three strong vocals (Taeyeon, Tiffany and Seohyun line up with Jihyo, Nayeon and Jungyeon), a visual center (Yoona lines up with Tzuyu), an aegyo-centric attention-grabber (Sunny lines up with Sana) and a strong dance line (Sooyoung, Yuri and Hyoyeon line up with Mina, Tzuyu and Momo). The groups also wield a similar, glamorous girl-next-door vibe, looking for love and accessing their femininity. TWICE’s success is comparable as well — in fact, they are the only girl group other than Girls’ Generation to have an album selling above the hundred-thousand mark, which their most recent mini-album Page Two did very quickly. Along with a fierce fandom, TWICE’s digital sales are nothing to laugh at, either. After two months, “Cheer Up” still remains in the top ten of most charts, which is an incredible success in the K-pop world.
Going off of these facts and stats, some have been quick to call TWICE an SNSD-copy, trying to emulate their success by emulating the group itself. The differences between the groups, however, throw this accusation right out the window. While TWICE may have successfully become the Third Generation frontrunner for having a similar vibe as SNSD, they definitely aren’t the same. The most glaring is the member dynamic — while Girls’ Generation is all Korean or Korean-American, TWICE has five Korean members, three Japanese, and one Taiwanese, making international expansion that much more logical and accessible for the group. Dahyun and Chaeyoung also serve the roles of Lead and Main Rapper, respectively, which are positions that weren’t very defined at GG’s debut. TWICE title tracks also deviate incredibly from the GG mold as well, employing diverse vocals, rhythm-changes and instrumentalism that GG’s more musically homogeneous tracks don’t use.
Fundamentally, all of these groups show similarities to their predecessors, but the differences make it clear that K-pop isn’t simply repeating itself with the Third Generation. Our Second Gen faves aren’t being replaced and forgotten. Instead, they’re being honored and built upon with new sounds and ideas. Such is the nature of the K-pop phoenix — not only being reborn again, but also with new talents, music and charms to share with the world, learning from past mistakes and successes. As the girl group landscape changes yet again, we can only hope that our new faves become just as well liked as the ones before them, and carrying the K-pop legacy forward for the man, woman, fanboy, and fangirl alike to enjoy.
Who are your Third Generation faves? 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.
https://kultscene.com/wp-content/uploads/2016/06/Untitled-design-15.jpg7681024Kushal Devhttp://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngKushal Dev2016-06-30 05:58:152016-06-30 05:58:16The K-Pop Phoenix: The New Generation of Girl Groups
