Kim Tae Woo Talks His Upcoming NYC Show, Career, and More [Interview]

Courtesy of 7000 Miles

Courtesy of 7000 Miles

Two years after his last Night of Soul in New York City, Kim Tae Woo returns to the Big Apple and Washington D.C this July. The K-pop star plans an intimate event filled with jazz and musical collaborations that show another side to his musicality. As a member of the legendary K-pop group g.o.d, Kim’s stirring voice has gathered fans from around the world.

Ahead of his upcoming trip, KultScene spoke to the g.o.d singer about his solo career, his desire to perform in more personal settings, and what fans can expect from him in the year to come. (Hint: there’s an album in the works.)

KultScene: You’ve held several performances over here in the past few years, both on your own and with g.o.d. How does it feel to be returning to NYC?

I always have this excitement when it comes to a show in the U.S. NYC shows especially make me want to take on new challenges and stretch myself out. I would love to reach out to wider audience with my music.

You’re collaborating with Super Session on the Night of Soul. What can we expect from the performance?

I am planning to deliver a more mature style of performance. I want to see my fans become really immersed in the show and sing, dance, and have fun throughout the show.

Both this performance and your past show at Rockwood Music Hall [in NYC] have been with other musicians and are more avant-garde than what some may expect from you as a K-pop singer. What motivates you when putting together this sort of show?

My plan is to perform a show focused more on the listening aspects rather than the visual aspects. Eventually, I would like to make K-pop music of the highest quality appeal to the U.S. audience.


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You’ve held arena shows and played the Prudential Center in 2014 to celebrate g.o.d’s 15th anniversary. Do you prefer those sort of venues or these smaller, more intimate ones?

The success of arena shows are driven by the audience’s reaction and the overall mood of the night. As soon as we hit the stage we can tell how the night will turn out by the response of the crowd. Comparatively, intimate shows are very detail oriented and we are able to see everyone’s faces and can have direct communication with the audience. This real-time feedback and reaction is what makes the smaller stages special.

Do you put together these sort of jazz improv performances when you’re in Korea? (If not, why do them in NYC?)

I have been adding improvisation elements to all of my shows. Each show is different and I am really enjoying it.

What sort of audience do you hope to get at the show in New York?

I expect to meet music lovers and listeners so that both the audience and the performers can enjoy the show together.

You set up Soulshop Entertainment several years ago. What is it like managing yourself versus being managed?

I am very satisfied with my current path. It enables me to keep challenging myself and try out different projects.


Also on KultScene: Wonder Girls ‘To The Beautiful You’ Song Review
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October is the 10th anniversary of your first solo album, “Words I’d Want To Say.” Are you planning to celebrate that with any new music before the year’s end?

At the end of 2016, I will be releasing a single album with 5 songs. This project is named “t-with” and will be a collaborative work featuring outstanding artists.

With your solo career, g.o.d, and numerous OST songs under your belt, what do you do to relax? Any drama or music recommendations for KultScene’s readers?

Nowadays, I find watching basketball to be very fun. I would like to recommend [Yoon] Kye Sang-Hyung’s drama, “Last.” I recently watched it and it was really awesome.

Any final words for our readers?

Thank you very much to all my fans and music lovers. Please stay healthy. As I keep pursuing my career as a vocalist and a producer please support my music and the adventures ahead of me. I look forward to meet everyone soon!

Translation via June Rhee. Text has been edited for clarity.

Kim Tae Woo will be performing in Washington DC at the Howard Theater on July 1 and in New York City at Le Poisson Rouge on July 3. Tickets are on sale now and if you use the code “justforu” there’ll be a nice discount!

What’s your favorite song by Kim Tae Woo? 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.

Wonder Girls ‘To The Beautiful You’ Song Review

Wonder Girls "To The Beautiful You"
The comeback queens of 2015 have returned to provide more retro stylings. With “Reboot” last year, Wonder Girls delivered the album of the year and proved that you can go totally old-school and still sound up to date. It was their dedication to not just the look but the sound of their music that did this. The gimmick of becoming an idol band had little to do with it, although when they performed “I Feel You” completely live it was a marvel to behold.

WIth the release of their next album cover for “To The Beautiful You,” it seemed Wonder Girls didn’t star far from the throwback them. Its psychedelic imagery perfectly evokes the ‘70s. To top it off, the album was first released on vinyl at the Seoul Record and CD Fair. Clearly JYP Entertainment and the girls, who are getting more involved with the creation of their music, are sticking to a more physical sound. Pre-release single (I think) “To The Beautiful You” proves this. With no music video to speak of yet, we looked at the song by itself.


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Like “I Feel You,” “To The Beautiful You” chooses its moments wisely in terms of switching between highlighting vocals and music. “To The Beautiful You” revives a ‘70s rock sound put through a more modern pop filter. It’s softer but just as assured. It also recalls pop music from the ‘00s when the genre almost primarily focused on using band sounds, like most of Girls’ Aloud’s career. The best thing about all of this is you can easily imagine the girls playing this. Produced by frequent JYP collaborator, Frants (who has produced for G.Soul and Day6) and with lyrics by member Sunmi, Wonder Girls have transported us into the time when the electric guitar was the most powerful instrument on earth.

Hyelim’s guitar is the clear standout, the staple of all ‘70s rock bands; it’s the main melody maker for tracks like this. On “To The Beautiful You” she slides between simple but evocative licks and gentle strumming to pick up the pace in the chorus. Her most effective work is also her most subdued though. In the verses her bars are made up of a few chords and some palm muted notes. It’s these slightly muted notes that work so well, a small detail that creates the world of the sound like nothing else in the song.

This time Sunmi’s bass and Yeeun’s keys take the supporting role to Hyelim. Yeeun especially plays backup, her keys tend to play almost the exact same melody as Hyelim but toned down slightly. She is not totally in the shadow though. In the chorus, while Hyelim is providing some scratching to keep up the rhythm, Yeeun replays the lick from the opening. It’s a wonderful mix of sounds, each one so assured in its place. Yubin’s drums as well are quite prominent. Her tom-heavy beat drives the verses along as the girls coo quietly, helping to bridge us over to the abrupt chorus. They also add nice variations to the second verse.


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These whispers are perfectly pitched. It’s a sound suited especially to Sunmi, who talks to us in the opening, calmly ushering us into the Wonder Girls world. Each of the girls performs to the top of their game: Yeeun’s chorus belting contrasts well with her own softer moments while the double rap between Yubin and Hyelim is one of their most dynamic to date. It all culminates with great harmonies as the whole quartet sings the hook together towards the end. It gives us a climax without having to disrupt the relaxing flow of the music.

This being an exclusive vinyl release means we can’t glean much more information as of yet. What it does though is prove Wonder Girls were not merely lucky with their ‘80s fun last year. Everything about the sound of this song is premeditated retro. Its release on vinyl is indicative of this and also appropriate given the specific sounds of the song. The only version online right now is a rip from one of the vinyls from the Seoul fair so at the end you can hear the needle being lifted. At first I didn’t notice it, then I thought it was a sound effect, and now I think it is just how this version was recorded. Either way it shows just how well this song fits on a record player, something that could be said of probably zero other K-pop records.

How do you think Wonder Girls did on the song? 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.

Podcast Guide For Fans of All Things Korean Pop Culture

Korean Pop Culture Podcasts You Must Listen To

Hallyu Podcasts

It seems like a day doesn’t go by without me overhearing a conversation between two people about what podcasts they’re listening to. Hit podcast “Serial” may have started the trend, but now we’re seeing a full-blown podcast industry where many popular topics are getting covered daily by experts and amateurs alike. People are even looking to spread news of their own podcasts through marketing firms, be it Lower Street or any other expert out there, in order to best reach their audience, and the range of topics covered is extensive. Korean pop culture is no different, but there is still a bit of a dearth when it comes to podcasts. Here’s our picks of some of the best listens, which includes both podcasts dedicated solely to K-pop as well as specific episodes of broader podcast series that explore K-pop, dramas, and more.

1. K-Stop

The first dedicated K-pop podcast from a media outlet, Jeff Benjamin and Tina Xu of Fuse talk each week about what’s happening in the Korean music scene. Last week’s episode discussed EXO and Wheesung’s comebacks, the collaborative track by Younha, Cheetah, and Wonder Girls’ Sunmi, the demise of 4Minute, and “K-pop’s Curious Orlando Response.” Each episode is about a hour long, so K-Stop is a fun quick way to hear a professional perspective of that week in K-pop.

2. K-Pop Unmuted

Any diehard fan looking to get a little bit of a deeper look into Korean music needs to listen to the brand new podcast from Scott Interrante and Stephen Knight. There’s only one episode (“Tiffany vs. Jessica”) so far, but Interrante’s previous venture with the Pop Unmuted podcast ensures that this series will offer in-depth discussions about K-pop songs from technical perspectives.


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3. The Exposé “K-Dramas Over Flowers: An Analysis of Korean Dramas”

Unfortunately, while there are dedicated podcasts about the Korean music industry, there is no equivalent (currently) about Korean dramas. (If you know of one, comment below or tweet @KultScene because we need to listen to it!) But Najira Ahmed did a great job introducing K-dramas in this episode while discussing the differences between western television and Asian media with Odessa Jones of K-Drama Today. Jones raised serious questions about the sexism rampant in Korean dramas and why a patriarchal society has managed to hack the script to getting female viewers, which are definitely worth taking a listen to.

4. Radiolab – “K-poparazzi”

WNYC-produced Radiolab is one of the most popular podcasts around that “is a show about curiosity” so of course they couldn’t resist putting together on a piece about K-pop. This episode went into the origins of the Korean paparazzi and the tabloid outlet Dispatch, which has single handedly changed the K-pop industry. It’s a fun listen that even non-K-pop fans will enjoy being shocked by.

[Disclosure: There are a few situations discussed throughout the episode (Girls’ Generation’s black ocean, Ailee’s nude photos, etc.) that are mentioned and glossed over without being placed within a larger context. Lizzie from Beyond Hallyu wrote about it here. ]


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5. Call Your Girlfriend- “Phone -a-friend: K-drama with Dodai Stewart”

One of the best things about Korean dramas according to Call Your Girlfriend? “Everybody’s not having white people HBO problems.”

Similarly to The Expose, Call Your Girlfriend isn’t a podcast that typically discusses Korean pop culture but is instead a podcast dedicated to exploring long distance friendships between women. This episode’s a cozy discussion explored why they like watching dramas. The 30-minute, anthropological conjecturing of two American women talking about K-dramas is a fun listen and a nice one-off if you’re not dedicated to podcasts as a whole. The pair, host Amina Sow and her friend Dodai Stewart, explore the escapism and race issues related to Korean television, and also discuss how they act as a doorway to the immersive experience of Korean culture. There’s also a few minutes of spazzing over Bigbang…

Do you have any podcasts you like listening to? 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.

Why ‘Signal’ Beat ‘Descendants of the Sun’ For Best Drama

Signal Versus Descendants of the Sun

Did you see the best drama of the year?

You might easily assume that the Baeksang Award for Best Drama of the year went to “Descendants of the Sun,” which was the most widely viewed drama. And “Descendants of the Sun” did win the Grand Prize at the June 3 awards ceremony. But the Grand Prize factors in a drama’s popularity, as well as the storyline, and performances. It was the time travel police-procedural drama “Signal” that won the Baeksang award for Best Drama overall.

“Signal” did well, ratings wise, for a cable drama (it aired on tvN), peaking at 13.54 percent of viewers for its final episode and averaging 9.19 percent throughout its run. However, it was not as popular as the primetime, broadcast drama “Descendants of the Sun.”

Yet, the series, which starred Kim Hye Soo, Lee Je Hoon, and Cho Jin Woong, managed to receive three Baeksang awards. Besides winning Best Drama, screenwriter Kim Eun Hee won the Best Screenplay award and star Kim Hye Soo won a Best Actress award for her portrayal of veteran detective Cha Soo Hyun. Kim edged out popular actress Song Hye Kyo, who played a conflicted doctor in “Descendants of the Sun.”


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In “Descendants of the Sun,” Song Hye Kyo and Song Joong Ki delivered some riveting romance set amid the conflicts of war. The actors provided plenty of chemistry despite the fact that the drama occasionally skimped on both character and plot development. On the other hand, character and plot development were “Signal’s” strong points.

“Signal” is the story of a police profiler in the present who hears mysterious walkie-talkie signals from a police officer in the past. The officers work together to change the past and thereby change the present.

“Signal” used the politics of the police department to tell a very moral story about the nature of responsibility. The moral of the story is that while it is not always easy to do the right thing, it’s essential. Every person must play his or her part to keep the universe functioning as smoothly as possible.

As police officers, the drama’s main characters were responsible for seeking and implementing justice. The characters played by Kim, Cho, and Lee were each scarred by multiple tragedies, which only heightened their dedication to the pursuit of justice. It made them even more sympathetic to the plight of victims as they too had been victimized.

Kim Hye Soo played a police chief who not only felt responsible for protecting the public, but also protected the memory of the only man she ever loved. For 15 years she searched for him. He was not only the man she loved: he was her hero. Her career as a police officer was a testament to his principles.

Lee Je Hoon played a criminal profiler whose childhood was twice scarred by horrible crimes. As a child, he felt guilty for not preventing a kidnapping but he also lost someone close because of injustice. He became a police officer to see justice done, although it took him a while to recognize the part he might play. When he gets messages from the past, he inherits a mission.


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Finally, Cho Jin Woong played a police officer from the past whose tireless pursuit of justice became tiresome and inconvenient for officers more interested in protecting the privileged and their own privilege.

Cho’s character did not make compromises and was not prepared to look the other way when he noticed a crime. His desire to see justice done was so strong that it magically transcended time, allowing him to communicate with Lee Je Hoon’s character in the present. The lives of these characters connect in the present and the past, allowing them to transcend not only time but their own brokenness.

Each of the drama’s actors did a good job of portraying the tenuous way the characters functioned in the world despite the traumatic incidents that shaped their past. Life could have beaten them down and made them more cynical but they continued to fight for what they believed in. In the end, their connection helped to heal some scars and renew hope for a happier ending.

Unlike “Descendants of the Sun,” “Signal” does not focus on a romance, although there are moments of intense sexual chemistry between Kim Hye Soo and Lee Je Hoon as well as a sweet romance between Kim Hye Soo and Cho Jin Woong. Instead, the drama focuses on the persistence with which the characters fight for the truth.

“Signal” offers an exciting ride all the way to the end with plenty of twists and turns to keep things interesting. The only way to know why it won Best Drama at the Baeksang Awards is to watch it.

Which drama did you think deserved to win? Share your thoughts and advice 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.

Hoody ‘Like You’ Music Video & Song Review

Untitled design

Recently signed to AOMG from its parent company CJ E&M, singer-songwriter Hoody joined the likes of talented rappers such as GRAY, Loco, co-CEO Simon D, and CEO Jay Park. News of her addition (and, with it, its first female artist) to its expanding roster was already known ever since their official announcement at the label’s second anniversary celebration party back in December. A pregnant moment in AOMG history, this surely propagated any preexisting expectations for her solo “exclusive vocalist” debut.

Yet for Hoody, who was a former member of the all female underground hip-hop crew Amourette, and who we might remember as a feature on Jay Park’s 2015 single “Solo,” has already proven with her experience that she is more than capable of holding her own, especially in a male-dominated field. With her song and music video release for “Like You” on May 31st, the first AOMG lady once again slayed, tingeing the pool of testosterone with her provocative, gynic soul.

Song

For a label like AOMG that is known for its Korean hip-hop, it was a little surprising that Hoody’s “Like You” was not. Nor did it feature any of the label’s notorious rappers (albeit Gray helped produce), which would certainly have helped bolster her debut or given her an edge. Perhaps this was her way of saying “Let me do this,” or perhaps AOMG is the only sensible label to realize that not every song needs a rap breakdown. Ultimately, it all worked out for the single that is R&B through and through. It was almost jarring because the song was so R&B that it resembled the American R&B style of Cassie when she was in her prime.

Although Hoody has a ways to go before becoming a standard as well, her voice is seriously something lovely. She effortlessly switches between a silvery and honeyed tone, maintaining the right amount to sound youthful girlish while simultaneously appearing sultry and sensuous. Like water spilling over and permeating every crack and crevice of its buffer, she transitions fluidly to fill out the song, an impressive feat for one that lacks in any apparent pre-chorus. On the other hand, the hook is firmly there and though it plays it safe in terms of key changes, any sort of shock factor would have detracted away from the sedative ambience.


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Content-wise, it’s lo-fi without seeming underwhelming. She repeatedly croons the same words (“I was like you”) in a call-and-response manner in the chorus while the lyrics give a pithy overview of pining for an old lover. Threaded together by its 808 beats and ad-libs threatening on a higher tessitura, Hoody collaborated with Gray to produce a wondrous slow tempo track. Even when the dynamics grew loud, the texture still remained thin, creating an overall easy listen that is not boring even on the hundred and first listen.

Music Video

The music video takes an unfamiliar approach and divides itself into chapters at certain points of the song, evocative of a play or storybook. I’m not even going to pretend I understand the storyline of the music video, as it is one of the most interpretive pieces I have seen from AOMG, but it seems to depict the four stages of getting over a loved one through the lens of three different characters (symbolically they are probably the same person). The first chapter titled “Patients with the disease should be isolate” speaks to the seclusion and heartache of someone suffering from loss. It opens with one of the character – whom we shall call ‘A’ – voyeuristically watching another, ‘C,’ dance contemporary from the window of her trailer. ‘A’ can’t stomach her food and timidly reaches out to the outside world beyond her confined space, much like someone stuck in quarantine might. It’s evident that ‘C,’ dressed all in white and moving candidly in the open, represents the agency, the freedom, that ‘A’ so desperately yearns for.

via woe-is-tuli on Tumblr

The second verse cues in the second chapter, “pathogenic.her.him?,” which asks our character to investigate who exactly is the parasitic agent in this post-breakup relationship. Is he hurting you or are you hurting yourself? Here, the other character, ‘B,’ is introduced, and as we see in the following chapter, she acts as a liaison between ‘A’ and ‘B,’ provoking ‘A’ to come to her senses and allowing her to find herself in ‘C’.


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The third chapter, “Angst Essen Seele Auf” piqued my interest in particular not only for the climax moment where ‘A’ finally makes her escape, but also for its title that pays homage to the German movie “Ali: Fear Eats the Soul.” Explained by the film’s male protagonist, “Angst Essen Seele Auf” is an expression often used by Arabs to describe the corrupt nature of fear. ‘B’ substitutes ‘A’s’ place in the trailer, in turn liberating ‘A’ and prompting her to confront her surroundings.

And with the conclusive chapter, titled “White Rabbit,” we have the final stage of all “X” step programs: acceptance. The moment when ‘B’ holds up a mirror to the camera is the moment ‘A’ meets herself in her own reflection in the room with ‘C.’ Everyone is where they ought to be and it seems to end happily, or at least as happily as an abstract cinema graphic piece of art can get. I also wonder if the three characters reproduces Freud’s psychoanalytic theory of the three levels of mind (the conscious, the preconscious/subconscious, and the unconscious), especially since the title of the last chapter “White Rabbit” is one of the mystical figures used to lead one down into the hole of psychological discovery. I am still unsure if I hit the nail on the head with this one, but the more I re-watch the video and the more I play around with ideas, the more plausible everything starts to become.

via woe-is-tuli on Tumblr

Overall Thoughts

“Like You” is as beautifully shot as its message and its harmonies. Hoody could not have made a stronger solo debut under the reputable label, and I definitely look forward to her future releases. And though she has already wowed us with her independent can-do attitude, it would also be a waste if she did not lend her much talents to other R&B artists; a Hoody x DΞΔN blend, imagine that.

5

What do you think of Hoody and “Like You”? 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.

CLC’s “Nu.Clear” Album Review

CLC
That is one great title. Nuclear by itself would be good enough but combining “new” and their name (a shortened version of “crystal clear”), CLC have created another classic K-pop portmanteau, ”Nu.Clear.” This release is a new start for CLC because it’s their first since adding former “Produce 101” contestant Kwon Eunbin to their lineup. It also represents a good shot at them making it big as the “Produce 101” craze has not entirely died down. But Cube Entertainment groups have been in decline recently, and CLC never did garner much of a fanbase to add to by now. Whether or not they break out this year, we can be sure they deserve it.

“Nu.Clear” explodes (get it?) into life right from the opening with ‘90s hip-hop beats, record scratches, and bombastic horns. Written and produced by frequent Cube collaborators Son Youngjin and Jo Sungho (4minute’s “Cold Rain,” BtoB’s “It’s Okay), “What Planet Are You From?” doesn’t stray too far from retro pastiche and is energized by the girls’ fantastic vocals. One of the things CLC do better than a lot of other girl groups is their group singing. I don’t know if it’s just good production or they were always planned to be like this but in nearly all of their choruses you can hear a number of distinct voices rather than one being layered. It works especially well on a ‘90s throwback like this. I also love the high-pitched synth that the girls harmonize with in the verses; it transitions the song effortlessly.


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CLC continue with the horns and bubblegum pop on lead single “No Oh Oh” but with a more modern twist than the album opener. It bears the hallmarks of producer Shinsadong Tiger’s work (most recently popularized by EXID), horns, male voices in the background, big vocal choruses, and a healthy disdain for men. “No Oh Oh” is about a girl who knows she’s too young for men’s creepy approaches to them but has to continually say no to the stranger danger. This repetition is mirrored nicely in the refrain of “ani ani aniya” (“no, no, no” in Korean) and in the weird delays that come halfway through the verses. These are the highlights as they suggest a chorus or pre-chorus is about to begin but the song continues on with the verse, shutting down any possible change of heart from the girls. Again, I love how parts of the music harmonize with their voices and this time it’s the electric guitar, which adds a more youthful touch than synths in the previous song. While not as structurally interesting as EXID songs, all of these elements work just as well for CLC to create something more coherent and immediately satisfying.

“1, 2, 3” is CLC’s effort to jump on the GFriend innocent bandwagon. The use of theremin, the 808s, and delay in the chorus all recall GFriend’s own aping of Girls’ Generation. Here though it is dialled up a notch with a lot more elements making GFriend seem like tired old ladies. It begins by slowing the album down with some harp, apparently bringing us (sadly) to the ballad portion of the album already. But it was not to be. The song crashes back into life only seconds later with its chorus of rolling synths and pop beats. Written and produced by singer Lee Sang Chul, Seo EBum, and BPM, “1, 2, 3” does not rest from there and is a great example of fitting someone else’s style into your own. The song is so busy but moves at such a fast pace you don’t have time to be confused. Synths, pianos, and drums jump off each other creating the kinetic energy that keeps the song at this speed. The buoyant vocals shine alongside it, highlighting a key point of this album, vocals and music working in great harmony.

Unfortunately, Nu.Clear does move onto the ballad portion, or just slowed down portion, with “Day by Day.” Again Son Youngjin is on production duties this time with the help of more Cube regulars Ferdy and Big Sancho. More of an acoustic slow jam than a ballad, “Day by Day” isn’t the worst of its kind but comes unwanted in this otherwise bright album. I’m not of the belief that mini-albums like this need to be paced in the same way as full length albums. Give me all the bubblegum pop I can take. That chorus would fit right into any Disney musical so will be likeable to a lot of listeners. Like on all of the tracks, I really like Yeeun’s rap. Her childish and cheeky delivery is always fun and brings CLC’s music to life.


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The more sentimental, subdued tracks continue with “Dear My Friend.” I didn’t find any translated lyrics for it but I bet it’s one of those sappy songs about how much CLC love their fans or each other or something cheesy like that. At least this one is musically a bit more interesting than “Day by Day.” Jo Sungho and Ferdy return for the production to give the verses some edge with plodding synths. The chorus is weak though and reminds me of a charity song from the 80s, which reminds me of songs I never want to listen to twice.

Were CLC trying to give us every variation of the boring album track on this album. Nu.Clear started so brightly but slowly faded into disappointment. Ferdy (I’m starting to dislike this person) produces solo this time on “Before,” the most ballady out of the last three songs. I think the thing I hate most about ballads like this is the guitar that strums the same three chords over and over in the chorus. It does make me like the two previous songs a little more though, and I am thankful again for the raps.

Nu.Clear weaves together a number of great sounds that perfectly complement a rookie girl group. Like Oh My Girl, CLC exude the youthful exuberance of teenage girls and never try to go beyond their means. The first half reflects this with three blistering tracks of pure joy while the second slows things down for a mellower time. The first half is considerably better in my mind but the slower tracks don’t ruin the experience totally. It is their best release by far since their debut with “Pepe” so hopefully will spell a time of good fortune for them.

What do you think about CLC’s Nu.Clear? Share your thoughts in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter,Instagram, and Tumblrto keep up with all of our posts.

‘Another Oh Hae Young’ Asks Why Women Feel Insecure

Another Oh Hae Young k drama review

[Disclosure: This article contains some spoilers]

The drama “Another Oh Hae Young” is aptly named. Yes, it’s a drama about two women who have the same name, but it’s also the story of two women who suffer from imposter syndrome and they mirror each other in their insecurity.

Imposter syndrome is a term coined by psychologists Pauline Clance and Suzanne Imes in 1978. People afflicted by imposter syndrome feel like a fraud no matter what they’ve accomplished or are capable of. Although they are high achievers, they feel that it’s only a matter of time until someone finds out how incompetent they are and that they’ve been faking it. They anxiously anticipate being embarrassed.According to the American Psychological Organization, the syndrome is not unique to women but affects anyone who feels they have to work harder to make up for a disadvantage. The extra pressure to achieve may leave a person susceptible to the syndrome if they fall short of their own, often unrealistic, standards of success.

Both women named Oh Hae Young suffer from imposter syndrome, feeling they are secretly not as capable or worthy as others perceive them to be. Ironically, the Oh Hae Young played by Seo Hyun Jin went to school with the Oh Hae Young played by Jeon Hye Bin and the inevitable comparisons made her miserable. Jeon Hye Bin’s character was the queen bee at school, popular, and always the center of attention. Seo Hyun Jun’s character was always “the other Oh Hae Young.” Occasionally, she was unfavorably compared to the “Pretty Oh Hae Young.”


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Seo Hyun Jin’s Oh Hae Young was shy in school. She felt she was plain compared to her namesake and saw herself as an outsider, definitely not as one of the cool kids. Jeon Hye Bin’s character was the standard by which she was measured and she fell short. In the drama’s present day segments, Seo Hyun Jin’s character has matured into an attractive and stylish woman. She has the kind of quirkily endearing personality that’s often born of growing up as an outsider. Although she’s attractive, likeable, and has a good job, she’s not secure in her accomplishments or secure in her sense of self-worth. After the sudden cancellation of her wedding, she meets Jeon Hye Bin’s character again, having to work under her at the office. She’s overwhelmed with insecurity and feels like a second-class citizen. Anyone might feel emotionally derailed by a canceled wedding, but meeting Jeon Hye Bin’s Oh Hae Young adds the emotional equivalent baggage of returning to the worst part of high school.

In a conversation with Park Do Kyung, played by Eric, Seo Hyun Jin’s character tells him that Jeon Hye Bin’s character is in another league than she is. Seo Hyun Jun classifies herself as a B, while she classifies Jeon Hye Bin’s character as an A. And she classifies her former fiancé, played by Lee Jae Yoon, as another A. She figures that he must have been confused to want to marry her and that they broke up because he finally came to his senses. She’s sure the marriage was cancelled because he realized her shortcomings.

Meanwhile, the other Oh Hae Young might seem chic, savvy, and successful, but she’s also far from secure. Jeon Hye Bin’s character had an unhappy, impoverished childhood and has been working overtime to make up for it. She worries that her past will make people look down on her so she works hard at being successful and popular. When the mother of her ex-fiancé said she was not worthy to marry into the family, her fears and insecurity forced her to run away.

While it might be a bizarre coincidence that Eric’s character dates two women named Oh Hae Young, it’s no surprise he dates them. His character has a history of feeling sorry for women, based on past experiences with his pitiful mother. During the course of the drama he expresses pity for both Oh Hae Youngs. He almost married the first Oh Hae Young out of pity. He figured she was so broken, so damaged by her childhood that he could not break up with her. Despite Seo Hyun Jin’s admiration for Jeon Hye Bin’s character, Park Do Kyung actually pities the “pretty Oh Hae Young” and sees her as less than perfect. He treats Seo Hyun Jin’s character as if she were more resilient.


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The drama illustrates the obvious lesson that every woman has her own battles to fight. Another woman’s life may seem perfect from a distance, but it’s often not so appealing up close either. “Another Oh Hae Young” is at its strongest, story-wise, when it shows how precarious and fragile a woman’s sense of self-worth can be.

Hopefully by the end of the drama both Oh Hae Youngs will give up on their impossible standards, learn to love themselves, and realize their true worth. Both characters have a lot to offer.

Are you watching “Another Oh Hae Young?” How are you liking it? Share your thoughts in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and to keep up with all of our posts.

Intro to KNK

KNK

Five was once the magic number of K-pop boy bands, but it’s been quite some time since quintets were a thing in K-pop. Bigbang, B1A4, FTISLAND, and, after the departure Hyunseung, BEAST are some of the few popular active acts to have only five members nowadays. And now we have KNK, a new boy band from YNB Entertainment that is garnering a lot of attention.

KNK, or “Keunakeun” the word for great or might in Korean, come from a relatively small agency with a lot of exceptional talent. (If you haven’t heard Noel, Almeng, or Bestie, go listen to some of their songs right now.) After debuting in February as the first male idol group under YNB, KNK caught the attention of several KultScene staff members with their debut single “Knock,” which features a deceivingly ballad-like intro before quickly morphing into an aggressive, pounding dance-track. The b-side track of their first single album, “Angel Heart,” in contrast, is a ballad that has a J-pop soft vibe. Multifaceted musically and able to captivate with their dances, KNK is a must watch rookie of 2016.


Also on Kultscene: Artist Spotlight: Almeng

But maybe more so than their own songs, KNK caught my eye when I heard their version of TVXQ’s “Love in the Ice.” (The below video is their performance from their debut showcase. KNK has performed the song on multiple occasions.)

To understand why this was so exciting to discover that a rookie boy band could hold their own while performing “Love in the Ice” live, it must be understood that the song is legendary. KNK performing it, and managing to do it justice, shows that not only are these five rookies extremely skilled they’re also determined.

There’s no sticking to simple when it comes to KNK; they could have picked a much less strenuous song to perform at their debut showcase but instead they performed a song that every audience member, perhaps every person in South Korea, would recognize and would know if they missed up. That takes guts for rookies, but KNK managed to pull it off. Primary vocalists Yujin and Inseong carry the majority of the song, but that in itself is impressive considering the song was meant for five of K-pop’s most iconic vocalists.

KNK has also gained quite a following thanks to their frequent videos uploaded to YouTube or Naver’s V App. They’re about to release their first EP “Awake,” so here’s a perfect time to get introduced to KNK.


 

Jihun

Kim Jihun’s only 21 years old and the second youngest of the group, but he’s actually the leader of KNK. He’s the group’s main dancer and, like everyone but Heejun, Jihun performed as a backup dancer for Bestie prior to debuting. Before going to YNB Entertainment, Jihun was a trainee under Nega Network. (And he’s kind of a dork.)


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Youjin

KNK’s lead vocalist and oldest member (he’s 23), Kim Youjin has some of the most powerful vocals around. Before joining his current agency, Youjin trained with B.A.P’s members at TS Entertainment.

Seungjun

The group’s rapper and visual (that means they think he’s the best looking but the below video argues that), Park Seungjun trained with BTS and Got7 before moving to YNB. The tallest of the group, Seungjun was also voted the least stylish of the group and has a goofy side.

Inseong

The middle member when it comes to age, Jeong Inseong is one of the group’s main vocalists. He formerly trained at Big Hit Entertainment with the trainees who would end up being BTS and also trained at FNC Entertainment.

Heejun

The youngest member, or maknae, Oh Heejun was formerly an FNC Entertainment trainee who appeared on the company’s reality show “Cheongdam-dong 111” with Inseong. He was featured as a vocalist and guitarist in FNC’s Kokoma Band but now is one of KNK’s rappers.

What do you think of KNK? Are you excited to see where they take their career? 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.

‘Phantom Detective’ Is Bringing Back Detective Noir to South Korea

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As part of their newly launched Korean Movie Night New York: Premiere Showcase series, the Korean Cultural Center NY provided East Coast audiences and film critics with a special preview screening of independent filmmaker Jo Sung-Hee’s latest return to the silver screen, “Phantom Detective” on May 18th ahead of its May 20th release. The movie is a modern adaptation of a Joseon Dynasty Robin Hood folklore, Hong Gil-Dong, but instead of the classic, chiseled butcher-framed hero, Lee Je-Hoon (“Architecture 101,” “Bleak Night”) stars as our pretty-boy sociopathic private investigator of a protagonist.

[Disclaimer: This article contains major spoilers]

The neo-noir film, set in an unspecified time period, follows Hong on his pursuit for the one-eyed Kim Byung-Duk who he witnessed murder his mother 20 years ago. Yet before our anti-hero could arrive at his nemesis’s humble abode to exact revenge, he discovers that his killer had already been whisked away by someone else with a different agenda. In Kim’s stead are his two young granddaughters, who quickly become not only Hong’s meddling sidekicks but also comic relief for the plot that favors melodramatic shootouts and nihilistic themes.

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The unlikely relationship that forms between an apathetic male lead and doe-eyed youth in thriller is a common trope (see “The Man From Nowhere”) that I knew going into the screening was going to be set-up for pathos. Audiences still shamelessly bought the bait though, because as much as Hong’s character was thawed out by the inquisitive girls, viewers too were captivated by such naiveté. There are several tear-inducing moments, such as when the eldest granddaughter finally let her suppressed tears fall upon her grandfather’s death, which could not have been achieved had it not been for the virtuous nature of the secondary leads. The delivery of the child actress Roh Jeong-Eui (“Pinnochio,” “Dream High 2”) and Kim Ha-Na, who is only making her acting debut here, were just as convincing as some of the already known cast members, such as Go Ara and Kim Sung-Kyun (“Reply 1994”). With a killer (no pun intended) script and a star-studded cast, my expectations for “Phantom Detective” were already very high.


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And for the most part, those expectations were met. It was enjoyable, definitely, but for a two hour movie more could have been fleshed out, especially in the telling of Hong’s past. In his mad search for Kim and in figuring out his kidnapper’s motives, Hong also unravels his own identity and his past involvement with the organized crime group of which the assailants are working for. Jo Sung-Hee appropriately foreshadows Hong’s connection to this cult early on in the film, as indicated by the recurring shots of the tattoo on his wrist who he shares with some of the – as viewers soon learn, corrupt – political leaders. My qualm, however, lies not with establishing this second storyline, but with the lack of a real build-up to Hong’s relationship to the party’s ringleader, Kang Sung-Il, played by Kim Sung-Kyun. With a literal bang, Kang’s character is first introduced in an armed tableau, where he is portrayed as Hong’s worthy adversary. For the first time the intuitive Hong with the “99 percent success rate” is outwitted, and it is here that we know that the real antagonist is not Kim, but Kang.

As it also turns out, Kang is Hong’s brother. Yet this does not become clear until the climax, which seemed as out of place as Kang’s introduction. What happened to the pair when they were younger so that things turned out the way it did? What is the backstory behind their parents? While this could be fodder for a sequel, the pacing and execution could have been better.

Another fault concerns the somewhat inconsistent use of noir elements. Besides the low-key lighting and striking contrast between light and shadow that are typical of the genre’s distinctive cinematography, the movie also deliberately employs CG effects a la “Sin City.” The opening scene where the camera pans from car to obviously graphic city is a page straight out of a comic book, as is also the case where the light catches Kang’s glasses in the most sinister of ways that has only been done in Japanese animes. But sometime amidst the skirmishes and apocalyptic pandemonium, these devices are lost. As a result, the hyper-reality that Jo Sung-Hee envisioned for his alternate universe couldn’t even suspend my disbelief. I thought it might have been my scant exposure to neo-noir that made the stylistic choices seems satirical at best, but in retrospect it might have its erratic application.


Also on Kultscene: Top 6 Must Read Articles to Mark Our 2nd Anniversary

That being all said, I would recommend “Phantom Detective” to anyone who was riding on its hype, but not as something to watch a second time. I realize this review may come off as reproachful and berating to some, but on the contrary; I sincerely appreciated all the chair-gripping combats and plot twists. When Kim said that he did not regret killing Hong’s mother and would do it a thousand times over if it meant protecting his family in front of a desperate Hong, I had to pick my jaw off of the theatre’s carpeted floor. Like why?! I was rooting for you, old man!

The plot is constantly complicated by the past of its characters, and the even though there was no doubt in my mind that good will prevail over evil (blame popular culture for this canon), it’s the means by which to get to the ends that makes the film laudable of a watch. It’s been a week since the initial viewing and I still cannot gauge how seriously I should be taking it and all its animated, laypeople-operating-machine-gun glory. I suppose that that is its charms. Not to mention, the movie serves as a nice pace of change from the superhero genre that currently saturates our box offices today. Not all heroes wear capes; some wear trench coats and fedoras and always carry a stash of caramel on hand.

Check out the movie trailer:

And if you miss “Phantom Detective” at its East Coast Premiere at the IFC Center, you can still catch it at select theaters throughout North America here.

Have you watched or are you planning to watch “Phantom Detective? 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.

Top 6 Must Read Articles to Mark Our 2nd Anniversary

kultscene articles top 2016

Two years ago, we decided that we were going to do something. What that thing was, we’re still trying to figure out. But since May 19, 2014, there has been a lot of truly inspired, entertaining, and all-around interesting pieces written by our staff. Over the years, there’s been a few pieces that have stuck out to all of us. They may not have been the most popular articles, but our writers put together a list of their personal favorite KultScene pieces from over the years.

 

 

 

 

 

I don’t particularly like lists. I really don’t like Hyunseung’s song. Yet I love this list about Hyunseung’s song.

— Joe


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This feature is definitely one of my favorites because it’s probably the most challenging one I’ve worked on so far as an editor. It’s pretty pleasing to think back how Tamar turned a seemingly boring interview into a compelling feature full of interesting facts and anecdotes with a little editorial direction. It was also a topic no one had discussed before and was later used as reference for multiple sites when Girls’ Generation released “Party.”

— Alexis

Aside from the flashy outfits and occasionally overdone and layered makeup, something that a K-pop fan can always look forward to when awaiting for their favorite artist/idol group’s new music video to drop is the choreography. Whether they impress you or not is up for discussion. In this article, Joe does an excellent job of comparing what are two completely different worlds of dance and how they, in the end, influence one another. Dancing isn’t quite the same as it used to be, but those who appreciate and follow the core values that were made from the beginning will be the ones who will help keep it alive and fun.

— Tam

 

 

 

 

 

I would probably pick someone else’s article, except I remember getting so upset when I read the Wall Street Journal’s article that just seeing the title of my own piece makes me fume. This is one of the few, in-depth pieces I’ve done for KultScene and I think it is the ideal sort of think piece we’d like the site to be known for. We began the site two years ago as a place for creative content related to the world of Korean pop culture so… Here’s to the future of KultScene!

— Tamar


Also on KultScene: Spiritual K-Pop: Lovelyz & Berry Good Find Their Destinies

 

 

 

 

 

The first article from Kultscene which I had randomly chanced upon was also the article that eventually convinced me to join the team. Joe boldly touched on several sensitive topics that I had been very curious about (JYJ’s relationship with SM Entertainment for example) and gave many detailed insights that convinced me to see things from his point of view.

— Anna

 

 

 

 

 

This music video and song review was one of the first articles I’ve published for Kultscene, and by far carries the most personal meaning for me. When the music video for BTS’s “Dope” first came out one of the editors suggested I cover it, and me being the eager rookie correspondent that I was at the time, answered with an enthusiastic “sure!” Only problem was… I knew little to nothing about the group. While that shouldn’t be an issue for a task that required only analyzing the form and content of the song and video, I always had this preconceived notion that good writers researched everything about their subjects before doing their work. In this case, that meant learning all their names and quirks in addition to what the group stood for. All I can say is that a lot went into writing this review; I surprised myself with what I was able to do as a writer of music with a nonexistent background of music theory and of BTS. I would like to think that it was my extensive labor instead of the group’s obvious fanbase that landed this review in our top ten most viewed articles of 2015, but that would be rather narcissistic of me, wouldn’t it? Perhaps almost as narcissistic as highlighting a past review that I had done on a list of Top Ten Must Read Articles.

— Shelley

What has been your favorite article by us so far? Share your picks and thoughts in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.