Popular Korean MC-singer Eric Nam recently came back with his mini-album “Interview”and is maintaining a high spot on local music charts despite strong competition posed by other returns by idol groups such as GOT7. It’s great news for a largely underrated singer like Eric Nam, especially because “Interview” is a marvellous album that’s proved its worth in the chart rankings.
“Interview”
This opening track kicks off the album brilliantly with a “feel-good” vibe that is complemented by Eric’s smooth voice and muted instrumentals. The lyrics wittily describe the first meeting of a guy and a girl by framing it as an interview, which is clever in itself because Eric has conducted numerous interviews throughout his own career. It’s adorable yet romantic to listen to, much like the creative lyrical video that accompanied the song.
”Good For You”
The cheerfulness is dissipated by the time we reach the single of the album but it is no less well done than the first track. With a soft and jazzy piano introduction Eric carries the song in a relaxed manner, fully expressing the simple lyrics of the song. The song is quiet for the most part, but at the emotional climax of the track Eric displays his trademark high notes. The music video for this track is shot beautifully with a very romantic and vintage lighting. The main story of the video centers around three particular characters; a tired ballerina, a worn out barista and a hopeless office woman. As Eric croons his song over the radio and the three characters listen to it they are encouraged and energized. While not fully relevant to the song itself, it makes for a sweet plot and a great watch.
“Stop The Rain” is a marked difference from Eric’s usual laid back style but it’s a difference that is much welcome in this album. It starts out softly but the tempo is upbeat from the start and intensifies as the song goes along. The chorus is structured in an unique way but is catchy and addictive. With meaningful lyrics that speak of failure and hope along with Eric’s powerful vocals, this is easily the best and most memorable song of the album.
”No Comment”
Rounding out the album we have a song that returns to how this album started but in a more depressing and somber fashion after the excitement of meeting someone for the first time fizzles out betrayal and heartbreak start to creep in. This is exactly what Eric tackles in his last track. The skilful use of the phrase “No Comment” draws back to the initial idea of “Interview” this heartbreaking track pulls out all the stops in the form of emotional high notes, string instrumentals and a quiet closure.
Eric Nam has effectively outdone himself with this short album that managed to stay cohesive and keep a high quality throughout. I’m looking forward to his future releases (and am desperately hoping that he will gain more attention with this album) and his continued growth as a musician.
What did you think of his album? Share your thoughts in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.
https://kultscene.com/wp-content/uploads/2016/03/eric-nam.jpg12801280Anna Cheanghttp://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngAnna Cheang2016-03-28 04:44:232016-03-28 04:44:23Eric Nam’s ‘Interview’ Album Review
Like most fans abroad, the first time we heard about South Korean rapper KittiB was when she appeared on the second season of “Unpretty Rapstar.” If you watched the show, you’re aware it was met with criticism that both the contestants and the format of the show was subpar to its first installment. KittiB was one of the few rappers who was an actual underground rapper, with most contestants being either from idol groups or rookies. Alas, her journey was rocky and it took her literally the entire show to win a feature on the song; the last before the finals. To her credit though, “On the Edge” produced by YDG is probably one of the best, if not the best, song from the season.
However, after “On the Edge” and making it onto the semifinals, something sparked in KittiB’s head, for she woke up from her season-long slumber and began to slay. Her verses on the collaborative songs with the rest of the contestants were also fire. And let’s not forget about the masterpiece that is “Ronda Rousey Flow.” A trap anthem about shutting down bitches who try to put her down but don’t measure up (*cough*, Yubin, *cough*). Unfortunately, she didn’t win the show. She did, however, win the title of “baddest bitch,” because just like Yezi, they were the only two contestants who proved they’re the real deal and can back up their claims of greatness.
Fast forward a few months, KittiB, who formerly released her music independently, is now signed to Brand New Music — home to rappers San E and Verbal Jint and singer Bumkey. She recently dropped her latest single, the first signed to the label, “Doin’ Good” and it’s a continuation of what we already know: KittiB slays. The track follows the trap trend, but doesn’t go into full-on stereotype. Verbal Jint, who’s featured, and KittiB mellow it down and keep the instrumentals simple to highlight the song’s message. The lyrics tell her story about being in an abusive relationship compellingly, declaring that even though she was broken down by the former lover, she’s now doing good. Unlike Yezi’s “Crazy Dog” which was ruined by San E’s participation, Verbal Jint complements KittiB’s flow and overall concept; he’s the yin to her yang.
It takes a certain level of guts and confidence to put out songs like “Ronda Rousey Flow” — which owns all the bad comments directed at her, especially being fat shamed, and discredits them because her talent speaks louder than that — and “Doin’ Good” — which speaks candidly about a topic a lot of people feel ashamed of speaking out about. Not only is she hot (fuck the fat shamers, she’s actually just curvy), but her lyrics are never empty, yolo-swag, #turnup jams.
Her two last songs on “Unpretty Rapstar 2” plus her newest single earned her spot in Korean rap table with other great rappers of all genders. Let’s hope she now gets the attention and kudos she deserves. Other female rappers should watch their crowns for KittiB is well on her way to snatch it.
via coma07 @ Tumblr
What do you think of KittiB’s latest 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.
With all the Got7s, Red Velvets, and Lee His taking over the charts these days, I figured it was a good time to look at some of the lesser known groups who have had recent releases. Then I figured what better way to celebrate them then with a bloody fight to the death? Who needs Zack Snyder’s “Batman V Superman” when we’ve got Lip Service and A.cian?
The Groups
Naturally enough because of their status as less popular K-pop acts, it’s not easy to find a lot of concrete information on these groups. Lip Service debuted as a two member hip-hop group with rapper Bipa and vocalist Cora with “Yum Yum Yum” in 2014. Their company is hard to pin down; “Yum Yum Yum” was first released by NOW Entertainment but the Youtube channel from that company was never used again. The rest of their videos were released by Sony Music Korea, although they don’t seem to be under that label. Their newest release from last week is on a completely new channel and, again, seems to be with a new company. Many comments on Lip Service’s videos on YouTube are in Russian, alluding to a sizeable fan base in Russia. For their second release “Too Fancy,” Lip Service added a third member, Anna, and now, following the departure of Cora, they’ve added a new vocalist CinD. It’s a bit hard to keep up with, I know, but that’s the life of a less successful rookie group. Wait until you see A.cian…
As far as I can tell, A.cian have gone through a complete change of lineup since their debut in 2012. They debuted with six members, all of whom have left, and even one member who was added later left, leaving only four remaining A.Cian members standing. Like Lip Service, A.cian’s company is a bit of a quandary. I think they debuted with ISS Entertainment and moved onto to Mono Music Korea. Right now, their videos are being released on 1theK, so they could be with anyone. Interestingly enough, they must have a Thai connection as they released a Thai version of one of their songs. When I say interestingly, I mean I finally found something unique about them.
Judging by their debut, Lip Service seemed like a group going for that Crayon Pop/Pungdeng-E route of almost full-on comedy pop. “Yum Yum Yum” is an EDM hip-hop track about a girl who wants to lose weight but can’t because food is too delicious. It’s actually a quite funny takedown of the overly body conscious K-pop world. The line “My day’s going to be over just counting my calories” makes fun of the idol who spends more time worrying about their body than their music. That music is weird and energetic enough to match the childish lyrics. The electronics are supercharged and raps blisteringly fast. It has no regular break or bridge, which gives it the impression of being almost never ending. This means its structure is almost literally just the chorus/verse repeated. “Yum Yum Yum” comes off a little hard to listen to more than once but you’ll have fun that one time.
A.cian’s debut is the exact opposite of “Yum Yum Yum.” “Stuck” is a lo-fi dance pop track about wanting someone to be stuck deep inside. Could this be a gay K-pop anthem? The subdued opening is great, the music track takes a step back to highlight A.cian’s vocals well. It’s also an original choice given the time it was released. Some of the vocals are a bit weird,which I like, and the verse after the first chorus is a kind of talk rap that goes up and down in pitch wildly within each sentence. That chanting chorus sucks the life out of the song, unfortunately. It seems to be trying to do the exact opposite, but losing the lo-fi quality with completely undynamic vocals loses the song its original edge.
Result: Lip Service by a smidgen. “Yum Yum Yum” is too bizarre and fun to let something as dull as “Stuck” beat it.
The New Release
Jump ahead four years and A.cian come back with a new lineup and sound. That sound unfortunately is little more than an amalgamation of all the popular sounds of the day. Namely the boy next door revival of B1A4 and Got7 with added rapping on “Touch”. It takes a certain amount of skill to pull off this sound and look for boys, as it can very easily become embarrassing. While they don’t do too badly overall, it doesn’t work. The song is led nicely by electric guitars and has appropriately silly choreography. It has this 8-bit electronic sound which sounds awful and was probably there to make it a bit weird or modern. The rapping as well doesn’t work. I recently mentioned how Yezi’s rap in “Mirror” gave it a modern edge thanks to the tone of her voice; A.cian do something similar but it misses out simply because they can’t rap as well as Yezi. They put on slightly heavier rap voices that don’t work in this context.
A.cian’s latest song may not have been a huge improvement in terms of quality, but they at least got a bump in production costs not just for their music but video too. Lip Service seem to have gone backward in this regard since 2014. Their recent new single “Hello” continues their love of EDM and hip-hop but with a more serious tone. The sound is sub-par for this day and age, each element is rough and poorly mixed, and the video is something even Blady would be ashamed of. It’s frustrating because this could have been at least a great track with a higher production value and added polish. It utilizes the vocals and music together in different parts to contrast against each other. Sweet vocals go over pianos while fierce raps introduce the electro elements. Also, judging by the video, the song is about drinking too much at parties which is an interesting subject for idols to approach. The subtitle of the song “Only Eating Dew” is evocative as well. Without translated lyrics, it’s hard to understand what it really evokes though. The confrontational rap post chorus and the reintroduction of the piano right after suggest a sincerity to the song. Over images of drinks being poured and smashed disco balls, it’s a beautiful sobering moment amongst the mess.
Result: Lip Service. Again, the eccentricity of Lip Service wins out. Flawed beauty is exactly what I like from groups like this.
Unfortunately the best of what’s left for Lip Service is between a track off their new album which sounds like Bipa’s audition for Mnet’s “Unpretty Rapstar” and a rap/vocal coffee shop R&B duet (yes, both of those are inherently bad). I’ve gone for “What If Spring Comes” (the coffee shop song if you couldn’t tell by that title) mostly because it has the best rapping of their songs. Like “Yum Yum Yum,” it has little structure apart from Bipa’s raps and Anna and guest vocalist J-Lin’s choruses. It feels like it goes round in circles but the vocals are all quite good so it isn’t too bad. I also love the cheapness of the video. The low quality works well this time because it fits the whole aesthetic of the song being a quick turnaround to show Lip Service were still a thing after Cora left. Judging by shadows and the grainy footage, it was shot on a smartphone as well. The video has shots of the most random things cut against the members singing in their own awkward frames. Everything about it screams this was done quickly and cheaply and there was no effort to hide that. I like that frankness.
A.cian’s highlight is actually really similar to “Touch” but much better in every aspect. “Driving” is a bubblegum pop song that uses driving as a metaphor for falling in love. The vocals all play up the sweetness of the track with the falsetto chorus being a highlight. The rap this time fits in better with the whole track and don’t outstay their welcome. Everything about is classic pop from the stupid metaphor to the gloriously fun dancing. It’s generic but there’s little to fault with something as delightful as this.
Result: A.cian. “Driving” is the most classically good song of what both can offer.
The Worst of the Rest
A.cian’s “OUCH” is everything bad about modern boy groups rolled into one. Ever since B.A.P made it big, boy groups have been clambering to get that tough guy rap sound down. While some are succeeding, most are being left behind. And judging by this, that’s a good thing. “OUCH” is a mess of electronics and guitars complete with subpar B.A.P Daehyun-esque vocals and too many raps. A.cian once again chant in the chorus but to little effect whereas B.A.P’s Bang Yong Guk can growl a chorus into something really aggressive; A.cian sound like young boys in comparison to the power of B.A.P. They also try to imitate BTS with the choreography, essentially stealing some moves from the choreography of “Boy in Luv.” They don’t have the skill to pull it off though, lacking fluidity in strong moves and resulting in A.cian looking like robots.
Groups that are trying to make a point or are maybe doing something in service of a joke can sometimes get away with imagery that could be considered inappropriate. Lip Service try that with “Too Fancy” but fail miserably. The follow up to “Yum Yum Yum” is similar in sound and structure but not as fun. The song itself is making fun of the consumerist culture in Korea by depicting a girl who wants everything but it’s all too expensive. The images used to portray this in the video however, are ridiculous. Bipa wears braids, lost of gold chains, and dances with a black man while making it rain with a bundle of cash. The girls also attempt to twerk with close ups of their butts. It’s more embarrassing for them than it is offensive, but still, it was stupid to use these images for a song like this. It also steals the sax from Ariana Grande’s “Problem,” which is the most banal thing you can do nowadays.
Result: Tie. “Too Fancy” is overall offensive and “OUCH” is offensive to eyes and ears of the world over, so you can’t separate them.
Lip Service have come out on top with their strangeness being the deciding factor while A.cian have had generic sounds following them throughout their career. Despite some well executed tracks and bad production nearly making them interesting, it isn’t enough to beat a flop girl group. These parody girl groups tend to be some of them most interesting things that K-pop produces. The potent mix of sincerity and desperation creates sounds and looks that transcend what we know as pop music today.
Who do you think is better A.cian or Lip Service? 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/2016/03/Untitled-design-3.png7681024Joe Palmerhttp://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngJoe Palmer2016-03-25 15:04:562016-03-25 17:49:24Battle of the Underappreciated K-pop Groups: A.cian vs. Lip Service
If any group was poised to be the next breakout superstars, it would be LOEN’s girls, Fiestar. Leader Jei and Chinese member Cao Lu have been gaining followers on variety shows by the day and we all know of the success that rapper Yezi has had following her breakout on the second season of “Unpretty Rapstar”. I would have thought that they would come back with as much fanfare as possillbe with little delicacy, but here they are with new mini album “A Delicate Sense”.
Ever since Cheska left, Fiestar have focused their style. Before, it was varied and somewhat of a mess for any budding fans. After the ménage à trois anthem “One More” and silky, acoustic “You’re Pitiful,” an air of melancholic sexiness has grown around them. New single “Mirror” and its music video do nothing to dispel this idea. This new mini album shows the eclectic range of 2016’s possible rising stars .
Opener “A Sip of Your Lips” is an oddity that could only ever be an album cut. It fuses a number of sounds to create something at once chaotic but sensual. Latin beats, country electric guitars, and sweet vocals make up the bulk of the song. Each part comes together at once to a simple structure to keep it from going too far. Most interesting is the recurring autotuned vocal sound that sounds like a slide guitar. It’s the type of weird sound that makes a song like this infinitely listenable, not just because you’re trying to figure out what it is but because of its beauty.
If any of the members were being pushed for this promotion, the music tells us it is Yezi. Her cold, clinical raps seem to frame every song on the album. Even if she only gets the obligatory bridge of verse, she pulls the song around her. On “A Sip of Your Lips,” the music even stops for a moment, preparing itself for Yezi to inject a fiery pace to it.
She does this no more so than on the single “Mirror.” It’s a synth pop track familiar to K-pop fans as the sound of 2010-2011. Back then, this was the most common kind of sound produced and probably the most expensive they could sound. Hearing it now with even better technology shows its timelessness. Synth stabs cut right to the ear building Fiestar’s melancholic reflection. It’s a perfectly solid lead single but probably the least interesting song on the album.
Yezi is the other difference between the 2011 version of this song. Before, the rapper would have been a regular idol, the girl who couldn’t sing, so they make her talk sort of melodically so they fit into the song. Yezi, however, is a rapper. She bites into the song giving it an anger and frustration where there would only have been sadness.
“Mr. Black” also,in some way, brings Fiestar back to their roots by being an overt ode to sex. Their explicit sexuality is still refreshing if a bit on the nose. Lyrics mentioning an “unstoppable dirty dance” and a “tasty road” (which when pronounced by a korean sounds like tasty load yikes) are embarrassing, but at least we don’t understand Korean so it’s not distracting. The song plays up sensuality over euphoria. The girls coo and whisper throughout over bubbling electronics and a restrained beat. The chorus especially has some of the sexiest vocals K-pop has ever seen.
Fiestar slow things down even more for “Thirst,” a song about insatiable desire. “Thirst” twinkles into existence while carrying on the slightly retro sounds of 2011 with its fuzzy synths. They combine well with chimes forming an eerie dreamy sound. Yezi again fits in perfectly with an autotuned rap that feels like it is ripped straight from the music. I love raps in slower songs like these, they add a new weird perspective but manage to not be too jarring (see also Lim Kim’s “Alright”, Ladies’ Code’s “Hate You”). There’s a desperateness to it that works really well against Linzy’s angelic vocal.
“Back and Forth” is a chance for Fiestar to get angry at all these lovers they sing about. It threatens to be a fairly formulaic track with a bit of sax. The instrumentation is excellent however. The aforementioned sax blends wonderfully with guitars over a strong drum beat. The song begins to build after the first chorus with Yezi’s most outwardly aggressive rap of the album. After a beautiful bridge, the vocals become unhinged and Yezi snarls in between them building the song into a cacophony of angry voices. The repeating refrain of “wassda gassda” adding to the frustration of these young girls.
If Fiestar fail to light up the year like EXID, Sistar, and others before them as new starlets, we can still look back on this and see how impressive they have become as a group. Each song on “A Delicate Sense” has its own identity, adding something fresh to tired formulas. Delicacies in the music lift the tracks into territory worthy of repeat listens. Not only this but their continued use of sex in their lyrics is something to cherish forever. We’re going to look back at Fiestar as a group who dared to be explicit and were great precisely because of that.
What do you think about Fiestar’s new album? Share your thoughts in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter,Instagram, and Tumblrto keep up with all of our posts.
https://kultscene.com/wp-content/uploads/2016/03/FIESTAR_1457566086_af_org.jpg10001000Joe Palmerhttp://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngJoe Palmer2016-03-17 14:47:242016-03-17 14:47:24Fiestar’s ‘A Delicate Sense’ Album Review
Korea’s hottest hip-hop label right now is undoubtedly AOMG with its awesome roster of rappers, R&B singers, and producers. But with so many artists signed to the label, hip-hop becoming more and more popular, and countless collaborations, it’s easy to lose track of who’s who. So in light of AOMG’s Follow the Movement 2016 North American Tour, there are a few things we should get straight.
Following their performances in Los Angeles, New York, and Washington D.C. in 2014, Jay Park is expanding his horizons to our delight and touring eight U.S. cities this upcoming April. And the “Mommae” singer isn’t planning on turning up alone. Oh no. He’s making it a family affair and bringing labelmates Simon Dominic, Gray, Loco, and DJ Pumkin for the Follow the Movement 2016 North American Tour.
They’ll be hitting Chicago at the House of Blues on Apr. 5, the 8th in New York at the Playstation Theater, the 11th in Houston at the Warehouse Live, in Dallas at the Bomb Factory on the 12th, in Las Vegas at the House of Blues on the 13th, at The Wiltern Theater in Los Angeles on the 14th, in San Francisco at The Warfield Theater on the 16th, and in Seattle at Showbox Sodo on the 17th. Tickets have been on sale since Feb. 26, but as of Feb. 29, VVIP, VIP, and Superior tickets for Chicago, VIP for Dallas, and VVIP and VIP for Los Angeles, New York, and San Francisco are sold out. Ticket prices start at $75. Moreover, some of the dates have age restrictions, so be sure to check that before purchasing a ticket.
Last year, Jay Park appeared as a producer on “Show Me the Money 4” along with Loco and released banger after banger with his album “Worldwide;” it was truly a highlight year for him. But in case you’re not well-acquainted with him or the rest of the gang, here’s a short intro to the Above Ordinary Music Group gang.
After joining Jay on his last AOMG tour in the U.S., DJ Pumkin was soon signed to the label. And even if he’s not a rapper himself, similar to Gray and Cha Cha Malone, DJ Pumkin is behind some of AOMG’s hottest songs like Loco’s “Respect” and a few of Simon D’s former group Supreme Team’s.
Loco
Fresh out of his win on the first season of “Show Me the Money,” Loco joined AOMG in 2013. He went from being unknown to being featured on some of the hottest hip-hop tracks of the last couple of years and topping the charts. Whether on his own releases or featuring on song with other rappers and K-pop idols, Loco always delivers a fiery performance.
Gray
Together with Cha Cha Malone, Gray is AOMG’s other star producer. While he also sings and raps, he’s been more active producing hot tracks for his label mates, like Jay Park’s “Mommae,” and other artists, including K-pop legends SHINHWA and Infinite’s subunit Infinite H. Loved by the ladies for being hot and handsome, Gray is a stellar producer who has us vibing with his just as hot tracks. Since joining the label in 2013, he’s only dropped one album, but it has been enough to make a lasting impression.
Together with Jay, Simon D is co-CEO of AOMG and a rapper. He has been in the game for a long time, being a former member of Supreme Team and Jiggy Fellaz, along with being signed to Amoeba Culture. However, Simon made his solo debut in 2011 and hasn’t stopped dropping hot track after hot track since, with the latest being “Won & Only.”
Jay Park
Long-time K-pop fans will always remember Jay as the former 2PM leader. However, since his removal from the group, Jay has made a name for himself by forming AOMG in 2013 and releasing music successfully post-scandal. He not only raps, but also sings, dances, choreographs, acts, models, produces… the list in endless; he’s truly a multi-dimensional artist. Since 2012, Jay has been at the top of the charts with his hot releases and 2015 was no different. After a slew of singles, he released his latest album “Worldwide” and was met with critical and fan acclaim. Among his latest jams we can anticipate a performance are “Solo,” “You Know,” and “My Last.”
https://kultscene.com/wp-content/uploads/2016/03/Untitled-design-2.png7681024Alexis Hodoyan-Gastelumhttp://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngAlexis Hodoyan-Gastelum2016-03-09 18:33:202016-03-09 18:33:20Intro to AOMG [+ Follow the Movement 2016 North American Tour Info]
SBS’s “Kpop Star” is deep into itsfifth season at the moment with the top 10 contestants just beginning their live shows, but boy has it already been such a fantastic ride. From outstanding soul singers to a seemingly ready-to-debut girl group, the contestants of “Kpop Star 5” have exhibited a boundless amount of talent, making for a highly enjoyable yet extremely brutal competition. In particular, here are five contestants who have really stood out and in essence and are the definition of what this season of “Kpop Star is about”; it’s not just about the discovery of vocal talents, it’s also about growth, both for the K-pop industry and for the contestants themselves.
1. Ahn Ye Eun
Ahn Ye Eun started out as one of the most underrated contestants in this competition but she has subsequently rose in the ranks ever since she started to get broadcasted on the show. She barely scraped through her first audition with the help of Yoo Hee Yeol’s life-saving wild card and did well in the ranking audition after that, but the producers did not include her in the broadcasts for the same reason that Yang Hyun Suk and Park Jin Young did not let her pass. They were afraid that her self-composed songs would not be well-received by the general public because the songs were too different from mainstream K-pop. These fears turned out to be unfounded however, because her unique compositions impressed not only the other contestants and the judges but also made many fans out of the viewers, both locally and internationally.
As a singer and songwriter Ahn also gained more confidence in her abilities and this is made evident by the risks she chose to take, especially in the round leading up to the selection of the top ten acts. Although the judges had previously criticized her compositions she decided to believe in herself and performed her strongest (and perhaps most disturbing) song “Sticker.” This song is about a stalker and is a truly creepy yet winning composition.
Her efforts paid off and she earned great feedback from all three judges for her performance. Ahn has currently made it into the top eight of the competition and I am looking forward to the music revolution she will definitely bring into the K-pop industry.
2. Jung Jin Woo
Unlike Ahn Ye Eun, singer-songwriter Jung Jin Woo has been under the spotlight ever since his first audition on the show. A returning contestant from Season 3, this talented musician garnered a lot of attention with the first self-composed song he performed on the show, “Satellite.”
He was praised for his witty lyrics and fresh compositions, prompting him to experiment with different types of music and continue his journey as a songwriter. Not all was smooth-sailing for him though and Jung had to work hard to find his own colour as he progressed through the rounds. He also had a few successful duets with contestant Lee Soo Jung, and together this couple was both electrifying and adorable.
Through each round Jung has shown consistent growth as a musician and with the aid of judge Yoo Hee Yeol, Jung’s songwriting and style has become more refined. With his high-level abilities and natural charm, it’s pretty certain that he will go very far in this competition.
The formation and success of this four-member girl group was probably the biggest surprise in this season because of the group’s origins. The members all started as individual contestants but were grouped together during the team mission round. Mazinga was formed when three individuals, Joyce Lee, Kim Yerim and Denise Kim, were put together in the same group. Their fourth member, Yuyu Liu was initially paired with another contestant, a returning young singer called Brody, but she eventually joined Mazinga to form Mazinga-S. Although the other three girls had already enjoyed a great chemistry before Yuyu joined, she fit right in and added even more charm to the group. Their teamwork was so perfect that the judges made an exception and requested them to stay as a group even after the team mission round was over.
This group has been going from strength to strength, especially as their teamwork and friendship is strengthened; this is evident in the way they are able to work together so flawlessly on and off stage. Although they are of different ethnicities (Joyce is from America, Yuyu is from China, and the other two members are from Korea), they are always able to move beyond their differences and channel their energies towards their shared love of performing, and boy, are they good at it.
There is a reason why they are always being praised that they seem like a professional girl group. They give off a very strong aura and their amazing vocals certainly complement their image. A group normally only has one or two exceptional singers, but Mazinga S is special in the sense that no member is weaker than the rest, they each have and display their unique charms but are still able to fit in with the rest of the group. They aren’t only good technically, their love for performing also shows when they are on stage; their actions are so natural and fun that it draws attention right away. If not for the fact that there are many insanely talented contestants in the top ten right now, I would say that this group has a very high chance of winning this competition.
4. Lee Soo Jung
Lee Soo Jung has been one of the most consistent performers this season and she only seems to be getting better. She has a beautiful voice, but more than that, she knows how to use her voice as an instrument to fit the song she is singing, and she is able to do this for songs of varying styles as well; ranging from R&B to ballads to pop songs. She can make each her song her own, and this artistic sensibility sets her apart from the other contestants. Lee has always been seen as a cool contestant because she is rarely affected by the performances of her competitors and doesn’t display much emotion but as she progresses through this competition, her emotions are beginning to show through her performances. The most notable example of this would be her tearful rendition of g.o.d’s “Lies.”
She adapted this song by revamping the rap parts of this song and changing some lyrics of the song; it was a beautiful testament to her growth as a musician not only because she was able to immerse herself fully in her performance but also because of her beginning attempts at arranging and songwriting. She is a contestant that I look forward to watching every week because I know that she will never disappoint.
Joo Mi Yeon is probably the contestant who has grown the most in this list, not just as a singer but on a personal level. When she started the show, she was still suffering from stage fright, a symptom of the psychological trauma she suffered when she failed to get into any university after her high school exams. Her nervousness and stage fright was so evident whenever she went on stage but when she immersed herself into the song, it was as if all her fear had left her. Her emotions were so real and well expressed through her performance that it touched the hearts of the other contestants, the judges, and of course the viewers of the show. This was especially true in her performance of “You Are Tearful” where she truly displayed her nuanced and sweet voice.
It was gratifying to see her gain confidence as she received compliments from the judges and even more so to watch her power through the obstacles that stood between her and a position in the top ten. While she may not be as unique and outstanding as her fellow competitors at the moment, her emotive voice is one of my favourites and I look forward to her music in the K-pop industry in the future.
Have you been watching Kpop Star? Who is your favourite contestant so far? 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/2016/03/12773270_1384899208194157_1299646797_o.jpg20482048Anna Cheanghttp://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngAnna Cheang2016-03-04 20:11:242016-03-04 21:35:165 Acts That Define What ‘Kpop Star 5’ Is About
South Korean cable network tvN, owned by CJ E&M, has turned into one of Korea’s trendiest channels. Since 2012’s “Answer Me 1997,” the station has produced hit show after hit, proving that the channel was able to put together a great experience for viewers as an alternative to the shows produced by Korean broadcast channels. But as tvN continues to compete, and often surpass, Korea’s broadcast programming weaknesses are rearing their faces at a time when tvN can make or break its image.
However, tvN’s growing focus on changing the show’s plot to focus on the second male lead to try and shock viewers has instead resulted in audiences growing appalled at the lack of coherence in some of their latest shows.
[Disclaimer: This article contains spoilers]
tVN’s stellar production history that began with “Answer Me 1997” and led through the successes of trailblazing shows such as “Misaeng,” “Liar Game,” and “Twenty Again” is now facing an identity crisis. tvN’s latest shows, “Answer Me 1988” and “Cheese In The Trap” suffered immensely from changes relating to the plots after the show was well under way, in part thanks to sudden changes made during the live-production of the show.
Rare in Hollywood, live-production is rampant in Hallyuwood. Although more heavy budget dramas, such as “D-Day” and “Descendents of the Sun,” are increasingly going to air after completely finishing production, most Korean dramas are still produced while the show is airing with only a handful of episodes fully ready before the series begins airing. Over the years, last-minute production has become rarer and rarer, but 2011’s “Sign” is still upheld as a warning of live-production gone wrong: The finale featured numerous editing errors and color bars appeared on air at one point due to last minute editing, revealing that the show had been filming as late as possible.
While neither “Cheese In The Trap” nor “Answer Me 1988” had any last-minute technical issues, another peril of live-shoots has affected both shows: Changing the show in reaction to audiences. Both shows set themselves up as promising one trajectory, but then ended amidst waves of anger from viewers who felt misled by the romantic subplots of the show, a basic tenet of many South Korean dramas.
While Korean dramas are famous for second-lead syndrome, with a secondary attractive male getting his heart crushed by the lead female in favor of the show’s main male protagonist, “Answer Me 1988” allegedly changed things so that fans didn’t find the show too predictable. The result? Disappointment. “Answer Me 1988” completely changed over the show halfway through. The show, starring Lee Hyeri of Girl’s Day, Ryu Jun Yeol, and Park Bo Gum, set itself as a retro throwback mystery with viewers guessing which of the men Hyeri’s character Deok Sun would marry. Ten or so episodes in, all signs hinted to Ryu Jun Yeol. Then, with little warning, Ryu’s character was thrown to the curb as Park and Hyeri’s characters paired off with one another.
Following the show, Ryu revealed he felt disappointed in how his character was essentially ignored for most of the final episodes of the show and not given appropriate closure after certain romantic scenes made both the actors and audience believe his character was the future spouse.
According to fans online, the writer of the show changed the plot so that viewers were surprised even though Ryu had been written in as the husband at the start of the show. Scenes and hints that seemed to point in the direction of Ryu’s character as the husband suddenly came to a halt and were ignored as the showrunners tried to tie everything together.
While all actors involved played their parts perfectly, and it was believable that Hyeri and Park’s characters fell in love thanks to the pair’s chemistry, the way the show carried on for so long under one understanding was jarring for viewers. Perhaps a longer series could have recovered, but writing more than half of the show with one intent then changing suddenly was ruinous and put a halt to the near-perfection of the show.
Similarly, “Cheese In The Trap,” which aired its final episode in Korea today, began with an intriguing premise. Main character Hong Seol (Kim Go Eun) tries to understand Yoo Jung (Park Hae Jin), who acts one way most of the time while revealing darker motives that only she is conscious of. As the relationship progressed from friendship to love, Seol struggled like a mouse trying to decide if she would approach the cheese of Park Hae Jin, or if it wasn’t worth getting caught in the trap. The show focused on the pair’s interpersonal and psychological issues, hinting to the darker side of human nature and psychological disorders.
Or it used to, at least.
It was very clear at one point of the show that both Yoo Jung’s hidden and manipulative behavior and Seol’s lack of getting close to her peers emotionally hinted to psychological issues. Yoo Jung’s character showed signs of antisocial personality disorder, while Seol appeared to be suffering from depression. Neither situation was life threatening or as dramatic as the autism featured in “Good Doctor” or schizophrenia as seen in “It’s Okay, That’s Love,” but the show seemed to be walking the line between raising awareness regarding worrisome behavior and for praising it. tvN appeared to be aiming at the pair coming to terms with their mental health issues and helping one another through the difficulties.
But then Kang Seo Joon’s character of Baek In Ho was more sympathetic to the audiences and the showrunners seemed to write Park Hae Jin out from many scenes of the drama. Scenes that were important to show the reasons behind Yoo Jung’s darkest actions were cut and plotlines went unresolved. Park, the forerunner, was all but cut from many episodes.
Park, who has appeared in numerous popular Korean dramas and previously revealed that he took the role seriously and reread the webtoon “Cheese In The Trap” multiple times to get a feel for the complexities and nuances of Yoo Jung, publicly stated that the final version of the drama was not what he had expected it to be.
“I believed in the original and decided to commit the the drama before anyone else was involved, even the director,” Park told OSEN. “Now I don’t believe in anything.” If it was a one off situation, where a main actor was disappointed with his character’s role, it would be fine. But not only is this the second time, following “Answer Me 1988,” that a male lead character was thrown under the bus for the sake of the showrunners, but the “Cheese In The Trap” producer went so far as to apologize to webtoon writer Soonkki for how the show mistreated the author’s characters and plot.
Tropes get a bit boring after time, but the suddenness and lack of exploration depicted in both “Answer Me 1988” and “Cheese In The Trap” highlights the fact that tvN’s attempt to respond to the reactions of viewers backfired. “Answer Me 1988” was ruined because fans were aware of the planned plot so the writer altered things, while “Cheese In The Trap” was kept from delving into deeper issues throughout the latter episodes of the show by the audiences’ reaction to Seo Kang Joon’s character.
If tvN wants to reclaim the trust of its fans, changing plots based on Internet opinion is not the way to do it. Fans look forward for tvN dramas to deliver relatable characters with storylines that inspire and make sense. tvN’s previous hits make it clear that the company’s showrunners know how to intrigue without being overly dramatic and it is to that point where tvN should aim to return once again.
What do you think about “Cheese In The Trap” and “Answer Me 1988”? 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/2016/03/Cheese-In-The-Trap-Answer-Me-1988.png8001024Tamar Hermanhttp://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngTamar Herman2016-03-02 04:00:522016-03-01 21:01:03‘Cheese In The Trap’ & ‘Answer Me 1988’: tvN’s 2nd Male Lead Problem
When 4Ten released their first album “Jack of All Trades” earlier this month, the title and tracklist got me thinking about their career so far. The term “Jack of All Trades” when referred to pop groups brings to my mind groups like 4minute, SHINee, and TVXQ. Groups with talent across the board or talent so good that even the seemingly-less talented members are given their chance to shine. The tracklist of “Jack of All Trades” does little to show the variety of 4Ten. It contains three old tracks re-recorded with the new members and two new ones. Less than half are new and those re-recordings removed some key elements to those old songs. Hardly “Jack of all Trades.”
Let’s take a step back for now though, it is just a title after all.
4Ten are a four member girl group who debuted under Jungle Entertainment in 2014. The name is derived from the English word “potential.” Try pronouncing the number “4” as if you were Korean (since Korean doesn’t have an “f” sound) and it’ll make more sense. The original four members had a, shall we call it, distinctive look. It wasn’t something K-pop fans would not be familiar with. Their faces were, well, let down by the doctors. Two especially, Hyeji and Eujin, were operated on by surgeons with Parkinson’s disorder. TEM, the rapper, doesn’t look like an idol although she was probably scared of surgery after seeing her groupmates. The remaining member looks like a regular enough idol which in a way is boring for this group.
Hoping to blow away their competition (zing!) 4Ten debuted with “Tornado” in August of 2014. Like all rookie groups coming from smaller companies, the low production value is immediately obvious in the song and music video. “Tornado” is a messy club banger that somehow combines Crystal Castles and David Guetta into a relatively palatable pop song. Everything about it is close to being at least something that could be popular, but everything about it is also something that should be left as a demo. The pianos that should twinkle in contrast to the synths are flat and not varied enough. Those big synths are not clear enough so get lost amongst a million other things in the chorus. The video was shot in a bunch of dusty brown exteriors that do little for the girls except make them feel at home. The choreography needed a lot more practice too, not that it looks particularly difficult. The one saving grace is TEM, whose rap is genuinely good and promises the possibility of building around her for the future.
That future resulted in “Why.” It does not make TEM the focus but it can be called an improvement. It recycles the cheap synths for a europop verse that is almost hard to get through but builds by adding a rock drum beat. Mostly it’s the chorus that makes “Why” superior to “Tornado.” Its hook is pretty generic but it has an authentic energy that was missing before. After the chorus, it transitions straight into a rap, which is again the highlight. TEM has a few more little spits towards the end that indicate a possibility that Jungle have realised the real talent of this group. Let’s look for — hey TEM where are you going? No, wait, please don’t go. Goddamn.
Poten are a five member girl group who debuted under Jungle Entertainment in 2015.
After the departure of TEM and Eujin, 4Ten rebranded themselves by adding three new members, Hio, Yoon, and Haejeong and changing their name to free themselves of the number four. Not that that stopped groups before — I’m looking at you Nine Muses and Day6 (too soon?). This all proved to be beneficial, however, as the revamp gave the girls their best song. “Go Easy,” released in the summer of 2015, is a slick funky track that sounds a million miles from their precious work. The loss of TEM is more than made up for with great vocals and great production. In the video, they once again dance and pose in an American town, but this time they themselves and the camerawork actually looks good. The life of a young girl group is a difficult one, but it’s always good to see when a group starts to even slowly improve.
4Ten are a four member girl group who debuted under Jungle Entertainment in 2016. Goddammit not again.
This time it was Haejeong’s turn to leave, and with her departure the chance to revert to their original name and pretend Poten never existed, which was too enticing for Jungle. Luckily Haejeong had little to do with “Go Easy’s” quality, so her loss was not damaging. 4Ten returned in February 2016 with the aforementioned album and lead single “Severely.” It continues on the work of “Go Easy” by going full 80’s throwback. “Severely” would be up there with all the great throwbacks we’ve had recently if its production was that bit better. The vocals are great, they snap out of the track with power. The chorus group singing is especially good, evoking the period perfectly. The synths are just that bit too drowned out to be really satisfying. I can so nearly imagine Tom Cruise kicking ass in a training montage with this in the background. In reality, it’s closer to “Wet Hot American Summer” than “Top Gun.” (I embedded the live version because it has more bite than the video and might make me love it wholly).
So maybe 4Ten are not jack of all trades, but does it really matter? What I really like in underdog groups like these is the almost tangible feeling of desperation that comes from their songs and videos. The sense that even if it looks and sounds like it cost $5, that they put their all into it and for a split second thought they could be the next Girls’ Generation. With the K-pop industry becoming less exclusive to groups out of the big three companies, it is a lot easier for this to potentially happen. Yet we can always count on new upstart companies to try in earnest with groups like 4Ten. Maybe members won’t be able to dance, maybe they won’t be as pretty as Suzy, maybe they can’t even sing that well. Groups like these have to try new things in order to grab our attention and sometimes that yields great results. With 4Ten we have gotten one great song, an interesting failure, and some spectacular misfires. Most importantly they gave me a good time. I hope groups like these never die out.
What’s your favourite 4Ten 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.
K-pop is becoming a global phenomenon, and the bridge between Western Pop and K-pop is rapidly decreasing. 2016 has already kicked off as a year filled with Western collaborations, beginning with 4MINUTE and Skrillex on their latest album and now SHINee Taemin’s collaboration with Bruno Mars. There’s been hype for his newest album “Press It” since the teasers. And now that the music video for the title song “Press Your Number” dropped, we’re witnessing nothing less than perfection.
Song
Taemin’s “Press Your Number” is produced by Bruno Mars and team Stereotypes, who have worked with various famous western musicians in the past. The single is an urban pop dance song about a man expressing his broken heart while waiting for the loved one. The song starts off with sensual sighs and a guitar accompanied by synths. Further, the song falls into an electronic beat. The song is amazingly recorded and the sound quality is rich. The chorus is catchy and the vocals are pleasing to the ears.
Moreover, as the title says, Taemin keeps on calling his lover, hence the pressing of the numbers. However, he never gets an answer from the other side. The following lyrical lines expresses the situation really well, “… I started talking to myself often. even though I call you, you don’t answer often. where are you now? Please come back to me….”
The song definitely has those Bruno Mars vibes we all know with a hint of SHINee flavour. “Press Your Number” shows a mature side of Taemin as an artist. Interestingly, this song has some similarity with Bruno Mars’ “Press It” demo. The demo has a laid back tone, where as Taemin’s “Press Your Number” is more upbeat and lively.
Music Video
The music video starts with Taemin robbing a convenience store. The idol played the part of the criminal and victim as well, from robbing the store to crashing his car. The video shows a lot of symbolism and artistic themes, such as the blue roses that followed him everywhere he went that referenced his past following his present. Eventually, his gang is caught by police, but Taemin escaped. Later on, Taemin started to hallucinate and reached a point where he could no longer bear himself. So, he sets himself and his car on fire. Although the video doesn’t show any direct relation between the girl and Taemin, it still signifies that there was something important between them. The girl casted in this video was also a part of SHINee’s “View.”
Furthermore, the choreography is unique and exquisite. Taemin’s dance moves showed Michael Jackson’s influence. The back-up dancers synced really well with Taemin. The music video captured heavenly landscapes which made it aesthetically pleasing. The cinematography of this video was graceful and the locations were beautiful. Also, the colour correction is mind-blowing; it was like blending the Victorian era with the 21st century. The castle, car, his suit and dial-up telephone gave a vintage feel to the video, blending with urbanization by showing cityscape and modern apparel. SM Entertainment really made sure to highlight Taemin as a promising artist. Taemin portrayed mature and intimidating image through his recent music video and album.
SM Entertainment also released two dance versions for Taemin’s “Press Your Number.” Both of the dance versions were shooted in different places and different costumes, following the theme of the music video. Have a look at the both dance versions which higlighted Taemin’s dancing skills.
Overall Thoughts
Excluding BoA and Kangta, Taemin is the first SM Entertainment artist to get a solo full-album. Without a doubt, “Press Your Number” is remarkable in every perspective; from song to video, both are aesthetically pleasing. I think Taemin has raised the bar for other SM artists and K-pop idols alike. It definitely showed artist growth since “Danger,” and I can proudly say that I am in love with this work.
Taemin 'Press Your Number'
5
Let us know what do you think about this video? Would you look forward to Taemin’s stage performances or not? Be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to stay updated.
https://kultscene.com/wp-content/uploads/2016/02/12790160_1672713236350721_489126528_o.jpg7681024KultScenehttp://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngKultScene2016-02-28 12:18:042017-05-15 20:03:13Taemin ‘Press Your Number’ Music Video & Song Review
Every day in K-pop brings a new song. And every new song brings endless possibilities for foreign fans to mess up the interpretation of the lyrics. As we’ve recompiled in the last few installments of this list, there are lots of songs out there we’re constantly mishearing. And as you can see by this new list, we haven’t stopped. So here are eight more misheard lyrics.
1. “You Think” by Girls’ Generation
What we heard: “Gepetto, Gepetto” What it says: “Modu baeteo gabyeopge baeteo useupge baeteo”
Were you mishearing these songs? Share your thoughts and what you’re wrongly hearing in K-pop songs 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/2016/02/Untitled-design-1-2.png7681024Alexis Hodoyan-Gastelumhttp://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngAlexis Hodoyan-Gastelum2016-02-23 21:07:332016-02-23 21:07:338 Misheard K-Pop Lyrics Pt. 4
