TWICE is back with your soundtrack for the summer. The release of their latest mini album More & More on Jun. 1 was highly anticipated due to the long gap between its drop and their previous release Feel Special, which came out in Sep. of last year. More & More, and the lead single by the same name, continues to show an upgraded image of TWICE, with them leaving behind the bubblegum style of their early days but still staying true to their recognizable upbeat sound, making it the group’s most well-rounded album to date.
Earlier this year, TWICE’s label JYP Entertainment announced a partnership with the popular American record label Republic Records for TWICE, and More & More is their first piece of work since then. This album has already given us the fruits of the deal, with a handful of popular Western producers and songwriters such as Julia Michaels, Zara Larsson, MNEK, Justin Tranter, and Gabe Lopez featured on the tracklist.
With More & More being the group’s first Western-aimed album, TWICE did not shy away from diversifying the vibe of their music throughout each song, dabbling in things like tropical pop and new jack swing, the latter of which we had yet to see from TWICE but was a highly welcome sound, and further evidence of their transition into more mature musical styles
As expected, the album kicks off with the title track “More & More.” The JYP-penned single is a tropical-dance infused song with an addictive build up to the chorus. The repetitive pre-chorus “more, more, more and more” will get stuck in your head for sure. Overall, the song expresses the desire for “More & More” of the feelings one has when a relationship reaches its peak of excitement and sweetness.
The music video for “More & More” can be linked to the biblical story of Adam and Eve. In the beginning of the video, the group is shown in a pure state but are later tempted to eat the forbidden fruit. Once they do, we are taken on a journey into a trippy paradise where they express the image of a free aura. The freeness expressed in the music video connects back to the lyrics with the relationship reaching its height, one can feel like they have nothing to hold back.
More & More’s second track “Oxygen” is a nice transition from the energy that the previous song gives off. This tune compares the person that you want to be in a relationship with to oxygen. Rather than needing air, the members express a need to be with this person because they are the one who keeps them breathing. The verses and pre-choruses follow a standard pop style, but the chorus infuses elements of EDM and dance. This ups their musical style whereas usually most of the choruses in their songs tend to be heavily lyric filled, so this is refreshing.
Next up is “Firework,” a track that captivates you with its Spanish-style guitar intro. The song is essentially about the intense excitement that fills one up to the degree that they feel like they will explode like a firework. A notable highlight of this song is Jihyo’s high note during the bridge, with the vocalist showing off her impressive tone as the song builds in momentum.
“Make Me Go,” which was co-written by Nayeon, is a bass-led track that shows off the mature side of the group. With two other tracks, “24/7” from Twicetagram and “Rainbow” from Feel Special under her belt, Nayeon’s lyrical style has taken a refined approach this time, opting for a seductive route. The chorus is self-explanatory with, “Love me, love me now/ love me, love me good/ don’t need nobody else when it feels this good (make me go),” followed by the suggestive “ooh ooh.” In comparison, “24/7” and “Rainbow” are very much motivational, you-can-do-it themed songs following hyper-pop production styles, whereas on “Make Me Go” we get a glimpse inside the mind of darker, adult love and desires. The members themselves have stated that this track was originally supposed to be on the Feel Special album but it did not make the cut. Fittingly, this song feels like the older sibling of “Love Foolish” from the previous album.
The following track is “Shadow,” and right away this song feels familiar. It’s almost like you just can’t put your finger on it but it’s immediately accessible, making it an easy listen for even the most casual TWICE or K-pop fan as it will make you want to get up and dance with its pop-EDM instrumentation. This song tells the story of hiding your real self during the day, but at night you dance alone with the side of yourself that has been hidden from everyone else. Throughout “Shadow,” the group tends to switch out of the K-pop standard vocal delivery which is usually marked by a high pitch range, opting to sing this track across a lower range, which comes across as more mature and suitable for an American audience.
Next up is “Don’t Call Me Again,” the ultimate post-breakup anthem. This track puts an ex-lover to shame, reminding them not to call again because their heart has gone cold for them. The marching band style of the song emphasizes the lyrical intent, as well as feeling like a grownup version of earlier songs “WooHoo” and “Touchdown.” However, we can see a clear example of growth, with both of these songs expressing feelings of teenage love and naivety of that era, whereas “Don’t Call Me Again” is very fully fledged lyrical-wise, expressing the more mature idea of having a cold heart after a relationship has gone wrong.
Last but not least, album closer “Sweet Summer Day” was written by Jeongyeon, with raps written by Chaeyoung, and this new-jack swing style song will take you back to the ‘90s. Filled with 808 drums and a synth bass, this groovy song feels like a true sweet summer day made musical. It’s apparent through the track that Jeongyeon’s lyrical composition has grown from some of her previous releases. This is her fourth credited song, following the likes of “Love Line” from Twicetagram and “Lalala” from Yes or Yes. Each of those tunes tended to focus heavily on teen love delivered in a bubblegum pop style, whereas on “Sweet Summer Day” you can see her composition skills grow with the lyrics this time focusing on self improvement of letting your worries be burned away by the summer heat into the night. A highlight of this track is Nayeon’s rap, due to the ongoing inside joke of the fandom referring to her as MC Rail (rap alias).
Overall Thoughts
More & More is a very cohesive album. Comparing this mini to previous TWICE releases, you would find it hard to believe that it was made by the same group. TWICE concluded their cute era with Yes or Yes and began to transition out of it with a new image that is more age appropriate to the members, that has helped broaden its appeal to audiences, and More & More is the latest offering to explore this shift.
As discussed, this change was very apparent not just in their concepts, but with the production and lyrical content as well. With this release, TWICE was able to completely transition into this so-called mature image without it coming off too strong. “Fancy” and “Feel Special” kind of prepared us last year for this new upgraded image, leaving behind their “school-girl” image that they had been running with throughout a majority of their career.
As the group expressed in their Seize The Light YouTube docu-series, their TWICELIGHTS tour from last year was meant to express a new image and the versatility in styles that they can pull off. More & More is a continuation of that intent, and hopefully we will continue to see more & more of this new direction from them!
TWICE's 'More & More'
5
What are your thoughts on TWICE’s More & More album? Let us know in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.
KultScene is a writer-driven website dedicated to creating a platform where diverse voices’ takes on K-pop can be heard. If you like this post and would like to see more by helping support KultScene’s writers fund, please email us for more details.
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With NCT 127’s latest release that’s captivating the hearts of NCTzens, the knockout “Kick It” and “Punch” duo has proven to be yet more noise pop gone right, after deviating from the style for a bit with songs like last year’s “Highway to Heaven” and “Superhuman.” At first, K-pop fans clowned 127 for using such unusual sound elements in their title tracks, but it actually ended up becoming one of their most beloved assets. Since their 2016 debut, the now-nine member group has already uncovered so many different layers of who they are as artists and performers, and it all started with the seven track self-titled EP,NCT #127 – The 1st Mini Album.
When it first came out, the more I listened to that in the early days of NCT 127, the more anxious I became to find out how the group would progress in their future comebacks and, more importantly, how they would win over the general public. Now in 2020, NCT 127 are still full of sweet noise pop surprises, which they’ve continued with their latest release, NCT #127 Neo Zone – The 2nd Album. This piece serves as an analysis of 127’s first and most recent album, using both releases as a lens of how they’ve set themselves apart in the K-pop industry.
by Katherine Villalon
According to AllMusic, noise pop is “the combination of conventional pop songwriting with experimental sounds of white noise, distorted guitars, and drones.” Yes, K-pop is known for its extreme genre-bending with sounds you wouldn’t otherwise hear in any other market, but noise pop was simply unheard of in the scene until 2016. In a sense, “Fire Truck” was almost ahead of its time with its blaringly loud sirens, heavy trap beat, and an addictive EDM base. Reading through the comments and tweets during that time, you either loved it or couldn’t stand it – straddling the fence was not an option. Ironically, this becomes the standard for most NCT 127 title tracks moving forward, which keeps the fans (and potential fans) on their toes.
Hip-hop is first and foremost the base of 127’s sound, which was established in their first EP coupled with variations of EDM, Moombahton, and tropical house. “Wake Up,” the third track, is very reminiscent of EXO’s “Lightsaber,” but consists of a little more breathing room in between the energetic synths, making it seem more dreamlike. And although the fourth track, “Another World,” is similar, it doesn’t get nearly as much love as “Wake Up.” Jaehyun’s rap-like intro, the chanting in the pre-chorus build up, and, finally, the way the bass thickens in the chorus are all major selling points of this song, and it’s astounding how little appreciation it gets compared to some of the others on the album. Meanwhile, the hip-hop-heavy track “Mad City” shows off Mark and Taeyong’s rap abilities as they successfully tackled their respective verses and shut down any doubters who thought SM Entertainment didn’t have much to offer in the hip-hop department. The two main rappers continue to tear down those SM idol rapper stereotypes and prove that they’ve earned their spots as their flows grow stronger with each comeback.
Let’s fast forward to the present day with the group’s latest venture, Neo Zone, and its repackaged counterpart Neo Zone: The Final Round because there is a lot to unpack here. The two main title tracks, “Kick It” and “Punch,” are very much on the same wavelength as “Fire Truck,” if not more abrasive and in-your-face. You have the shouting, the sudden whispers, and an unorthodox song structure that throws everyone for a loop and disrupts the flow of how songs are usually written. But, it’s the R&B transitions that set these two apart, a genre that 127 has become quite comfortable with recently and dominates every chance they get on newer releases.
Calling back to hip-hop, funk, and R&B from the late ‘80s and early ’90s, the general theme of Neo Zone heavily incorporates these styles and can be found in nearly every track. I couldn’t shake the feeling that “Love Song” reminded me so much of Bruno Mars’ “That’s What I Like,” only to find out that producers The Stereotypes and Deez – who are known for their work with Bruno himself – had an unused track with a similar vibe open and available for the group. Between the vocal line’s outstanding harmonies and Johnny’s groovy rap as some of the highlights, the guys nailed it in true Mars-esque fashion.
The most obvious differences between 2016 and now is, of course, WinWin’s departure from 127 to promote in the China-based team WayV instead. However, the additions of Doyoung, Johnny, and Jungwoo over the years have brought a new, exciting dynamic to the NCT unit and an opportunity for them to promote more frequently. During their time together, each member continues to hone his craft and try new things, whether it be in singing, producing, or collaborating with other artists outside of 127. Haechan’s vocal abilities in particular have improved exponentially since his debut, although he’s always had a pleasing, light tone to it. His runs and riffs in slower B-sides like “Not Alone” have become effortless, almost second nature, along with his captivating stage presence – certainly a force to be reckoned with as the youngest member. It’s also refreshing to hear more of Johnny’s unique vocal color shine through in tracks like “Punch,” R&B ballad “White Night,” and knowing that he’s able to lyrically contribute on “Pandora’s Box” with Mark and Taeyong – who’ve had ample songwriting credits since the first album.
Seeing how well the members play off each other, both in their music and their friendships is vividly reflected throughout Neo Zone and part of what makes them shine. Jungwoo’s confidence and bubbling personality has flourished since his introduction into 127, and it’s been a beautiful experience seeing him learn and grow from the rest of his members, becoming the star performer I think he already knew he could be.
By Jean Libert
While other boy groups have similar themes of deep house EDM drops or minimal, toned down choruses, NCT 127 tends to either do the opposite, or find ways to mold and bend these genres into something new and unexpected. For example, 2017’s “Cherry Bomb” fuses hip-hop with electrifying synths and future bass – a song that Mark thinks is one-of-a-kind. While touring the States last year, he said, “Cherry Bomb is the kind of song that people can really know that NCT 127 is in the building.” That statement still holds true for “Kick It” and “Punch”, both of which have contributed to officially making them a “million-seller” group.
Looking back, it seems as though they’ve never had an interest in following the trends, which subsequently has turned them into trendsetters without even really trying. We can see that other groups and artists are starting to incorporate their own noise pop sound — the very thing that some people thought would hold NCT back in finding success and popularity in the market. Four years later and there’s probably more K-pop groups performing “Kick It” than NCT themselves — a true testament that everyone’s got their eyes on them and it’s not just NCTzens.
It wasn’t too long ago that the group was called “SM’s first failure” by the K-pop community, considering they released multiple albums and hadn’t had their “breakout song” in Korea, like most of their established seniors (EXO’s “Growl,” TVXQ’s “Mirotic,” SHINee’s “Ring Ding Dong,” etc.). Instead, NCT 127 opted to take their own path and approach the Korean market differently, mostly due to their unique concept: starting from Seoul and spreading K-pop to the world. From overseas promotions, interviews, and tours in the past three years, NCT 127 was already on the road to international fame and now that success is finally translating locally to the Korean charts and social networks, proving that they’re anything but your traditional idol group.
It’s clear that NCT 127 have developed their own skill sets over time and continue to mature, but comparing their first release to their most recent is actually very jarring when you realize that we’re just starting to scratch beneath the surface of what they can do and how it’s affecting the industry as a whole. It’s not a race to the top, but a test of how to maintain longevity and leave a mark for generations to come. In the context of one of their best hip-hop tracks, “Sit Down,” NCT 127 is no longer living in the shadows of the world’s expectations of who or what they should be.
What are your thoughts on NCT 127’s sonic progression? Let us know in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.
KultScene is a writer-driven website dedicated to creating a platform where diverse voices’ takes on K-pop can be heard. If you like this post and would like to see more by helping support KultScene’s writers fund, please email us for more details.
https://kultscene.com/wp-content/uploads/2020/06/NCT-127-Kick-It-.jpg508768KultScenehttp://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngKultScene2020-06-14 13:28:592020-06-14 13:59:00NCT 127’s growth from ‘The 1st Mini Album’ through ‘Neo Zone’
BLACKPINK are gearing up for their first comeback in over a year. Finally, Jisoo, Jennie, Rosé, and Lisa are coming back in our area, but this time, their comeback is like no other they’ve tried before.
Rather than going the typical K-pop route, BLACKPINK is trying out a strategy used more commonly by western acts. Imagine a new BLACKPINK song every month until the release of their first full album. That’s right, their first full album is coming four years after their debut in 2016. The thirst of BLINKS will finally be quenched this year with more than a four song album. While a variety of songs coming out it will not only please fans, for BLACKPINK’s agency, it’s also a smart business plan.
Following the success of their EP Kill This Love, fans of the act, known as BLINK, are ready for another era. In early May, YG Entertainment informed the media that BLACKPINK would have a June comeback. At the time, no date was given. But two weeks after that announcement, YG Entertainment further explained their lengthy plans for the popular girl group: rather than dropping an EP (mini album) or LP (full-length album) in June, the label decided to drop a pre-release single ahead of the album, which they later announced would arrive on June 26. After the first song this month, the second pre-release single will follow in July or August as a special format release, followed by the full album in September.
The statement from the agency also claimed that this format would allow BLACKPINK to give the fans more stages and content. Universal Music Group (UMG), BLACKPINK’s American label will also be helping with promotions.
The move is interesting for a variety of reasons, and makes a lot of sense. BLACKPINK is not shy of success on a global scale and releasing the single before the album, which is common in western music industries, can be beneficial if done accurately. Western artists typically release one to three singles before their albums come out in order to generate hype for the album and make easy money with pre-release merchandising efforts. If this strategy is instituted for BLACKPINK there is speculation that each single will be released on a physical CD. A physical CD along with digital sales that will be included in merchandise sales of things such as T-shirts, hats, and signed posters will allow the agencies to make a profit consistently even before the September album release. Still, even with physical copies of the singles out, fans are likely to remain inclined to buy the full LP at a later date.
The use of merchandise to boost sales is very common and, if used by BLACKPINK’s labels, it can help them secure higher spots on the Billboard Hot 100 singles chart. Recently, BLACKPINK beat their own record on that very chart with “Sour Candy” with Lady Gaga. Prior to that collaboration, BLACKPINK’s highest entry on the chart was at no. 41 with “Kill This Love” in 2019. “Sour Candy,” meanwhile, debuted at no. 33 this week, thus breaking the group’s own record as the highest-charting song on the Billboard singles chart for a Korean female group. With this upcoming series of releases and the release plan they’re taking, they may be able to go even higher.
The strategy of releasing singles back-to-back will also benefit BLACKPINK’s relevancy. Following their record-breaking 2019, the world has been waiting eagerly for new music from BLACKPINK. “Sour Candy” with Lady Gaga came out at the end of May and brought some new BLACKPINK fans with it, following over a year of a dearth of new music from the act. For current fans, it is a catchy song that showcased the group’s vocal talent and gave them a little content before the single in June. With a back-to-back release schedule planned, BLACKPINK’s names will stay in the media for months. There won’t be one drop and then months of hiatus before new music, as they witnessed this year. This is also a sure-fire way for casual listeners and recent fans to maintain interest with new music coming out each month. Additionally, if BLACKPINK is promoted domestically through variety shows and internationally through interviews and YouTube content during this time frame, there will be countless ways to learn about the group.
This new album will also feature both domestic and international producers. Two big western producers hinted at their work with the quartet. Ryan Tedder of One Republic and Tommy Brown, who is signed with UMG, both spoke of their work on the album via Instagram. The connection and promos from these producers could make way for new BLACKPINK listeners, the kind who would not normally check out a K-pop group.
Another plus to this strategy is the fact that currently, many countries are still dealing with COVID-19 repercussions. Releasing the singles during the summer months to keep fans wanting more from the September album is smart. This is especially due to the fact that a portion of BLACKPINK’s audience is from the younger generation who are often freer during the summer months. By September, fans will be so interested in seeing the final product and, hopefully, more able to visit stores to purchase the album as cases of COVID-19 decline. This way, BLACKPINK will likely be able to promote the full album in the States as well as in Korea.
On top of their group work, at the end of May, YG Entertainment clarified another concern fans have been wondering about. Following the full album in September, the world will see the release of Rosé, Lisa, and Jisoo’s long-awaited solos. Fans have been waiting for solo music from the other members of BLACKPINK following the success of Jennie’s “Solo” in 2018. If YG delivers, Rosé’s solo will be released as a mini-album, followed by Lisa’s solo single, and then Jisoo’s. Again, if this is pulled-off correctly, it could benefit both the group and individual members. After the release of the album that is destined for greatness, Rosé would have the opportunity to promote on her own. She will be able to draw in fans who recently checked out BLACKPINK’s album while also gaining fans as an individual with solo appearances on music and variety shows. The same can be said for the solos of Lisa and Jisoo.
BLACKPINK is already the most popular female K-pop group in the world, but with such a smart strategy, they can further cement their legacy. So I hope you’re thirsty BLINKS! Because this comeback could be their biggest feat yet. Jisoo, Jennie, Rosé and Lisa are coming in your area for the long-haul so you don’t want to miss them!
What are your thoughts on BLACKPINK’s upcoming promotions? Let us know in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.
KultScene is a writer-driven website dedicated to creating a platform for diverse voices on K-pop heard. If you like this post and would like to help support KultScene’s writers fund, please email us for more details.
https://kultscene.com/wp-content/uploads/2020/06/blackpink-gma.png8531280Maddy Myerhttp://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngMaddy Myer2020-06-12 09:58:482020-06-12 10:28:52BLACKPINK’s western-style comeback approach just might be a genius move
I don’t really know what “eight” is about, but while listening to it there was a lot flying through my head. IU and Suga have both been longtime loves of mine, people whose music I often turn to when I’m sad and need to find kinship in the music of those who have put their feelings and thoughts on adulthood and life into the world. Many artists do it, and, of course, I listen to many others, but this pair are two I especially turn to time and time again when I get introspective. So when they announced their collaboration, I knew immediately that it would be devastating and something I seek solace in. Once I read that the song by the soloist and the BTS rapper-songwriter is about their feelings of being 28 (as per Korean age reckoning) and the latest in IU’s series of age-based reflective singles, I knew I was going to be spending a lot of time thinking about it once I heard it.
Waking up this morning to a text from a friend about whether I had heard the song yet, I sat there staring at my phone. I couldn’t. I knew I needed to shower and have coffee before I was remotely in the mental space where I could absorb it; I have been having a lot of sleep problems lately, and I knew that I wasn’t in a state of receptiveness for something I was sure was going to make a sizable impact on me. That was a bit of a mistake on my part, though, because as I was checking my email and Twitter while making coffee I inevitably saw other responses to the song, and went into it and its music video with some preconceived notions, the most notable one being, based on a series of connections audiences had made, that the song is about Sulli and Jonghyun, two stars IU was close to before their untimely passings, both of whom have relations with the number “eight”: Jonghyun’s birthday was April 8, 1990, and Sulli and IU were friends in the public eye for eight years.
Watching the music video, I feel inclined to believe that there is the potential of that interpretation being intentional, considering that IU’s “Love Poem” similarly felt reflective and, more importantly, the animation adds to this theory: the cartoon IU exists in reality, on a plane crying, while watching the fantastical view of another woman flying around on the back of a dragon after the futuristic, real-life IU tears up when the woman jumps onto the dragon’s back. The woman she’s looking upon is clearly not IU herself; she doesn’t have the singer’s iconic beauty mark. Is she Sulli? I don’t know; she too had a beauty mark and the animated woman does not. But it feels like that’s who she is an allusion of, similarly to how the dragon is a near-reference to Jonghyun’s well-known dinosaur-like features. Does this mean the song is about the pair, and that’s who the woman and the dragon are representing? I don’t really know; I may be looking too deep into it and they’re mere representations of childhood whimsy that’s been left behind. We won’t really know unless someone who worked on the song and/or music video lets us know that, but I’d like to think that they’re homages to the pair, with the song’s lyrics expressing how beautiful goodbyes take place in memories.
While I wouldn’t put it beyond the pair to dedicate the song to the duo of beloved individuals, and I’ve thought much of the same about other recent songs from IU, I’ve spent a lot of the morning (it’s around 2PM as I’m writing, but I woke up at 10:30am so… don’t judge) thinking about how the song may not, or not only, be about lost loved ones but also lost selves, with “eight” serving as a reflection of an apparent conversation between the self of the present and the self of the past, an individual who travels between memories. In fact, even though I already had the idea that people were interpreting “eight” to be a memorial song, this was what took up the forefront of my mind as I was watching the music video for the first time; I could see the connections to the lost pair, but I was drawn more to the allusions I saw towards the past of IU herself.
Not only are the lyrics reflective, poignant in the way they look back on the past, but the music video jumped out at me with what I thought might be intentional references to past IU music videos, such as with the white dress she wears not only reflecting the color of mourning in Korean culture but also the dress she wore in “Mia (Lost Child)” while the maroon shirt with a peter pan collar immediately recalled what she wore in “You&I,” which fit in the trend of IU self-referencing past releases in her work. While watching again, I also saw glimpses that reminded me of “Palette” and “Twenty-Three,” but I couldn’t decide if I was looking too hard for a pattern.
IU in “Eight”
IU in “eight”
IU in the “Mia (Lost Child)” music video
IU in “You&I” music video
In “eight,” IU is singing about being “forever young” and happiness, and the music video begins with her actively choosing to save her memories; it’s unclear based on the futuristic setting whether she’s offloading her memories to a storage system entirely, or merely saving them beyond her own mind because they’re something of value that she wants to make a backup of. Either way, the interpretation can align with the emotions expressed in the song, about how memories are beautiful things that remain “forever young,” the way they were, as memories crumble into the sands of time, with only the “sandcastle” of memory, as Suga adds, impermanent and impossible to recreate in the exact same way, with the exact same specifics, ever again, both wonderful and poignant.
To be honest, I haven’t watched the music video for “eight” enough times, and I haven’t listened enough times yet. In part because there’s no such thing as “enough,” and in part because I constantly reassess art as I interact with it in different moods, and that’s the most wonderful thing about art, in my opinion: it changes and shifts as we as humans do. I’ll probably watch a few dozen more times before the end of this week, as I try to get lost in the artistry rather than in my own thoughts. “eight,” like so many IU and Suga songs, make me think about how we, as humans, interact with our thoughts and memories, how those memories shape how we interact with the world, and how everyone’s interpretation of memories and the past is different, so I wanted to turn some thoughts into words before I lost this stream of consciousness as I found comfort, and contemplation, in “eight.”
What are your thoughts on “eight?” Let us know in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.
https://kultscene.com/wp-content/uploads/2020/05/Screen-Shot-2020-05-06-at-11.08.12-AM-1.png8001132Tamar Hermanhttp://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngTamar Herman2020-05-06 12:52:162020-05-06 14:23:29Thoughts on IU & Suga’s ‘eight’
Now almost two years into their blazing careers, the six women of (G)I-DLE have learned to express and perform with the style and individuality of K-pop greats. On their newest song “Oh My God,” however, they demonstrate a knack for genre-bending with innovative—and haunting—prowess.
The track’s intro rings through the air with the chilling aura of a horror movie soundtrack. “Beneath the dazzling sky covering my eyes / I run into your arms / I was drawn into the music and fell right into it,” Minnie sings, her voice echoing as if preaching to a church full of corpses sitting in the pews. A beat comes in, and the members play off of one another in a sonic dance of death, accelerating the tempo until a climactic drop in the chorus.
“Oh my god / she pulled me to the sky,” Soyeon’s vowels linger in the air, carrying both dread and desire over eerie, low-tempo dubstep. In (G)I-DLE fashion, the track quickly reverts back to electro-pop in the verse, and even dips into a rap break just before the second pre-chorus. As new EP I Trust’s chief lyricist, Soyeon clarified in an MTV interview that, like much of the song’s enigma, the use of feminine pronoun “she” is purposefully left open to interpretation.
On “Oh My God,” (G)I-DLE sacrifices tempo for emotion, delivering their deepest, darkest convictions on a track that still fundamentally maintains the structure of K-pop sound. While the song carries a bit of familiarity with previous single “LION” and critically underuses members—most tragically, main vocal Miyeon—it makes clear that (G)I-DLE has a mission to weave art and pain into the fabric of pop music. As you listen to the outro, let yourself feel the pain in Minnie’s voice. She convinces you that, perhaps, love and pain aren’t so different after all.
GI-DLE’s ‘Oh My God’
3.5
What are your thoughts on “Oh My God?” Let us know in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.
https://kultscene.com/wp-content/uploads/2020/04/REV_GIDLE_HEADER.jpg5001000Kushal Devhttp://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngKushal Dev2020-04-12 15:01:002020-04-12 15:00:17Fast take: (G)I-DLE’s ‘Oh My God’ song review
DPR Live made his anticipated return with Is Anybody Out There? on Mar. 3. The album comes after Dream Perfect Regime’s collaboration with Adidas and the release of fellow collective member and in-house producer DPR Cream’s solo debut. Is Anybody Out There? is a cosmic journey of hypnotic adlibs, genre-bending melodies and robust trap beats. The album recalls Live’s comeback through galactic metaphors. The rapper released the first single off his album with a goosebump-inducing music video that sees Live preparing for an inevitable impact aboard a spaceship. The music video is filled with cinematic moments of terror and helplessness as viewers are entranced by the visuals and Live’s flawless rhymes.
DPR Live embarks on new territory in his return to music. Having solidified himself as a force in Korea’s growing rap scene, Live plays by his own rules. Is Anybody Out There? offers a grittier yet accessible version that was not previously seen.
The Songs
The album begins with the gloomy “Here Goes Nothing.” The song builds with each verse signifying a person gathering the courage to take a leap of faith. The track chronicles Live’s plunge to pursue his happiness after reaching a dark moment in life. He expresses his hate for his victim mentality and how he’s a danger to himself. He ponders if someone will be there at the end to catch him. “Here Goes Nothing” shows Live at the edge of sanity and ready to jump. He is hoping someone will be there at the bottom to catch him. The song builds tension as he says “Geronimo” over heart-pounding drums and mellow backing vocals that crescendo into a repetition, leading into the next track with the same name.
“Geronimo!” is a nosedive into an abyss that signifies Live’s spiral with his mental health. The rapper loses his grip on reality as a result of painting variations of himself. There is a version of himself that others hold as the real him despite not knowing who he is. The only way to rid himself of the preconceived notions of himself is to jump. Live also battles with finding himself again. In taking his jump, he relieves himself of the pressures that plague him. “Geronimo!” samples and reworks aspects of “Martini Blue” for a subtle eeriness against its electronic beat before dropping into a mind-numbing electro-hop break. The intensity remains as the track sounds off with the rapper’s signature “Coming to you Live” a turbulent crash.
The next track takes a step back from the previous chaos as it opens with soft calls for Live to wake up. Perhaps the rapper’s most intimate track to date, “To Whoever” highlights Live’s life from his childhood in Guam to his first world tour in 2017. The rapper opens up about racism, his move to Korea, and his dad’s cancer diagnosis. Live narrates over various interludes inspired by Australian rock and classical music. “To Whoever” is a reflection on the build-up to Live’s spiral. It’s a sudden influx of memories. The song also signifies his last message before he crashes.
“Out of Control” is Live’s fight to re-establish normalcy. Throughout the song, he is on a high as he raps about his sold-out “Coming To You Live Tour.” He is experiencing all great moments before he hits his ceiling. During his album listening session on Instagram live with Christian Yu, Live recalled battling depression while touring. On stage, he’s present and enjoying the moment. “Out of Control” boasts a refined, soft electro beat that contrasts the seriousness of Live’s lyrics. It’s also a testament to how losing control can be as subtle as it is chaotic.
“Disconnect” is a groovy electro track with an extraterrestrial infliction. The song is foreshadowed by “Out of Control”’s ending which Live declares being over the drama. He moves into a mindset as he tries to pull himself out of the funk he’s in. Live is ready to leave the chaos of earth behind. He’s reached his capacity when it comes to the hoopla surrounding him. It’s not a retreat, but a removal. Even though removing oneself from a situation that does not benefit one’s mental health is difficult, it is a necessity.
“S.O.S” seems like it would be Live’s ultimate cry for help. However, he is okay with being lost as he faces his situation; he wants to go beyond where he is. Live seems to be on another planet that’s full of fun and stress-free. One of the more intriguing aspects of the song is the warped guitar sound that accompanies the uptempo, keeping the album’s otherworldly theme alive. “S.O.S” uses Morse Code within its beat to signal Live’s distress. To play into the meaning of “S.O.S,” Live sings a soft “sailing over you” to end the song providing a seamless transition into the next three tracks.
“Oh Girl” takes the album in a new direction with its airy vocals and dreamy, electronic funk beat. Backed with uncanny synths, the track depicts Live in a state of excitement and curiosity over a girl who has his attention. She keeps him guessing just as much as the song has listeners anticipating its drops.
“Kiss Me” slows down the album with its whimsical lo-fi beat as Live puts bass in his voice for his most risqé lyrics yet. The rapper offers a sleek, stripped-down version of himself as his lyrics center around a lover in a universe that is just them. In what could be called a sex anthem, Live showcases a dominant side much different from the easy-going persona fans have seen until now. While a woman has every right to wear makeup as she sees fit, the rapper recognizes that sometimes it can feel like an obligation. Thus making it his mission to love every part of her. “Kiss Me” is the journey to love and the precursor to euphoria.
Described as the title track, according to DPR Live and Christian Yu’s Instagram live, “Neon” is an explosive hip-hop track chronicling love’s bliss. Live delivers a familiar flow that is reminiscent of “Laputa.” The track is flirty and signals the upswing of Live’s state of mind when it comes to the album’s themes. Love is a powerful entity that transcends our imagination. Much like space, it is vast and boundless. “Neon” is a reminder that while Live is continuously evolving his flows and techniques, he can still go back to his origins.
The lead single from the album is an atmospheric experience over trap beats and slick ad-libs. Its meaty bass and warped synths accompany Live’s sharp vernacular. “Legacy” is Live at his best as he flexes his success. He’s overcome his depression and has entered a new state of mind. He’s confident as he brags about his accomplishments, money, and women. Live indicates he’s on his spaceship, insinuating he is on a different level than his peers and haters —he’s not even in the same atmosphere as his haters. “Legacy” resurrects Live’s bravado that was key in earlier tracks like “Eung Freestyle,” “Til I Die” and “To Myself.” His legacy is the only thing he cares about as he takes pride in his craft. Live is untouchable.
“No Rescue Needed” rounds out the album with its hypnotizing grooves and synths and earworm “I don’t care how I got here.” The track is a feel-good conclusion to the turbulence of ‘Is Anyone Out There.’ Having crash-landed on another planet, Live does not need rescuing. He’s secure in his journey and the rollercoaster that came with it. Filled with adlibs and instrumentals, Live’s rapping takes a backseat in this closer. He’s said his piece.
Final Thoughts
From start to finish, Is Anybody Out There? is an album that takes a couple listens to understand. The many genres within the album can be overwhelming when it comes to finding solitude in sounds. Still, Live puts his best foot forward displaying a part of himself fans have yet to see. He meshes his online messages into this album. The album is sonic cohesion that experiments with elements that usually would not fit together. It channels experimentalism that has been missing from hip-hop since the early 2000’s.
Fans get a real look at who DPR Live is beyond his “forget the haters” attitude. It is a level of authenticity Korean rappers have yet to show as a collective. Live captures hip-hop’s roots in sharing his truth. There’s nothing wrong with a good hype track, but there seems to be a lack of awareness in Korea’s rap scene. Is Anybody Out There? imagines mental health as a journey through space. “Here Goes Nothing” and “Geronimo” represent being at the edge of a breakdown, wondering if anyone will be there to catch you while “To Whoever” and “Out of Control” showcase the triggers that lead to someone reaching their point of no return. “Disconnect” and “S.O.S” represent when a person removes themselves from others once they reach that point of no return and a call for help. It’s hitting rock bottom and pondering if anyone cares. The trio of “Oh Girl,” “Kiss Me,” and “Neon” are welcomed distractions from the struggle of coping with mental health. However, a distraction blossoms into something that reminds listeners even at their worst they are still capable of being loved and loving someone. Finally, “Legacy” and “No Rescue Needed” are the light at the end of the tunnel. They show there is beauty at the end of every journey. For Live, he found himself on an uninhabited planet full of possibilities. He gets to shape his future.
DPR Live’s ‘Is Anybody Out There?’
4
What’s your favorite song on the album? Let us know 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.
https://kultscene.com/wp-content/uploads/2020/03/DPR-Live-Legacy-screen-grab.jpg423635Nnehkai Agborhttp://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngNnehkai Agbor2020-03-07 13:54:542020-04-11 18:51:37DPR Live’s ‘Is Anybody Out There?’ album review
While we’re closing out a decade (and commemorating it with a list of its own) that marked K-pop’s exponential growth around the world this year, that doesn’t mean 2019 didn’t give us amazing K-pop songs that should be highlighted in their own right.
The year was notably marked by a slew of rookie groups that came out swinging for their debuts, as well as female acts —new, up-and coming, and more established ones — constantly making waves in the scene with innovative concepts and music, and seemingly all the male acts went dark with their concepts, often with a deep house track. 2019 was also the year different groups made even bigger strides in America. Whether that was topping the Billboard charts, performing at festivals, multiple world tours, or going on every other morning and late night TV show, K-pop was hard to overlook this year. As the decade came to a close, it unfortunately also took two K-pop greats: Sulli from f(x) and Goo Hara from KARA, highlighting the need to have conversations on online bullying, misogyny, and mental health and ultimately resolve the issues they raise.
2019 gave us high highs and low lows, on and off the stage, but music continued to be a refuge for many. Here are KultScene’s best K-pop songs of the year.
50. “Picky Picky” by Weki Meki
All of K-pop, past and present, is contained in Weki Meki. They began life with one of the great structure bending songs in “I Don’t Like Your Girlfriend,” and have since ridden its giddy waves to great effect. “Picky Picky” feels so classically K-pop thanks in most part to its sense of humour. Who still makes songs that rhymes with their groups name and who so gleefully shouts the name of that group as arrogantly as they can. This verve of Weki Meki’s manifests in extraordinary high pitched vocals, coming in auto-tuned squeals as well as big chants. It doesn’t take a native speaker to know this is a song about supremely confident young girls who know exactly what they want.
— Joe
49. “Loss” by Colde
Now that it is officially winter, it’s the perfect time of the year to stay in and cuddle up to Colde’s “Loss” again. Released earlier this year as part of SM Station’s third installation, this moody single takes an unorthodox approach to mainstream music by using silence and soundmarks to build an acoustic environment where listeners can explore the theme of loss on an ecological level. The sounds of birds chirping, of tea decanting from pot to cup, of the car door slamming, of heels hitting the pavement. It’s the soundscape of the mundanities of life. Accompanied by an eerie piano piece and a drawling string section, there’s an emptiness and a sense of longing in those pieces of information that don’t require words. Colde knows this too as he keeps his part quite laconic with only eleven lines, all reading like sedative poetry. Maybe that’s why every listen always feel all too short. And maybe that’s why we still haven’t had enough.
— Shelley
48. “Tic Toc” by Neon Punch
Neon Punch made it a successful two for two on their only track of the year, “Tic Toc.” The cosmic symbols of its video try to convey the feeling of a destined love, mixing metaphors with stars and clocks. Similarly, the song itself takes a number of familiar elements and crashes them together to make them fresh once more. The house beats are bolstered by not just being fidgety but relatively scant. They allow the verse to shift around a number of synths leading to a rising pre-chorus. This somehow works thanks to the chorus that comes after it, quite low key in comparison but given a scratchy guitar for more of a disco feel. It’s all very unlikely but so is destiny, if you don’t go for it, it’ll never work.
— Joe
47. “Maybe It’s Not Our Fault” by Baek Yerin
Baek Yerin flexes her soulful voice for a haunting experience in her lead single, “Maybe It’s Not Our Fault.” Backed with eerie synths, sporadic sleigh bells, and a deep bass, the lo-fi R&B track exudes a somber yet hopeful aura as Baek pieces together the unforeseen turning point in a relationship. Ultimately, climaxing at the realization that some things can’t be salvaged even if there isn’t anyone to blame. “Maybe It’s Not Our Fault” marks Baek’s full leap into experimenting with her sound and reshaping her identity as an artist.
— Nnehkai
46. “Blue Flame” by Astro
With each release Astro serves up one addicting single after another, and this year’s “Blue Flame” heated things up for the act, serving up a classic, dramatic K-pop boy band dance track and putting their own flair on it. With groovy instrumentals helping the track lean into the popular “newtro” trend of 2019, scattered trapped beat and sonorous EDM melodies, it’s a song that deserves to be played again and again and will brighten up any playlist.
— Tamar
45. “That’s Okay” by D.O
EXO’s D.O shocked fans back in July when he suddenly put his career on halt to enlist in the military, but he did not do so before leaving this comforting parting gift. Written by D.O himself, the acoustic R&B ballad expresses how it’s alright to open up and to live in your emotions. The healing message feels more reassuring when sung by the main vocalist, whose warm colors and vocal runs alone are enough to fill out the stripped down song. Just as “That’s Okay” concludes on a hopeful note, so too should we remain optimistic that he returns from his mandatory services safely. Until then, “it’s okay to be okay.”
— Shelley
44. “Sunrise” by GFriend
Beginning with a whimsical piano, “Sunrise” grabs listeners’ attention with a bouncy vocal entrance by main vocalist SinB. From there, each vocal addition builds into the song’s emotive, pulsating chorus leading into the quintet’s signature sound. From Yerin’s powerful vocals to Umji and Sowon’s heartfelt harmonies, each member takes command of her part. However, it’s Eunha who drives “Sunrise” to its dramatic close with her rich, high notes. GFriend once again proved to be some of K-pop’s best vocalists and performers with their precise choreography. All in all, no one’s doing it like GFriend.
— Nnehkai
43. “Fear” by Seventeen
Seventeen opens a new chapter in their discography with this angsty R&B track. The group delivers an intensity that they’d yet to reach starting with Wonwoo’s opening declaration of being poison, but it’s Joshua and Jeonghan’s falsettos that add dimension throughout the song’s changing dynamics. Co-composed by member Woozi, “Fear” takes a look into the root of insecurities and the manifestation of our fears. On a surface level, the song is about needing to let go of a toxic relationship but remaining out of fear. However, it also examines how complacent we become in various aspects of life because of fear, and how it can be poison to others and ourselves.
— Nnehkai
42. “Sweet Chaos” by DAY6
This track may be intense, chaotic, and have a BPM of 200 (the fastest ever title track for DAY6), “but I like” it. It showcases the full range of abilities this band has to offer, with stunning vocal sections and exciting instrumental riffs. Wonpil, in particular, shines here more than he normally does in their other drum-heavy songs, and his traverses up and down the keyboard during the chorus sections are absolutely delicious. Both in its instrumentation and lyrics, the thrill of love despite the massive transformations it brings to a person’s life is conveyed very well, and “Sweet Chaos” was overall an extremely fitting choice as the title track for the musically complex The Book of Us: Entropy.
— Anna
41. “Adios” by Hoody
The nine to five grind can be a tedious cycle of routine and unwanted events without any time for vacation, and Hoody’s title track from her first full album echoes that yearning for escapism. Composed by Cha Cha Malone, Gray, and Hoody, “Adios” is equipped with mesmerizing piano loops, colorful synths layered over a simple hip hop beat serving as a dreamy background for Hoody’s honey vocals. Hoody’s vocals breezily navigate the song’s ebb and flow before Gray stamps his distinctive sound on the track for a nice break.
— Nnehkai
40. “Woowa” by DIA
“Woowa” popped up to be the unashamed dance pop song of the summer we sorely needed this year. There has been no true heir to almighty reign of Sistar, but DIA staked a claim last year with the Tinashe-inspired “Woo Woo.” That had clear beach summer vibes, this time it’s the after party rave. “Woowa” is a straightforward blast of rising jigsaw synths, snare heavy beats with a wonderful looping bassline, and utterly unpredictable horns in the chorus. It’s the bassline that producer Shinsadong Tiger uses to constantly pull you back in after another breathless chorus. Eventually, it pulls you in so close to the bodies around you on the dancefloor, you can’t help but fall in love.
— Joe
39. “Say My Name” by ATEEZ
ATEEZ’s pirate concept requires powerful and apotheotic songs, and “Say My Name” delivers just that, in the catchiest way possible! Its flute melody in the beginning is one of the coolest K-pop intros of the year, and the rest of the song develops with the same level of excitement. Special highlight is the chorus, that builds the tension for the drop in the best hero movie vibe. ATEEZ’s style, enthusiasm, and energy really show through “Say My Name.” The entire song just makes you want to dance, or go out and conquer the world, or call ATEEZ’ name to do it.
— Ana Clara
38. “I Don’t Need Your Love” by NCT DREAM X HRVY
East meets West collabs within K-pop have been historically, and objectively, mostly bad, though the last couple of years have given us a few gems. NCT DREAM’s SM Station song with the English singer HRVY is luckily one of those. Though probably not an organic collab, both acts definitely sold us on the idea that it was. HRVY was woven into DREAM’s fabric seamlessly. Their vocals all blended flawlessly —if you simply listened to this song, you could swear the NCT unit had a new member. And though the bar is on the floor with this one, just the fact that he showed up to film the music video is a feat in itself, but he also attempted to —bless his heart— do the choreography, and spend time with the dreamies in Seoul. The track itself brought DREAM to their softer, dance pop days, which was a refreshing throwback in between “We Go Up” and “Boom” (#JusticeForBoomOnTheKultSceneList). More collabs like “I Don’t Need Your Love,” please.
— Alexis
37. “We Don’t Talk Together” by Heize
In the midst of dropping her first studio album, She’s Fine, and an EP, Late Autumn; Heize gathered an all-star team featuring rapper Giriboy and producer SUGA of BTS fame to bring us the upbeat R&B track “We Don’t Talk Together.” From the smooth synth beats in the beginning of the song to the layering of Heize’s whimsical vocals, there were so many elements that came together to make a great song. Overall, the song has a light and airy feel to it but with Giriboy’s rap, a contrasting hardness was introduced creating a well-balanced song that is pleasing to listen to despite it being about a couple with communication problems.
— Katherine
36. “Shaker” by Sumin
Throughout the entirety of her 2019 album, “OO DA DA,” but never more so than on “Shaker” Sumin makes excellent use of her voice as an accompanying instrument. A variety of ad libs, each unique in sound and edit, counterpoint against her vocal, building layers to quite a stripped back song. It’s only two and a half minutes long, but these vocals and the repetitive, almost counting synth add a sense of constant movement. Sumin always feels like she’s innovating in the electro-pop/indie world, and “Shaker” feels like the most appropriate start to the best work of her career.
— Joe
35. “Blue” by Ha Sungwoon
The former Wanna One member has consistently been impressive with his solo releases and the OSTs he has released throughout the year. “Blue” is an extremely catchy dance track that also successfully highlights Sungwoon’s powerful vocals, along with his delightful high notes. Though the base beat of the track is slow, Sungwoon manipulates it with ease, changing the speed of his notes to vary the intensity of the song. It is a masterful performance from Sungwoon with a charismatic dance performance as a cherry on top, and I’m excited to see where his artistry takes him next.
— Anna
34. “Want” by Taemin
Some say seduction is an art; and well, it really does sound like it in Taemin’s “Want.” We’ve had a glimpse of Taemin’s elegant approach of love and sexuality before in singles like “Thirsty” and “Move.” This time, however, the songwriting choices make “Want” even more urgent and direct than the other ones. If “Thirsty” was all about sexual tension’s discharge and “Move” was more about the intoxicating allurement of watching your partner’s body moves than about any interaction at all, “Want” goes several steps further, as Taemin yearns for his partner to feel just as insatiable as he does. Taemin’s sensual entonement of the lyrics, supported by a disco instrumental filled with reverb sounds, and his most typically pop-esque usage of chord progressions so far, shows why the singer is king in making sex and seduction sound even more beautiful —in lyrics such as “I’m your eyes, I’ll make you see a new world”— hard to resist.
— Ana Clara
33. “Love Talk” by WayV
We know, we know. WayV isn’t exactly what we traditionally would consider a K-pop group, and “Love Talk” is an English language song sung by a group that mainly sings in Mandarin. But with at least four members being officially part of NCT (OT21 though, fight me!!), all of them training under SM Entertainment —the birther of K-pop groups as we know them— and the fact that they promoted on a Korean music show, they’ve earned their spot on a K-pop list. Now that that’s out of the way, “Love Talk,” started a frenzy on social media when it first dropped. Has a K-pop group ever been so explicit in their lyrics? Probably not, and we love WayV for it. Not to mention they pull them off unlike others (“Regular” and “Highway To Heaven” English versions, mainly)And the song itself, ain’t bad at all, with every member adding their own personality and vocal color. From Lucas’ husky rap to Xiaojun’s velvety yearns and Ten’s angelic high notes, to paraphrase their lyrics, doing what they do to us is a crime.
— Alexis
32. “Red” by The Rose
In spite of the experimental approach the band has towards their instrumentation this time around, this sound is unmistakably theirs, and its familiarity is extremely comforting. Woosung’s beautiful unique tone stands out as usual, especially since he got almost all the singing parts in this song, but the extraordinary control he has over his voice reflects his growth over the past year, both through the release of his solo album and his experience on JTBC’s “Superband.” The electronic instrumental riffs which pop up throughout the song is somewhat atypical of The Rose, who used to favour more naturalistic instrumental sounds, but it works extremely well to make this track pop.
— Anna
31. “Nabi” by BIBI
After making it all the way to the finale of survival program The Fan where she first charmed the public with her distinguished voice and smashing stage presence, runner-up contestant BIBI has finally debuted! Signed under Feel Ghood Music, the rookie made her official solo debut with “Binu,” where her lyrics about washing away her sins with soap and sometimes monotonous, sometimes pitchy, but always intoxicating style was only an introduction to the cockeyed concepts that were to come. Enter “Nabi” only a month later. This time, the song approaches the capricious nature of love. A stock talking point in music, until you realize that this one does so through the lens of cat. BIBI’s free-spirited, fluid personality is reflected once again through her vocal agility, switching between highs and lows with ease and sustaining certain notes over others. The hook’s lo-fi drum beat is equally as chill; it’s just the support BIBI needs for her precocious vocals. She’s got that kind of voice that suits all kinds of genres, from R&B to indie, and if this fanciful voyage into her imagination is only the beginning, then we’re scared (in the best way possible) for more.
— Shelley
30. “Blueming” by IU
As “Love Poem” serves as the perfect wrap to the first decade of IU’s career, “Blueming” pays homage to the pop-rock wave that took the world by storm in the ‘80s. The track boasts a syrupy electric guitar, full syths, and a deep, percussive undertone with IU easily flexing her fluttery vocals. A play on the word blooming, “Blueming” also draws on the significance of a blue rose and its double meaning of an unattainable love and a promise of commitment in a relationship in which both are a testament to today’s dating culture. IU proves that she is trying her best to decipher the ins and outs of adulthood after conquering the insecurities voiced in her previous albums, Chat-shire and Palette.
— Nnehkai
29. “Make It Right” by BTS
When one of the biggest songwriters in the world writes a great song exclusively for you, you don’t say no. But if you’re BTS, one thing you won’t do it either is to take it without making it sound as if it has always been your own. Ed Sheeran might have been the mastermind behind “Make It Right,” but it’s the Korean septet’s unique touch that makes the song so good: their uniquely natural introduction of rap between the sections, as in RM’s; their clever exploration of the vocals of Jin, Jimin, V, Jungkook – and, this time, of the rapper J-Hope too, for the surprise of many! Also, the group’s thoughtful and inspired lyrics. Special highlights are SUGA’s emotional rap and J-Hope’s verse, which summarizes BTS’ purpose as artists for their fans: “The answer to my journey, I sing to find you.” This track had everything to be a typical, generic pop collaboration crafted for the mainstream, yet it’s just as in tune with BTS’ true roots as it could possibly be.
— Ana Clara
28. “No” by CLC
As previously mentioned in our 100 Best K-pop songs of the 2010s, nothing screamed (self) women empowerment than CLC’s “No.” They might not have set out with the intention of the song becoming an anthem, but it absolutely did! In a society where we’re so used to hearing “yes” instead of “no” to so many things, it was profoundly refreshing to have a song with a bunch of no’s. No, you won’t tell me how to dress. No you won’t tell me how I should look like, and, overall, no you shouldn’t ever tell me what to do. “No” is about not just about having confidence in, well, everything but with holding one’s self pride.
— Tam
27. “Breathe” by AB6IX
In a big way, 2019 was the year of the super rookies, and one of those groups was undoubtedly AB6IX. After completing a very successful stint with Wanna One, Woojin and Daehwi joined MXM’s Youngmin and Donghyun, plus new member Woong, to form the first boy group to debut under Brand New Music. Knowing most of the members through their respective projects plus their participation on the second season of Produce 101, the expectations for AB6IX were high, and with their debut single “Breathe,” they delivered. The Daehwi penned, deep house track plays into each member’s strengths, like Woojin’s spitfire verses, Daehwi’s airy vocals in the chorus, and Woong’s much welcomed smooth tone. AB6IX represents the new generation of K-pop groups that self-produce, choreograph, and write and aim for the global market. And given that the group has already announced a world tour for 2020, we can safely say it’s working well for them thus far.
— Alexis
26. “Face” by Woosung
Ask me how many times I found myself humming “I like your face” this summer. Actually, it’s an embarrassing amount of times, so please don’t but correct me if I’m wrong, I’m inclined to say that “Face” by Woosung (from The Rose) had one of the catchiest hooks of 2019. It’s memorable and heightens the chorus along with the background bass. As someone who listens to The Rose and is utterly obsessed with soulful and emotional ballads, you didn’t have to watch the music video to know that Woosung had a ball making this song. It’s a light and playful song which made it all the more entertaining and appealing.
— Tam
25. “We Must Love” by ONF
ONF have cultivated something of a fruitful partnership with producers Monotree, since the group’s debut. Together they make dramatic and EDM heavy songs about intense relationships. Monotree have edited their vocals in such a way that they have their real voices alongside auto tuned versions of them. In “Complete,” it was the members as incomplete people, in “Why” it goes too far and begins to take over them, “We Must Love” is the bridge between these two. The auto tune still mirrors them like in “Complete,” but there’s the slightest feeling of that voice also trying to rip itself out of them on “We Must Love;” it’s a warning of what is to come after. Monotree make things more exciting with subtle shifts in each chorus that have an added bonus of adding to the slight feeling of anxiety. Where “Complete” is euphoric, “Why” fearful, “We Muse Love” is at once hopeful and desperate.
— Joe
24. “Love Poem” by IU
There is no song that hits quite as hard this year as the gentle, mellifluous “Love Poem” by IU. A warm blanket of a piano-based ballad, the singer offers comfort to listeners, promising to sing alongside them as a source of solace and company. Arriving just a few days after the loss of her close friend Sulli, the release of “Love Poem” felt immensely intimate, and also a reflection of IU’s heartwarming approach to her life and relationships.
— Tamar
23. “I Think I” by Super Junior
The stakes were high for Super Junior’s comeback this year. It would be their first as a “full” lineup since 2011’s “Mr. Simple” after all the members completed their military service and would follow a handful of singles catering to their Latin American fan base. But instead of building on what they started with “One More Time (Otra Vez)” and “Lo Siento,” Suju went back to what they’re known for with their lead single. “Super Clap” was a very on-the-nose dance track in line with every other dance track they’ve done throughout their career, but the pre-release “I Think I” takes the crown for being the better version of the group formed with nine thirty-somethings. “I Think I” does feature a light Latin-inspired vibe, but relies more heavily on the jazzier, funkier melodies and harmonies. Much like the entire album, “I Think I” is a safe track that was probably crafted to resonate with ELF, their fandom, the most. But just because they aren’t pushing genre boundaries doesn’t mean they didn’t deliver a strong track that reminds audiences just why Super Junior is still active —and thriving— 15 years into their career.
— Alexis
22. “Feel Special” by TWICE
First we were getting “Fancy” and now we “Feel Special.” TWICE has once again cranked out another feel-good pop tune produced by JYP. The song starts off with some funky synth beats and, much to our surprise, rapper Chaeyeon singing the opening verse. As the song builds to the chorus, the lyrics go from the subject of being lonely with little self-worth to recognizing how someone lifts up their spirit and ultimately makes them feel special. The vocals during the chorus are uplifting and bright, driving home the theme of the song. During the bridge, the beat drops as Dahyun delivers a solid rap verse leading back to the chorus to close out the song. “Feel Special” is just one of those happy-go-lucky songs that brings warm vibes with every listen.
— Katherine
21. “Platform 9 and 3/4 (Run Away)” by TXT
It’s been a magical debut year for the boys of TOMORROW X TOGETHER, and their fantastical, Harry Potter-inspired “Platform 9 and ¾ (Run Away)” further gave us a glimpse into their artistry. With a flare for inspiring, upbeat electro-pop tunes, “Run Away” takes a turn towards the rock side of things and uses the dynamic as a platform over which distorted, Auto-Tuned versions of the quintet’s voices emote about the “magic named ‘us’.”
— Tamar
20. “Flash” by X1
As someone who no longer watches competitive music shows —the heartbreak is too much to handle at this age— it’s always a joyous occasion when one of your favorites makes it into the group. So, of course, my anticipation was already at a high prior to X1’s release of “Flash. It wasn’t long into the song (maybe a solid 3.5 seconds) and I uttered the words “issa bop” out loud in awe and fascination because in all of its entirety, it truly is. “Flash” accelerated at full speed and was an exceedingly compelling track from beginning to end. The dub-step heavily influenced the song, giving the breaks a powerful punch. Much like its title, it all happened in a “Flash” and even after a hundred and something listens, I’m still grasping each piece and am not over it.
— Tam
19. “Time Of Our Life” by DAY6
Their first title track of the year seven months after their last, “Time Of Our Life” was a welcome return for the band, and it memorably became the first track to net them music show wins. DAY6 has always thrived in concert settings, where they’re able to really receive the energy of their fans and unleash it out on their various instruments. The fun that they have on stage is unmistakable, and it is fitting that one of their most successful releases to date plays on this concert energy. Its lyrics speak of the excitement and anticipation that the band feels as they prepare to perform for their fans, and captures the idea of that precious page of life that DAY6 and their fans share in this beautiful period of youth. With its higher, lighter instrumentation, it is an extremely cheerful and enjoyable track that will definitely leave you with a smile, if not singing along.
— Anna
18. “Snapping” by Chung Ha
Chung Ha brought us not only one of the best songs of the year, but one of the best songs of the decade with “Snapping.” A song about ridding yourself of feelings towards an ex with just a snap (if only things in life were that easy); “Snapping” radiates ample amounts of attitude and sass. Chung Ha did a wonderful job with her vocals, portraying a more sultry sound in the verses and bridge and then bursting with power in the chorus. Mirroring the vocals, the song itself also goes through high and lows creating an interesting pace as the song progresses.
— Katherine
17. “Loca” by Favorite
Girl group Favorite kicked off 2019 just as winter was in full-effect (at least in the Northeast region of the United States) with a tropical house influenced dance track with a slight Latin twist “Loca.” Sometimes you don’t need meaningful lyrics to make a song good, every now and then all you really need is an energetic and hypnotic rhythm. “Loca” is exactly that because although the lyrics are a bit lackluster (with the exception of the addictive “na loca loca loca”) as soon as the first beat dropped, the deal was sealed —you’re instantly hooked. There’s no way you can stop swaying once you’ve listened.
— Tam
16. “Noir” by Sunmi
Branching off of songs like “Gashina” and “Siren,” Sunmi’s early 2019 release “Noir” delivered a dark synth-pop song that describes the deterioration of a relationship. Throughout the song, the word noir is being referenced to, which in this case can correlate to noir films in black and white films pertaining to that they are dull, old, or in the past; like the relationship being described in the song. And Sunmi plays up this theme very well with her nonchalant, almost indifferent sounding vocals, which have a haunting sound that blend well with the synths and electric drums giving it a retro sound without feeling old.
— Katherine
15. “Psycho” by Red Velvet
Lifted by soft R&B coupled with trap stylings, “Psycho” zooms into our Top 15 in spite of its late December release. Red Velvet takes an eery and very much welcome turn from the bright zaniness of fellow 2019 releases “Zimzalabim” and “Umpah Umpah” on this track. Instead, “Psycho” calls back to Red Velvet’s infamous “Bad Boy” days, singing about being completely in love one second, and fighting with your lover the next. Starting with dollhouse horror-style leaps and riffs, the song moves quickly into the trap-driven verses, adding some brass in the chorus for rhythmic complexity and sonic impact. While the song has all the signatures of a Red Velvet song—most notably, the Irene-and-Yeri rap immediately following the first chorus—it is Wendy and Seulgi’s falsetto performance in the pre-chorus that lifts the song to new heights. While I do want to note that the “you got me feeling like a psycho” refrain might have some ableist connotations, the release as a whole shows that Red Velvet’s versatility should not be underestimated, especially with a new decade on the horizon.
— Kushal
14. “Boy With Luv” by BTS feat. Halsey
I’ll be honest — when I first listened to “Boy With Luv” I easily dismissed the BTS single as unimpressive pop unable to measure up to the same integrity they had when they were still considered K-pop’s underdogs, or even from only a couple years ago. Little did I know that the sunny funk-pop tune rife with disco basslines and cruising verses would burrow its way into my inner ear and set up home there indefinitely. After all, who can resist the way vocal line skips around the pre-chorus with little effort or the cheesy enthusiasm in the explosive choruses? Even American singer-songwriter Halsey’s feature came as a welcomed surprise, naturally dissolving into Jungkook and Jimin’s tenors while still playing up her femininity. Although her part is limited, it’s probably the most memorable and invites listeners to sing along: “oh my my my, oh my my my.” Her subtle harmonies are how features should be done, not reserved for a jarring second verse or bridge and definitely not for the sake of an overseas collaboration. Save for Suga’s experimental trap-infused raps, “Boy With Luv” sets itself apart from the group’s past enterprises by eschewing trends and sticking to good clean fun melodies instead. The result is sure to withstand the test of time.
— Shelley
13. “Valkyrie” by ONEUS
This is probably one of the strongest K-pop debuts I have ever seen in my 10 years of being a fan. Their performance is so polished, their raps and vocals are on point, the instrumentation is extremely subtle and catchy —I was a fan from the moment this track began to play. “Valkyrie” and its concept are not particularly new to male K-pop groups, but its execution is flawless here. Leedo, in particular, caught my eye, because of his versatility and his impressive skill at both singing and rapping. In terms of vocal ability, each member fulfills a different role with their varying timbres, and they complement each other well. ONEUS has been busy since this debut with other releases in 2019, but their boundless potential leaves me excited for their future.
— Anna
12. “Miroh” by Stray Kids
For someone who doesn’t particularly enjoy EDM or “future” genres, “Miroh” can be a little intense. Actually, intense is an understatement. But look past the warped synths and obnoxious beat drops, music purists, and you just might be able to appreciate the galvanizing energy and call to arms lyrics enough to make up for any prejudices. With the song’s use of animal vocalizations (the majestic call of a hawk comes to mind), “Stray Kids” warcries, and Congolese-inspired chants throughout the climaxes, any listener would feel as if they had just embarked for some kind of wilderness adventure. Anyone would feel amped up. Stray Kids never seem to fail in the hype department, but for being able to let out the beast within all of us, including those who were slow to love, they earn extra marks here.
— Shelley
11. “Bon Bon Chocolat” by Everglow
Everglow exploded onto the scene with multi-dimensional “Bon Bon Chocolat.” While blending electric EDM synths and robust hip-hop beats isn’t new to K-pop, Everglow manages to deliver the trend in a novel way through a clap-heavy pre-chorus and a peculiar, trap-influenced chorus. Everglow’s voices contrast the beat’s intensity with softer tones but still keep listeners captivated with their melodies and impudent chants. The song’s lyrics are as much of a call to confidence as its beat with the group expressing their excitement for debuting and taking their place in K-pop. The ladies lived up to their lyrics’ message charting both domestically and internationally.
— Nnehkai
10. “Pinky Star” by GWSN
Never has forgetting about a group’s debut happened so quickly and in such necessary fashion. GWSN’s “Puzzle Moon” from last year was a well-produced but generic foray into deep house. “Pink Star” is similar, but so much more lavish and detailed, proving for GWSN that more is better. A skittering sharp beat accompanies a bell-like synth that’s interlaced with dubs and other synths. The members are appropriately staccato in this first verse, which contrasts well with the following pre-chorus filled with the breathy voices of Seoryoung and Lena. The genius of this song lies in its quite long chorus, though. In order to get the best out of a house track they not only have the dancey, melody heavy chorus of “Runner, I’m runner,” but that also leads again into a hook heavy chorus. It’s the best of both worlds and it absolutely works thanks to great range of voices in GWSN, the dramatic vocals of Seoryoung and the sweet but matter of fact words of Miya, Seokyung, and Anne.
— Joe
9. “Come See Me” by AOA
For a long time, AOA’s brand relied mostly on the members’ looks (“the pretty girls are AOA,” rapper Jimin used to chant). And while they’re still as beautiful as ever, in 2019 the group proved for once to be much more than that. “Come See Me” is AOA’s second comeback without ChoA and first without Mina, and was released in the last weeks of 2019, just in time to crown a year in which they shone in the reality show “Queendom.” It’s almost ironic that the song combines nostalgic elements, like western movies soundtrack features, and a chord progression that evokes the sound of previous generation’s K-pop girl groups such as T-ARA; but still sounds perfect to showcase the growth of AOA. While some of the group’s remarkable traits are still there (like an ultra catchy and repetitive hook, and Jimin’s famous “Hey!”), “Come See Me” shows a more mature and united AOA in a much more powerful performance, with a “love in the dark” type of vibe. The pretty girls are, after all, fascinating women as well.
— Ana Clara
8. “Obsession” by EXO
Upon first listen, “Obsession” is an absolutely wild listening experience. And that’s precisely the point: the song is a discordant tune that vacillates between smooth moments and grating ones, with EXO warring with themselves, or rather their X-EXO clones. A conversation between two oppositional forces, the single has all the best of EXO – pristine production, layered harmonizing, dynamic dance breakdowns, and sleek R&B elements – and turns things on their head with all the quirky digital modulations bringing the song, and EXO’s artistry, to new heights.
— Tamar
7. “Crown” by TXT
Being the first group launched by Big Hit Entertainment after BTS, and still on the trail of their seniors’ legendary success and impact, the expectations for TXT’s debut were high. Nevertheless, the group responded in the best way possible: embracing their position of legatees of today’s greatest fictional content developers in the music industry (BTS with their Bangtan Universe), but also as teenagers and rookie artists. A new jack swing song with summery electropop vibes, and cute lyrics about a boy who has to get used to growing horns in his head, “Crown” is amazing exactly because it doesn’t try too hard. It’s fun, fresh, and youthful; with just enough storytelling to give TXT’s’ artistry a bit more of meaning, but not too much to the point that it would sound pretentious.
— Ana Clara
6. “PIRI” by Dreamcatcher
Masters of mixing dance pop and rock genres, Dreamcatcher brought us another gem with their early 2019 release “PIRI.” Being the last installment of their nightmare concept, “PIRI” brings an eerie and somewhat frantic vibe with the lyrics, which describe a feeling of helplessness, and the desperate cry for help, which is represented by the flute. The beats are fast-paced and the girls do a great job changing up their vocal styles for the different parts of the song. The chorus is as powerful as ever along with the rock track reaching its climax, SiYeon and SuA’s vocals expressing the desperation represented in the lyrics. Not to be out done, the rap verses by Dami and hooks are heavy and dark in contrast to the light sounds of the flute. Dreamcatcher is one of the few groups to go 100 percent with their concepts and execute them near flawlessly.
— Katherine
5. “Gotta Go” by Chung Ha
Although the trap-inspired production of “Gotta Go” is cool and catchy enough, it’s Chung Ha’s vocals that make the song worth listening to many times. The melody on the chorus just slides and develops in such a satisfying way, with Chung Ha holding a note over the charmer flute hook, making the section truly hypnotic. Opening her second full year as a solo artist with “Gotta go,” Chung Ha seems to have found her sound and secured her name as one of today’s main K-pop divas.
— Ana Clara
4. “Fancy” by TWICE
Whenever TWICE and the songwriting duo Black Eyed Pilseung (“Like Ooh-Ahh,” “Cheer Up,” “TT,” “Likey”) come together on a project, it’s guaranteed to succeed. This was no exception here. “Fancy” retains the group’s trademark cloying vocals and bouncy pep in the choruses, but unlike their previous hits, that’s really where it ends. Rather, for much of the song’s entirety, there’s a sophisticated edge in their tone that can only come from doing this for years. This holistic sound rests on a bed of sultry, retro synth riffs and lurching tempos evocative of the now defunct JYP girl group, miss A, before shifting into the sticky hooks that we so “fancy” about TWICE. There are no bad TWICE songs, but this foray into more mature styling just may be their best to date.
— Shelley
3. “Focus On Me” by Jus2
Can we talk about how Jus2 became the duo we never knew we needed and how “Focus On Me” is thethot anthem we didn’t deserve but thankfully got in 2019? Stemming from GOT7, seeing Im Jae Beom and Kim Yu Gyeom pair off as a duo was a pleasant surprise, as through their EP Focus and especially on this title track “Focus On Me,” listeners were able to see their vocal range and diverse tones. Both members exuded just the right amount of appeal and seductiveness and modulated their tones to give off a serene and relaxed environment, to compliment the images that are being painted throughout the song.
— Tam
2. “%% (Eung Eung)” by Apink
Apink started off the year with the release of “%%,” and it’s a song that has been impossible to stop listening to over the 12 months of 2019. Though they used to be known for their bright and innocent musical concepts, this song and last year’s “I’m So Sick” have showed the world what it means to be Apink at the end of the decade: a girl group maturing musically as they members age. A blend of atmospheric and addicting digital elements drive “%%,” and the sleek song exudes confidence as the members sing about not compromising in relationships, never settling because it feels like it’s something a person should be doing. Impactful and addicting, “%%” has us saying “Eung Eung” to it for all eternity.
— Tamar
1. “You Calling My Name” by GOT7
There are two things that GOT7 has trained us to expect from them with their comebacks: complex, intense choreographies and high energy dance tracks. And we got that with “Eclipse” earlier this year, but GOT7 turned the tables on everyone with their second release of the year, “You Calling My Name.” Fans had been begging the group for a sexy concept for the longest time, and though the group teased it, nothing could have prepared any of us for what they put out: a yearnful, ridiculously smooth yet funky alt-R&B gem performed in pleather suits, complete with waist and thigh caressing moves and bedroom eyes for three minutes and 14 seconds straight. But most importantly, we got the chorus drop that broke the internet (Jinyoung’s breathy falsetto alone deserves a daesang!). Going into their sixth year active, “You Calling My Name” is the culmination of each member’s artistry as performers. Both the vocal and rap verses are sleek and perfectly in sync with each other without being monotonous, instead, their deliveries go down easy —the best they’ve sounded yet on a single.
“You Calling My Name” doesn’t sound nor look like anything the group had done before — it actually seemed more in line with what Jus2 did earlier in the year,— but it did open the door to a more mature and sophisticated side to them that is welcomed as we head into a new decade. The shift is reminiscent of when they changed things up and delivered probably their best single to date “If You Do,” and now “You Calling My Name” right up there with it. GOT7 did not come to play with “You Calling My Name.” They were out for blood, and hopefully 2020 will bring them the recognition they are long overdue for.
What was your favorite K-pop song this year? Share your picks and thoughts in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.
https://kultscene.com/wp-content/uploads/2019/12/best19.jpg12071434KultScenehttp://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngKultScene2019-12-31 10:58:352019-12-31 10:58:4350 best K-pop songs of 2019
The last 10 years in K-pop have been monumental —we’ve experienced the highest of highs to the lowest of lows. Music-wise, the 2010s gave us a myriad of different Frankenstein monster-like songs that only K-pop fans can love. The soundscape experienced many shifts, going from the electropop productions that made the late aughts great, to the transition into EDM, then there was that weird dubstep phase we prefer to forget, to the dark deep house stuff all the male groups are playing with nowadays.
As K-pop reached a wider global audience and more and more acts emerged, The K-pop Sound evolved and ushered in an age of diversification, where nothing was off limits or too crazy.
To celebrate all the amazing music that the 2010s brought us, the KultScenestaff came up with the 100 best songs of the decade. We’re not focusing on impact involving numbers, but on the lasting impressions these songs had on the public. Or, you know, just whatever we liked for the past 10 years.
Rainbow kickstarted this decade with the relentless sonic force that is “A.” Surf guitars propel the song’s double chorus while horns boom throughout to hold down the rhythm. All this gleeful energy helped to build Rainbow into a group of unending fun for a decade that sorely needed them.
Brown Eyed Girls threw themselves onto “Sixth Sense.” The rolling orchestra is constantly tempting them further, pushing their bodies and voices to the limit. They are a match for every moment, not once relenting but embracing this sense that is “more than emotion.”
The original, and still best, melancholic K-pop house banger, the delicate balance of Daishi Dance’s twinkling pianos and fuzzy synths alongside the punchy vocals and legendary performance of After School, is unmatched to this day.
4Minute’s venture into experimenting with more traditional hip-hop sounds was, of course, a bubbly Brave Brothers production, following the success Hyuna had with her solo “Ice Cream” just the year before. It marked a transition in the group’s emphasis, centering Hyuna’s rap verses in every single until their ultimate disbandment. “What’s Your Name?,” with its inoffensive and fun electronic hip-hop, sounds and looks like what every innocent, girl crush-lite girl group is doing nowadays.
Perhaps because it is often eclipsed by Taeyang’s other single “Wedding Dress” off of his first studio album Solar, people often forget that “I Need a Girl” was actually its head song in charge. Everything we love about him is there — the R&B influence, his steady falsettos, the thirsty lyrics. A playful rap featuring from fellow Big Bang member G-Dragon is always a plus, too.
Covered in neon lights and projections of fireworks, Chung Ha sings of newfound love with a certain electricity. “Rollercoaster” pulsates with energy, like a beating heart full of excitement and nerves. Her vocals are tender yet commanding, “ooh ahh”-ing and riffing through the choruses with the fragile confidence of getting closer to a lover. Dropping one of 2018’s catchiest songs, Chung Ha would hit her stride on this track, leaping to new heights as I.O.I’s first solo alumnus. As 2020 approaches, “Rollercoaster” not only recalls Chung Ha’s biggest hit, but also describes the craziness of the years ahead of her as her star continues to brighten.
To f(x), love is a shower in technicolor lights, a glare in your eyes as the sun hits your face, a geometric structure whose insides are impossible to navigate. “4 Walls” itself is a metaphor, but the track evokes new ones in your head as you listen and imagine. A trance-pop number with electronic dance fusions, the song is as catchy as it is ethereal and shiny. It’s almost as if someone took the glimmer of a sun-lit lake, or the clear starry sky and put it to a melody for Luna, Victoria, Krystal, and Amber to sing. And it lingers in our heads as one of the 2010s’ most beautiful, but also enigmatic, songs.
An iconic moment often overshadowed by predecessor hits like “Gee,” “Genie,” and “Oh!”, “Run Devil Run” made clear that the most powerful characteristic of a Nation’s Girl Group is none other than versatility. Musical acts around the world whose heydays were before and after that of Girls’ Generation have rarely been able to pull off such a 180 degree turn in appearance, vocal tone, and performance. An angry breakup song, “Run Devil Run” offered layered vocals and explosive jazz in a way that was simultaneously abnormal, yet somehow current and on-trend with 2010 K-pop nonetheless. It was from here and on that GG would begin to depart from its cutesy origins, and demonstrate new confidence as the decade’s premier K-pop act.
The start of the decade was a tricky time for music, given that the trends were a very specific kind of pop-EDM that didn’t age well just a few years later. BIGBANG survived this by not going this route with their lead single “Bad Boy” (instead reserving it for “Fantastic Baby,” which albeit a bop, sonically is very representative of the time it was released in) and going a mellow hip-hop route. This track transcended K-pop, as it garnered attention from the locals outside of the fandom. It defined what a boy band looked and sounded like in 2012.
Having played a big role on what K-pop sounded like since its inception, SM Entertainment fell behind with the sonic shift towards quote-unquote authentic hip-hop that the growing global audience prefered for most of the decade. NCT 127 was the answer to that change, and the R&B, grungy, electronic, and anthemic hybrid “Limitless” was the song that marked the group’s arrival into the game as tastemakers and disruptors.
— Alexis
90. “LATATA” by (G)I-DLE, 2018
Amidst a girl group landscape saturated with cute-concept songs and performances, (G)I-DLE took the time-honored alternative approach of debuting with the opposite concept to get heads turning. “LATATA” is a well-brewed mix of electronic dance and tropical house, with reggae and hip-hop influences to boot. The track progresses with impressive momentum, starting from bouncing, seductive verses and Minnie’s hypnotic pre-choruses only to explode into the Miyeon’s dramatic chorus lines and subsequent EDM dance break. Every second of the track was engaging and sonically interesting—a foreshadowing for the exciting career and discography (G)I-DLE had coming.
T-ARA was the type of group that could pull a sad song, with the nostalgic vibes of Korean traditional music, and still make it sound powerful and modern. “Day by day” is one of these songs. The combination of flute and acoustic guitar stands out amongst the other singles of the group, which are heavily focused on electronic beats. Although T-ARA’s unapologetic take on ludic, fun dance tracks was a big part of their brand, “Day by day” brought us a very refreshing side of the ladies that I would’ve love to see more as well.
On “Oh! My Mistake,” April finally hit their peak thanks to focusing on their members’ strengths. It’s a pitch perfect slice of ‘80s pop and each member has a part to play that fits them, as well as helping the group as a whole. They sustains the playful bouncing feeling of the song built so well by those lolling synths and processed beats.
After a lineup change, U-KISS came back stronger than ever. The layering of all the vocals in “Neverland” showed just how well they complement each other while also showcasing their vocal talents. And with its synth-pop beats and repetitive but catchy chorus, the song was bound to be a hit.
This electropop earworm, which was I.O.I’s final single as an act, will run itself around your brain for a very, very, very long time, with the members of the act exuberantly hitting the mark perfectly with the delivery of each paunchy verse and catchy refrains.
CLC wanted to start 2019 with a big splash, with female anthem of the year, “No.” Like the title suggests, these ladies aren’t afraid to say no to others’ opinions and desires; they’ll live however they wish to, wear what they want, and will do as they feel like. In a society where women empowerment is looked down upon and where people shy away from doing what they want while on their own terms, “No” let’s you know that it’s perfectly okay to be your own person. No one owns you, only you do.
Even plagued with plagiarism allegations, “Bboom Bboom” was still able to climb the charts making it the groups most popular song to date. The quirky and fun tunes were a perfect fit to Momoland’s playful images.
More than the song itself, the filming for BIGBANG’s “Tonight” music video is what made it shine (in my eyes). “Tonight” could’ve been just another song that was on every club’s rotation that was overplayed. But when accompanied with the video, it becomes more relatable and transparent and a bit contrary to the lyrics; that at the end of the day, everyone just wants to have a good time, no matter where they are. It reminds you of all the beauty that is in the world and to live out the moment while you’re in that moment.
Chung Ha has been slowly working her way up the ranks of solo female K-pop artists, and “Snapping” is a great stepping stone. The sensual dance track exudes a ton of drama and attitude with the vocals. With its more intense chorus and slower hooks, the dynamic pace keeps the listener absorbed in the song.
— Katherine
80. “This Is War” by MBLAQ, 2012
Dramatic is an understatement when it comes to MBLAQ’s “This Is War.” The full orchestra playing throughout the song provides softness that is complemented by the sorrowful lyrics and vocals of Lee Joon and Thunder, while creating a contrast with the powerful vocals of G.O and Seungho and the rap verses from Mir.
Jinyoung’s layered vocals, Baro’s fun raps, guitar-driven instrumentals, sudden chord progression changes… “What’s Happening?” showcases everything that is great about B1A4’s music. Be it with sad or upbeat tracks, the group never fails to make you feel something; their music is so full of life! And amongst the tracks that prove that, “What’s Happening “ certainly deserves honorary mention.
“B.B.B” builds the greatest ‘80s nostalgia piece of the decade over a bed of heavy, satisfying synths. They allow for some fun to happen around them, so Dal Shabet don’t just fit in with them but grow alongside. They open with Subin’s sexy, almost pained questions, its then anchored by Woohee in the chorus whose pain is not being hidden, and then crushed by the maternal cries of leader, Serri.
“Underneath the sky, you cannot be hidden. Even if you hide, you will kneel before the truth.” It’s a villainous world out there, wrongful acts are done around the clock and B.A.P ignited the flame to get people to start thinking and acting against it with their debut track “Warrior.” The song encompasses ways to which one can little by little stop the acts of war, rebellion and corruption in our society. Topics that are not spoken off as much as they should be because the thought of repercussion and the aftermath embodies one’s thoughts versus the changes that could be made if acted upon. These guys weren’t playing around when this was decided to be their title track, as these are heavy topics. B.A.P, a group that’s been fighting destruction since debut and “Warrior” a song before it’s era.
When a new group debuts, it’s hard to pinpoint exactly what their core concept will be, for they will try many things before getting to really know their identity. This was GOT7’s case, until “Fly” came out. “Fly” was the perfect cover letter of what GOT7 had grown to be and would showcase from then on: intricate and precise choreography, hype-beast aesthetics, and the perfect blend of crazy electro amalgamations with R&B vocals.
AOA and the Brave Brothers pretty much go hand in hand, and in 2014 AOA took over the Kpop scene as one of the most popular girl groups. Throughout the year, the group played the cute and sexy card and “Like a cat” was no exception. With both pop and rock elements, the song gave a more sultry feel compared to their previous releases.
SISTAR take listeners through the realization of falling in love with someone from the strange feeling of having a pounding heart to gathering the confidence to confess. All the while, dance-synths and trumpets create a convivial foundation for the group’s sweet vocals. In its success, “Loving U” sparked the beginning of SISTAR’s legacy as “Queens of the Summer.”
After going viral with a fancam and becoming one of K-pop’s top female acts with “Up & Down,” EXID’s 2015 follow-up “Ah Yeah” spends it time taunting and aggressively taking on the typical ways men approach women they’re interested in through its brassy, sassy hip-pop nature.
With a high-budget “Fahrenheit 451” reminiscent music video, 2NE1 made a full-force return to the K-pop scene with “Come Back Home” in 2014. The song quickly flips genres with surprising cohesiveness. While Minzy and CL carry the reggae-influenced verses, Dara handles the pre-choruses with her trademark tenderness. Park Bom nails the emotional delivery on the chorus, serving what could easily be a ballad’s refrain as the epicenter of an electronic vocal pop moment, all leading up to the song’s iconic EDM dance break. After two years of randomly released singles and comeback delays, the song was not only pleading to a long-gone lover, but also as a message to Blackjacks to return after their many sporadic hiatuses. In the aftermath of 2NE1’s disbandment, however, “Come Back Home” gained a third meaning: a plea from fans for the group to return to their roots and reunite.
Laidback and infused with reggae rhythms and pop-rock melodies drawing inspiration from the ‘70s, “Why So Lonely” brought Wonder Girls’ band concept to the forefront, with the act’s members not only writing the song but also playing the instrumentals for the recording, pushing the boundaries of the act’s musical fluidity and career in a bright direction. It was their last formal single prior to disbanding in 2017, though they released one final song “Draw Me,” and left things on a captivating, groovy high.
— Tamar
70. “Trouble Maker” by Trouble Maker, 2011
HyunA and Hyunseung shook the table when they debuted as Trouble Maker. Straying from societal norms, the subunit’s suggestive mannerisms caused a stir both on and off screen starting with their teaser performance at Mnet Asian Music Awards in 2011. Their eponymous debut single featured an enchanting whistle while staying true electro-pop’s influence. HyunA’s distinctive rapping and Hyunseung’s smooth vocals were a dream pairing that earned them a triple crown on local music shows. Their accomplishments opened the door for the success of K-pop’s co-ed groups.
“Girl Front” is the miracle of the 2010s. Not only does it incorporate the sounds of three previous LOONA solo songs, but the themes of them too. Producers Ollipop and Hayley Aitken smashes them into an unforgettable explosion of teen emotions with an unending list of sounds that includes, thumping kick drums, razor-sharp synths, slap bass, and a killer vocal harmony.
Count on Monsta X to drop a title track that will always hit you with an alluring intro, dynamic chorus, entrancing hook and clean outro. “All In” fulfilled every aspect of that and more. Even without watching the music video, you’ll be at the edge of your seat when you’re listening to the song, anticipating and playing out what’s going on with each verse and just when you think the song has slowed down it reaches a climax and sends you on yet another thrill ride.
Only Brave Brothers could make generic sporting event music sound good in one of his electro-pop songs, and “Heart Attack” is aural proof of that. There’s never a lagging moment among the persisting synthy beats, gung ho stadium chants, or the girls’ honey vocals. AOA peaked with this one.
Before they rose to fame following their participation on the second season of Produce 101, NU’EST was that group with an impeccable self-produced discography that went largely unnoticed by the general public. With “Overcome,” the group was at their creative and experimental peak and delivered an avant garde, smooth tempo rollercoaster with a cascade of glitchy synths and instrumentals, and a bunch of random sounds and noises that somehow all work together.
No other debuting group this decade had a marching band announce them, so Oh My Girl were stepping way ahead right from the off. The marching drums of “Cupid” are loud and clear and take an age to repeat themselves, giving the track a chance to constantly feel like fresh. It provides a bed for Mimi’s best verse of her career, a chant that doesn’t wear itself out, and enough vigour to sustain an impossible level of pep.
In the mid-2010’s when brass was the choice instrument in pop, Monsta X decided to throw their hat in the ring and came up with “Hero.” The result was a delicious concoction of 8-bit video game soundbytes and erratic saxes, along with a helluva bridge from Jooheon taking it all home (and probably ending a few idol rappers’ careers in the process). “Hero” made enough noise to catch our attention, and we have not been able to peel away since.
With heavy Auto-Tuning, a funky beat, and clap-happy electro-pop-meets-house melodies bolstered by a series of chanty phrases, “Bonamana” is explosive in its dynamism and a stalwart example of the sort of brash, earworm-focused songs Super Junior focused on in the first part of this decade.
As quirky as ever, Orange Caramel brought us “Lipstick” off of their first full-length album of the same name. With cartoonish horns and accordions, the trio rode the line between cute and strange to create a sort of funhouse pop tune. Staying true to their aesthetics, Orange Caramel creates fun and whimsical songs that continue to delight us.
Arriving just a few days into the final year of this decade, Apink’s “%% (Eung Eung)” is a twinkling, synth-fueled tune that epitomizes the direction where this girl group is heading in in the second part of their career, and continues relaying the shift from cute girlishness to confident songstresses that they started in 2018’s “I’m So Sick.” It’s atmospheric and propulsive, with clap-happy, tinny beats driving much of the song towards its quirky, digitally-inflected choral melody. All the while, each of the act’s members are given a chance to shine, relaying how each of their distinct tones have helped perpetuate Apink’s legacy as an A-class act in South Korea’s music world throughout much of the decade.
— Tamar
60. “Tomorrow, Today” by JJ Project, 2017
“Tomorrow, Today”’s steady percussion beat guides the JJ Project’s harmonies and melodious tones showing the duo’s maturity since their boisterous debut in 2012. The song’s simple composition compliments its intimate lyrics that capture the uncertainty of foraging a meaningful future.
With bombastic confidence and potentially appropriative aesthetics, 4MINUTE set the 2015 winter on fire with “Crazy.” Unlike many K-pop girl group songs, including ones in 4MINUTE’s earlier discography, there is little singing on this track. The verses and chorus are dominated by different rap lines, while Gayoon and Jihyun handle the song’s only melodic parts in the prechours and bridge, respectively. While Hyuna has always been the public darling and center of the girl group, it was Jiyoon who really shined on this track, serving as a fierce rapper and dancer (despite her role as the group’s main vocalist). This song goes down in K-pop history as one of the 2010s’ fiercest bops.
WJSN found their ultimate collaborator in producer e.one. His trademark style of editing vocals, a slight but almost alien whine, gives form to the Cosmic Girls’ name and concept, while his always tight and groovy rhythm section grounds it in reality. This combination gave us “Secret,” a masterful balancing act that gives teen girl problems the kind of grand scale that the girls likely feel is truly plaguing their lives.
Two entries on this list and two ‘80s throwbacks, Dal Shabet have surprisingly stuck their place in history with an electrified use of nostalgia. This time, alongside Brave Brothers, the rolling synthesized drums, splashes of horns, and big vocal hooks capture the sound but it’s lines like “Hey go meet someone, stupid like you” that catch the spirit so well.
When TVXQ came back as a two-piece band with “Keep Your Head Down,” they came back stronger and more cocksure than ever. Left unchecked, that kind of energy is contagious. From the drum warfare working in time with the triumphant horn section to the visceral cries and grunts, everything about this song begs reaction. So give into your body and music; there is no use in resisting its lure.
As the Super Junior members have grown up while being active, their concept has matured with them. Though mostly known for their electronica-heavy singles and point-dance choreographies, the group spent most of the decade crafting a funkier, more soulful side to them, and the jazzy, falsetto festa “This is Love” is a prime example. “This Is Love” opened the door for Super Junior to become Super Grown.
miss A’s take on the girl-crush concept was nothing short of exceptional. From the firm declaration of “you don’t know me” to the gallant “so shut up boy,” “Bad Girl Good Girl” was a warning for gossips to mind their own. While it didn’t present extraordinary moments, the track’s subtlety drove its success. Also, who could forget the iconic choreography?
Rarely do we see groups debuting with two title tracks simultaneously, but Blackpink’s “Boombayah” and “Whistle” showed they were a force to be reckoned with. While “Boombayah” had all the elements for an expected YG debut, “Whistle” proved the quartet to be juggernaut rookies. Combining spoken word-inspired rhymes, acoustic guitar riffs, and a mesmerizing whistle motif, the minimal hip-hop track was a breath of fresh air among the year’s releases.
What happens when you pair up two of SM’s most talented, young dancers? Electricity. The way Ten and Taeyong bounce off of each other and complement each other in both dance and vocal ability is so effortlessly seductive and entrancing.
If the word “diva” wasn’t already a perfect fit for Ailee until then, with “U&I” she left no doubts. Co-written by Shinsadong Tiger (who crafted iconic K-pop hits such as T-ARA’s “Bo Peep Bo Peep” and 4Minute’s “What a girl wants),” the song showed that, besides being a vocal powerhouse, Ailee is also capable of commanding the stage with just as much style.
— Ana
50. “Some” by Soyou & JunggiGo, 2014
“Some” centers around the “some” phase of a relationship in which each person is developing feelings for the other but are unsure of its reciprocity. Its dreamy falsettos, head-nod inducing beat and relatable lyrics broke records and became an essential to any karaoke night.
Park Bom’s sugary voice never really sounded out of place amongst the overall ferocious vibes of 2NE1’s songbook. But watching her have her own moment in “You & I,” a ballad that showcases her vocal range and her unique delivery, was definitely a needed thing. In late 2019, a revamped and emotional rendition of the song performed by Bom during her participation in the reality show Queendom proved that, almost a decade after its release, the song still has the power to bring people to their softer side, especially with the touch of nostalgia added by Bom’s very own presence, dearly missed by her fans.
As Pledis Entertainment’s first boy group, NU’EST did not disappoint with their debut. “Face” set the tone for what it meant to be an urban electro band, playing with vocal distortions and tasteful dubstep breaks without managing to lose their voice.
I can’t believe it took until 2018 for a capella to make its way into the lead single of an EXO track, but it was well worth the wait: “Tempo,” with its bed squeaky approach to groovy, alt-R&B dance track and its lush, layered vocals, was the perfect packaging for the boy band’s artistry, feeling all at once like something brand new and something wholly EXO.
Riding the Latin crossover trend, Super Junior released “Lo Siento” featuring Dominican-American artist Leslie Grace. While many K-pop groups dabbled in adding Spanish words or phrases in their songs, none went to the extent that “Lo Siento” did by actually having full verses sung in Spanish. The song merges the tropical styling of Latin pop, smooth guitars, dance, and hip-hop, creating a perfectly balanced representation of both its Latin and Korean roots.
THIS! This is just what 2019 needed and GOT7 served it. Just when we thought GOT7 was done for the year, the seven member group released “You Calling My Name” leaving fans in a frenzy of emotions. This time, the group delivered a well contemporary mix of R&B and funk. The fluidity and transitions between genres within the song and sultriness in each members voices is absolutely memorizing. The maturity that transcends this song (and the rest of their album) and an addictive beat that makes one “oh and ah” on repeat. Is it fair to say that this is a great part two to their 2015 masterpiece that was “If You Do?” You’ve come a long way boys and this was the exact glow up we needed to wrap up the decade.
No one needed another tropical house song in 2017, but we all really really needed Winner’s. “Really Really” is their entry to the music trend, and while they went on to put out more singles of a similar variety, none had a hook as straightforward or a buildup more climactic as this one.
516 plays it said on my iTunes by the end of 2012. 516 plays solely on my iTunes for a song and a group that never appeared on my list before. SISTAR’s “Alone” happened and I was hooked. The vocals, falsettos, and rap were all on par and blended well with one another. Each member had a distinctive role for their parts, and it notably showed. The sorrowful and loneliness in their voices were able to depict a story of what happens when one gets left, the grief, heartache, and withdrawnness that you’re left with, was surely felt through this song.
It’s hard to say what makes “Spring Day” most special: the lyrics, the melody, the production, the vocal performance of the members, or the memories that the song brings up, as built by the group with their fans. “If I was a snowflake, I could reach you faster” is easily one of BTS’ best lyrics. But, sonically speaking, the entire track evokes just as much poetic despair. Starting with a sentimental hook, and ending with an “oh oh oh” choir that became a memorable concert-closing, the song is amongst BTS’ classics. Until today, almost three years after its release, “Spring Day” refuses to leave the Korean charts, and brings fans from all over the world to tears.
A dark and enigmatic love song, “Galaxy” brought Ladies’ Code back to the spotlight after some years of hiatus. It also did so within one of the decade’s most interesting and brilliantly crafted instrumental landscapes, mixing jazz influences in the choruses with lush sprinklings of trance in the verses. The circumstances surrounding this comeback were, of course, tragic, but also triumphant nonetheless. I’ve always been a bit perplexed as to why this song never received the critical and commercial acclaim it deserved. Still, it lives on as one of the most musically unique and soulful comebacks K-pop has ever seen.
— Kushal
40. “Easy Love” by SF9, 2017
You know a song (and group) is worthy when a group of people who have different music taste, can agree that said song belongs on not only the top 50 song K-pop songs of 2017, but it was in ninth place. Remember that time, Kultscene? Like others out there, I wish I had discovered SF9 sooner, but am glad “Easy Love” was what lead me to them. One of my favorite things about this song is that although it’s a song about a break up, it was still much alive. Granted, the members are expressive in showing their own emotions on heartache through the song. The instruments are soft but the beat keeps you entertained and vibing, making you too busy to be sad.
Many were skeptical when Wonder Girls returned with a new lineup and concept, but these ladies proved that they aren’t K-pop legends for no reason. Going from a dance group to an instrumental band is a huge feat but they did it with style. The opening electric piano chords suck you in and transport you to a nostalgic delight of ‘80s synth-pop. Between the posh nonchalant singing to the more upbeat chorus, “I Feel You” is the perfect mix of retro style and JYP flare.
It’s been six years since ZE:A graced us with “Ghost of the Wind” and it still remains a mystery how the underrated group have not received their breakthrough moment yet. Under the creative leadership of producer Duble Sidekick, the hit favored orchestral strings and operatic backups over the group’s previous reputation for questionable autotune. It was a step in the right direction, and, after peaking at number 21 (the highest for any ZE:A songs) on Gaon, the charts would have to agree.
Though it may be called “Red Light,” this f(x) classic is a full blown “go for green” when it comes to listening experience, to the degree that you’ll never want it to come to a stop. An explosion of sounds —it starts with a phone ringing and there’s a tick-tock percussion guiding much of the bass-driven melody— the act’s final song with its original five-member lineup is all at once haunting, quirky, and a true testament of pop perfection that goes nowhere expected yet still lands at the perfect destination.
The world wasn’t ready for “The 7th Sense” when it dropped. More than a song, “The 7th Sense” is an insanely bass heavy spell that bewitches the listener with the myriad of different sounds, vocal tones, rap flows, and more on its overall dream-like soundscape. It’s incredibly seductive and mysterious, and unlike anything else in K-pop before or even after it. Not to mention the choreography is simply… insanely intricate and artistic. Three years later, “The 7th Sense” is still largely not given the attention it deserves, being one of the most perfect songs to have ever come out of SM Entertainment.
When you got a compelling melody and strong vocalists, you might not need much more than one steady beat to produce a good song. In “What is Love,” the line “Except you, everything is in slow motion,” besides being the best lyric of the song, could very well describe its vocals in contrast to the longstanding instrumentals. The strength of the song is, definitely, leaving room for the competent members of EXO to shine.
“Love Shot” ended 2018 with a much needed bang. Its slick grooves and stacked vocals effortlessly blend into its 808 bass and eccentric synths while adding an edge by including a gunshot before the chorus. The track’s crescendos to full intensity with Chanyeol’s and Sehun’s raps leaving listeners breathless as it shifts back into its reggae-infused melody. “Love Shot” reminded us of EXO stands in its own league when it comes to melding unconventional sounds.
After Wonder Girls’ disbandment and leaving her long-time record label, Sunmi ventured off and grabbed herself her first solo No. 1 on the Korean charts with “Gashina.” The song delivers trop beats, sassy vocals, and a whining chorus that is strangely appealing, not to mention killer dance moves that everyone was emulating.
No matter where you were or if you liked K-pop or not, you knew of Taeyang’s song “Wedding Dress.” The song was the successor to the single “I Need A Girl,” but seemed to rise well above in the popularity ranks. The R&B song was delivered beautifully by Taeyang’s smooth voice and the sorrowful lyrics just pulled at your heartstrings.
Much like its lyrics, “Hush” builds intensity with each verse. Starting with soft vocals, the track builds into a mid-tempo dance track equipped with guitar interludes that offer a twist to the song’s coy lyrics. Reverting back to its slow beginning, “Hush” ends on a gentle note reiterating the anticipation their holding in for an admirer.
— Nnehkai
30. “Up & Down” by EXID, 2014
Dropping in late summer 2014 with a strange (and annoyingly low-volume) music video, EXID would prove themselves worthy of industry-wide attention with this bouncy track. Written about the difficulties of trying to understanding a lover’s intentions and interests, the song quickly jumps from L.E.’s slow-then-fast, breath-defying raps to Hani’s seductive pre-chorus. It then sticks the landing on the bright, belt-heavy chorus sung by Hyerin and Solji, the stylings of which would become a staple of EXID’s music going forward. The track shows us not only the power of a well-filmed fancam can be, but also the overlooked talent of some K-pop groups that only sometimes get to see the spotlight.
For only a warm-up single, “Oh NaNa” did a perfect job at neatly packaging and trademarking the KARD brand into one that promises contemporary sounds and a good time. The sensorial experience from the airy, dancehall synths further augmented by shifts between masculine and feminine energies produces an almost romantic quality that can only be enjoyed by a co-ed group with a gifted production team.
MBLAQ’s crowning achievement, “Smoky Girl” is a glossy, utterly satisfying ode to momentary club romances. It is predicated on the smallest of details. Thunder’s slight coo right before the opening dance break, an ever evolving beat always giving the members time to move, Mir’s forceful rap over a four on the floor beat. Each element is part of the romance but equally they are a reminder of the transient nature of love at the club.
It’s only natural Black Eyed Pilseung would create his masterpiece with Twice, the chaotic nature of his production style becomes laser focused when paired with the anxieties tied to modern technology. Vocally, Twice feel at ease, they throw parts to one another without a hint of drag. Ultimately, it all revolves around the vocal performance of the decade by the unlikely Momo.
Summer romance is reimagined in what is possibly Red Velvet’s most adored track to date. Heart-thumping basslines, dreamy sighs and a titular earworm allude to the serendipitous feeling of love. The quintet’s sweet vocals accompany the song’s effervescent atmosphere as they compare their favorite summer flavors before deciding their favorite flavor is you.
The best outcomes come from having little to no expectations. And that’s not to say that a subunit formed by JB and Yugyeom of GOT7 wouldn’t be interesting, it’s that nothing could’ve prepared us for just how damn good it would be. Jus2 tapped into JB and Yugyeom’s affinity for R&B and paired it with their stellar performance backgrounds by way of deep house. “Focus On Me” is a slick, sultry, ethereal, and delicious R&B marvel —the most sophisticated and grown we’ve seen from any GOT7 member, both as a concept and musically.
It was late January of 2018. Would IKON have known ahead of time that they were about to drop what was about to be the song of the year with “Love Scenario”? This song became a sensation, you just couldn’t escape it. It truly became an anthem and could be heard in much of Seoul, South Korea. Whatever business you owned, this song must’ve had played at least once a day on your speakers. But it didn’t stop there. If you had access to the internet, it was almost guaranteed that wherever you were on the internet, especially YouTube or Korean related websites, there was always at least 1-2 “Love Scenario” video listed as suggestions —most of them dance covers (a range of all ages and all ethnic backgrounds). This song did exceptional well with the younger audience, elementary and middle school students. It had an easy tune and chorus to follow. If you didn’t groove with it right off the bat, there must’ve been one point in 2018 (or even now), a song so mellow and cheerful, how could you not enjoy it?
Everything about this smooth synth and rock-fueled dance track exudes a sense of drama and sleekness, reflecting KARA’s dynamic at this point in their career, when they were one of the top female acts in the Asian market and were showing the world how they could mature in the spotlight while still keeping their distinct, addicting style.
“A.D.T.O.Y.” is 2pm down to a T. Lush R&B vocals, sex and sexiness at the forefront, and questionable dance moves that we hate to love. Even without knowing what the song is about, the anguish and longing for a lover jumps out and hits you right in the feels. Who hurt 2pm for them to be pouring out their souls on this song? Whoever you are, thank you for the art you inspired, but let’s hope Hottest never finds you.
“If You Do” was a turn away from the bright, hip-hop driven songs of earlier GOT7, and no one seemed to mind. The dark tone of the song was a product of the light synth notes and heavy bass lines and then was elevated by the sorrowful vocals and deep rap verses. This song marked the beginning of GOT7’s evolution into the artists that they are today.
— Katherine
20. “Eyes, Nose, Lips” by Taeyang, 2014
You can always count on Dong Young Bae, better known as Taeyang, to produce a pass-me-a-kleenex kind of ballad. “Eyes, Nose, Lips” was not only about his break-up with actress Hyorin, but it’s a song of admittance. Admittance to the wrongs that manifested during the relationship and the painful memories that then haunted him, something we’ve probably all gone through or know someone who has at some point which makes this all the more empathic. It was a song that showed the truth behind its words not as a cover up but as a belated apology, something you don’t hear too often, as love/break up ballads get sugar coated. Not only did “Eyes, Nose, Lips” see success on the charts and became the song to perform on Korean music songs, but the outcome was also beautiful, as Taeyang and now wife Hyorin are in a blossoming marriage.
With “I Got a Boy,” Girls’ Generation ensured that 2013 would start off with a bang. A lot has been said about this song, from its musical scatteredness to its bombastic confidence, but critics and fans alike have rarely noted how well this track fits into the larger Girls’ Generation narrative. Here you have a girl group who has already mastered almost all K-pop concepts on the earth putting them all together, mixing them chaotically into one song to, as Tiffany said, “put it down another way.” The song would serve as a turning point in the girl group’s career—from then on, there’s no telling what kind of music they would drop next. And the uncertainty added to the excitement. It was definitely Girls’ Generation, and we were all just living in it.
As veterans of the idol industry, Shinhwa has experimented with several musical styles throughout the years so it didn’t come as any surprise when they dropped “This Love” (the voguing still has me shook) in 2013 off of their eleventh studio album. Although it leaned more towards Western musical style, it still has a lively and catchy beat, reminiscent of club-esque music which can be refreshing every now and then. The simplicity of it all made it easy on the ears, even if it’s more of a dance track, especially with the memorable chorus. How can you forget “we live for this love” when it’s repeated 11 times? Hm, 11 “love”’s for their eleventh album? Could there be some sort of correlation? But that aside, despite the members are approaching their 40’s, they continue to show us that they still got it going on. The appeal is truly real and it’s safe to say, once legends, always legends.
For anyone who has had a long day today or feel especially defeated, please, listen to “Breathe.” Listen to Lee Hi’s warm words of consolation over the beautifully sad twinkle of ivory keys. Listen to them even when they become desperate and when instrumentals weep. Be mindful of the frisson sweeping over your body or the tears that stream down your face the same way raindrops zigzag window panes because everything the late composer and songwriter just said about how things will be okay and how you did a good job is all true.
Around the end of 2014 and through 2015, pop & EDM songs with a sax hook were a big trend in the U.S. and South Korea. BTS, however, was clever enough to ride the trend in a way that would stand the test of time. RM opening the song with “Welcome, is this your first time with BTS?” couldn’t be more propitious, as “Dope” can indeed work as a great introduction to the group: provocative lyrics over catchy instrumentals, creative choreography, and a strong commitment to their brand. Like Jungkook sings in the song’s bridge: “This is BTS style.”
Versatility is Red Velvet’s very own concept, with the “red” representing their quirky and upbeat songs, and “velvet” representing their smoother songs. “Bad Boy,” however, took the concept to a new level. The glamorous and captivating R&B tune was an interesting moment of Red Velvet’s career, in which the velvet side borrowed a bit of the red, while also bringing a new and sassy color that fits the group’s palette in an incredibly natural way.
The very fact that this track ranks so high on our list serves, if nothing else, as a reminder that 9MUSES was one of the decade’s most underrated and underserved acts. 9MUSES is “burning for love, love,” and don’t doubt them for a second—they are very much on fire. A sensual track about longing for a lover, “Wild” is 9MUSES at its utter prime—a group of powerful vocalists who execute difficult belts and harmonies with ease, complete with multiple rap lines and impeccably synchronized choreography. It’s a shame that this song—in all of its melodic, high BPM glory—was not a chart-topper around the time of its 2013 release. Still, it will live on in our old iTunes libraries and playlists in the decade to come.
Many associations can come to mind when listening to “Move” or watching its music video —especially if you’re old enough to have known the golden era of Michael Jackson and Prince. And while such grandiose associations would actually be a compliment to Taemin, they don’t make “Move” less unique. Echoing the drums and basslines of new wave music from the 80’s, along with a sophisticated R&B-influenced melody, the song is an ode to the beauty of the human body (no gender in particular) in motion. But “Move” is not just a song; it’s a moment, a testament of an artist fulfilling a unique layer of his potential, in a way few others – if any – could do. With his magnetic aura shining through every detail of the song, the style with which Taemin leads it is just unmatchable.
Most groups endure a couple years of trial-and-error before they produce their representative song, but for EXO that arrived to them only a year after their debut. “Growl” is different because, unlike its prequel “Wolf” or any other of their releases, it possessed a winning stylistic consistency and an unmistakable repetition. That immediate beeping, tonal motif which kickstarts the song is the crux of “Growl,” supporting the hook and hammering that passage in even when it is no longer the refrain. It’s original and memorable enough as to define EXO’s best year when they were at the height of their fame, when they were complete.
Once again in this list and in BTS’ musical journey, we see the group giving their touch to a trendy sound (tropical house and moombahton, which were huge in 2016), and instantly taking away its ephemerality. “Blood, Sweat and Tears” speaks of temptation, lust, sin, and guilt. As for the vocals, special praise must be given to Jimin, whose voice is, paraphrasing the song’s lyrics, “sweeter than sweet,” but also sensual and bewitching, which makes it perfect for a song like this. But, actually, all members and creators involved did an amazing job on the song, which makes it easy to understand why it was a major turning point in the history of BTS. It was their first track to sell one million copies in their home country, and marked the best week ever for a Korean album on Billboard. And it would only go up from there. Fallen angels might have been amongst the inspirations of “Blood, Sweat and Tears,” but what followed it was, actually, ascension.
— Ana
10. “Lucifer” by SHINee, 2010
SHINee’s “Lucifer” draws on the brief biblical story of the angel Lucifer, who met his demise through narcissism and pride. The BeBe Rexha-penned track compares an entrancing whisper to Lucifer and explores the feeling of being trapped in attraction. “Lucifer” effortlessly entwined SHINee’s signature sound and electro-dance. It’s confined geometric choreography and engrossing beat catapulted SHINee into their niche. The quintet explored the vastness of electro and its subgenres establishing them as prominent figures in the genre’s revival. Through “Lucifer,” SHINee set the tone for the decade’s releases challenging artists to push the boundaries of concepts, presentation and vocal colors.
— Nnehkai
9. “Shine” by PENTAGON, 2018
“Shine” is placed in PENTAGON’s trajectory as an embodiment of the two facets of their most expressive year. On one side, it was the group’s biggest hit. On the other, it was their last single to feature the rapper and songwriter E’dawn. Listening to the song, though, there’s hardly room to think of the sad side. “Shine” was neither the only nor the first K-pop song of 2018 to go for the mid tempo hip-hop piano style, but it was definitely the catchiest and most fun.
— Ana
8. “I Am the Best” by 2NE1, 2011
After offering the melancholic and relatable “Lonely,” 2NE1 set out to deliver the stuff of K-Pop legends in June of 2011. While this song has been written about time and time again, it ages with grace, becoming increasingly iconic with each “Top 100” or “Best Girl Group Songs” list it makes. From Dara’s bright and bouncy verses to CL’s “billionaire dollar baby,” 2NE1’s four distinctly different personalities fit together perfectly on this track, showing us that there are many sizes, sounds, and shapes that knowing one’s self-worth can take. More than anything, “I Am the Best” cemented the fearsome foursome as one of K-pop’s most globally relevant acts, beginning to open doors alongside a handful of other second and third generation K-pop acts that would ultimately give the genre the massive global following it wields today. K-pop legends indeed.
— Kushal
7. “Call Me Baby” by EXO, 2015
The epitome of EXO’s R&B-infused classic boy band styling with some new jack swing thrown in for good measure, “Call Me Baby” is a song that grooves along to brassy horns and the members’ artful, layered vocalizing that showcases each singer’s distinct tone even while creating a cohesive sound for the group. As the sonic sequel to their megahit “Growl,” this later track perfected the musicality of that song and expanded on it, creating something that was immediately iconic and will be a song to be sung throughout the ages.
— Tamar
6. “The Chaser” by Infinite, 2012
Two and a half years into the decade and K-pop had no reason to be worried. There had been countless hits from many legends of the industry and an ever creeping but strong international fanbase. Then “The Chaser” happened. “The Chaser” felt like an explosion not just for Infinite but for K-pop as a whole. Infinite and Sweetune dragged everyone into the new modern era with a song that defines the decade. Sweetune’s synths were well worn even by then, but they never felt so alive as they did on “The Chaser.” Layers of them cascade over and over throughout the track, building a heightened sense of drama that they would also never quite replicate. This was thanks to Infinite themselves, and in particular thanks to Sunggyu and Woohyun, the two best dramatic voices in the game.
— Joe
5. “Expectation” by Girls’ Day, 2013
There’s perhaps nothing brand new about the exuberant sexiness of this electro-pop track, but Girls’ Day’s complete dominance of “Expectation” makes it one of our favorite tracks of the decade. Throughout its entirety, the song is the very definition of an earworm, with the taunting “ooh, ooh, ooh,” raising expectations at the very start of the song and leading into its dramatic, oftentimes coy, verses, only to pull back its restraint during the pre-choruses, before leading into the explosion of the titular refrain. Towards its end, the song features a dramatic EDM build, which is blended with the members’ building vocals, turning the song from being merely a fun dance track into a prime example of Girls’ Day’s talent as singers. Paired with a music video that features their now-iconic suspender dance, “Expectation” is an experience quite unlike just about anything else out there and still has us playing it on repeat years later.
— Tamar
4. “View” by SHINee, 2015
SHINee re-envisioned dance music’s influence in K-pop with this LDN Noise produced track. The track consists of easy-going aura that aligns with the liberty displayed in its video as the quintet embark on mischievous adventures across Thailand. Tapping into garage house and retro subharmonics, “View” focuses on fluttery vocals with amusing adlibs against its deep, recurring beat. “View”’s legacy lies within its undeniably impressive vocal delivery and its ability of merging the elements we loved from their debut track “Replay” with the tensity they’ve developed since. “View” is a refreshing moment for the group, foreshadowing their continued exploration into retro-inspired releases.
— Nnehkai
3. “Be Mine” by Infinite, 2011
“Be Mine” catapulted Infinite into the K-pop stratosphere and they haven’t come down since. Throughout the decade, Sweetune and Infinite were a winning combination that could do no wrong. The group’s amazing and diverse vocals do well to not get lost or muddled in the dynamic synth notes and bold bass beats while the furious rap verses at the end close out the song, stamping their mark as heavy hitters in the K-pop industry.
— Katherine
2. “Fiction” by Beast, 2011
Many songs by Beast own KultScene’s members hearts, but collectively we all agreed that “Fiction” is the one that everyone enjoys across the board. With its lyrics equating love to a work of fiction, the song fittingly incorporates the scritch-scratch sounds of someone writing on paper into the melody, starting off the song with the effect before turning into pounding beat and haunting, synth and piano melody. Collectively as a group during the chorus, Beast is expressive and despondent about the song’s narrative, while during each individual verse and rap sequence, each man melodically pushes the song further towards perfection as he expresses the anguish of “Fiction.” Though lists like this may be based around individual tastes, it’s hard to deny the fact that “Fiction” is a classic.
— Tamar
1. “Step” by KARA, 2011
If there’s a song that one can point to and say “That’s what K-pop’s about,” that would be “Step” by KARA. It checks all the boxes for what makes a song and its music video “K-pop.” An electric and brassy club banger, check. An alarmingly colorful and vibrant music video, check. An earworm hook perfectly paired with a memorable point dance, check and check. Sweetune defined an age in K-pop when the experimentalism in the production was unhinged and uninfluenced by a global appeal that followed set music trends, making “Step” is one of his crown jewels. There’s a sense of bliss that comes from listening to “Step”: you may or may not know what the lyrics are about, but the combination of all its parts just makes you feel damn good and happy.
A lot has happened since the decade started, on and off of the stage. From ever-evolving music trends to the disbandments of classic groups to global successes to tragic losses, including that of KARA member Goo Hara. As we step (wink, wink) into 2020, it’s essential to look back at what, at its core, makes K-pop great: Fun. And you don’t know fun until you’ve let loose and danced to “Step.”
What was your favorite K-pop song this decade? 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.
https://kultscene.com/wp-content/uploads/2019/12/BEST-SONGS-OF-THE-DECADE.jpg10051434KultScenehttp://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngKultScene2019-12-22 22:16:292019-12-24 11:35:25The 100 best K-pop songs of the 2010s
Last year, Blackpink dominated the summer with hit single “Ddu-du Ddu-du.” The track pushed the quartet to global recognition with the trap beats, catchy chorus, and a message for haters to back off. Fast-forward to almost a year later, the group has solidified their place as a global powerhouse with a U.S. contract with Interscope Records, a world tour, and a ground-breaking spot performing at the Coachella Valley Music and Arts Festival.
“Ddu-du Ddu-du” might have broken the glass ceiling, but their latest release established them as global players. “Kill This Love” broke YouTube records and scored the ladies’ their first number one song on iTunes’ songs chart with its hypnotic beat and simple chorus. While the song follows in the footsteps of its predecessor, the EP contains boisterous drums, blood-pumping EDM, and mellow electric guitars that come together to create something that emphasizes Blackpink’s beginnings and their promising future.
The Songs
The EP kicks off with title-song “Kill This Love.” Roaring trumpets and horns begin the track as Jennie powers into the first versus followed by a youngest member Lisa’s captivating rap. The addictive beat is paired with Jennie’s beckoning rum-pa-pum-pum for an enticing delivery. Each member holds their own through heavy drums, but members Jisoo and Rosé shine with their unparalleled voices. The two alternate between visceral pre-choruses as the ladies sing of an unsuccessful love. Rosé takes the center with the bridge as the ladies head into a powerful anthem that ends the track. Marching band-like drums meet the groups signature EDM style as they chant, “We gotta kill this love/ Yeah, it’s sad but true/ We gotta kill this love before it kills you too.”
“Kill This Love” explores how we perceive ourselves in weakness while wishing to be stronger. Ending a toxic relationship of any kind is sensible, but the rush of emotions and attachment maintains a strong grip. Overall, the song gives us Blackpink as we know them but ends prematurely. Listeners are just getting into the groove of the ending break before it fizzles out.
The sub-title track “Don’t Know What to Do” is an EDM overload that listeners haven’t heard before. The song leaves out the trap beats, which are a signature for the group. The pulsating beat overpowers Blackpink vocals, but somehow creates a light atmosphere perfect for spring. The beat mirrors the impact of being lost while dealing with the fallout of an event. There’s a subtle desperation that echoes in Jennie and Rosé’s voices when they sing, “I don’t know what to do without you.”
“Kick It” oozes self-confidence with Blackpink taking control of their personas marching to their own beat. This is their moment. The track is an anthem embodying not knowing a good thing til it’s gone. They’re leaving on their own accord. “Kick It” also takes listeners back to their debut, with the trap beats and acoustic guitar reflecting the same composition found in “Whistle.” It’s a heavy bass track alternating between constant steadiness and unexpected guitar —an odd mixture that works for the group.
The EP takes a mellow turn with ballad “Hope Not.” The soft electric guitar creates a somber setting that’s authentic to the group. It’s a slow vibe that fans have missed since “Stay,” showing they don’t need the flash and gimmicks; it’s a stripped down version of them. Jennie starts the track with soft vocals that still remind listeners her position as vocalists. Lisa shows her continuous growth in her vocals taking on more verses. Her vocal placement after Jennie offers an ease after Jennie’s powerful voice. Jisoo’s finally found her footing and shines brightly in her pre-chorus and chorus moments. Rosé is in her element with this track —a girl and her guitar. She takes the lead as the main vocalist. She and Jisoo grasp the tenderness of the song with brief falsettos.
Finally, the group returns to their signature sound with a trap and EDM heavy remix of “Ddu-du Ddu-du.” The composition is an odd, risky pairing that displays YG’s hunger for mixing and matching of trends. It’s full of climaxes and beat drops that emulate the freedom found when reconciling with one’s feelings. It’s fun and continues the confident energy from “Kick It.” It reinforces the “take no bs energy” that catapulted the group global stardom. The track leaves room for choreography changes that are such to leave fans in awe.
Overall Thoughts
From start to finish, Blackpink tells the story of finding confidence after the end of a relationship. The EP resonates with listeners because we have been, will be, or are going through the emotions and story expressed. You can always find your way back to yourself and tell the story you wish to tell. Kill This Love was a standout moment for members Jisoo and Rosé. They’ve stepped into their own while maintaining an equal platform with Jennie and Lisa. The latter showcased their versatility as rappers and vocalists.
We haven’t seen many sides of them since their debut. Their delivery of rebellious concepts is impressive. They’re apathetic yet convey just enough emotion to the audience engaged. Blackpink has attitude. Comparisons to 2ne1 and Big Bang are common for the group as Blackpink’s title songs reflect similar tones. The group seems to be a slight hybrid of the two.
While their move into the global market happened quicker than their seniors, they’re not going in fully with a set identity. They’re trend-heavy and haven’t delivered outside their niche. Strip away the trends and aesthetics, what is left?
Their ability to appeal to America’s ‘90s nostalgia obsession is commendable. They give the boldness of TLC while delivering the harmonies of Xscape. However, the group’s move into the western market shows they’re not their colleagues and have the momentum to succeed.
Kill This Love is a glimpse of the group’s ability to cater to an expanding audience and potential as artists. They incorporated a sense of vulnerability that had yet to be seen by successfully told an all too familiar story from beginning to end. As Blackpink takes center stage at Coachella and the U.S. leg of their tour, they have an opportunity to show complexity of K-pop beyond the narrow perception the genre’s garnered. Blackpink has traded their guns for bazookas and is poised to take the U.S. by storm.
Blackpink's 'Kill This Love'
3.5
What was your favorite song on Kill This Love? Let us know your pick and thoughts on 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/2019/04/blackpink-album-review-e1555471500173.jpg6661000Nnehkai Agborhttp://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngNnehkai Agbor2019-04-17 13:54:072019-04-17 13:54:07Blackpink’s ‘Kill This Love’ EP review
Open a window and take in the fresh air. The sun is returning from hibernation, and what was once dead is beginning to grow again. The equinox may still be a week away, but we all yearn for spring as it approaches.
On her comeback track “Spring,” returning soloist Park Bom made the flowers bloom in our hearts early this year. A lot has changed since her last solo single “Don’t Cry.” At the time of its 2011 release, the singer was still a member of 2NE1, and the controversy over her use of the medication Adderall to treat Attention Deficit Disorder had yet to derail her career.
From the scandal’s outbreak in 2014, her ensuing years of silence were interrupted only by occasional sightings outside the YG Entertainment building, a 2015 performance at the Mnet Asian Music Awards, and an appearance on 2NE1’s 2017 disbandment single “Goodbye.” Even to the singer’s most dedicated fans, prospects for a comeback seemed bleak and distant at best.
Fast forward to March 2019. If the opening piano melody and muted riffs of “Spring” say anything, it is that Park Bom has beat the odds. Initially, the song’s airy gospel-influenced instrumental reminds of a lovestruck ballad like Davichi’s “Turtle,” but quickly turns more serious. On the opening verse, Park tells the tale of her suffering (“Pull me down / Into the endless darkness”). She wonders if she’ll “be forgotten this way,” likely referring to the peak of controversy and following years away from the spotlight. Enduring from her 2NE1 days, the uniqueness of her vocal tone shines in curved vowels and enunciated consonants.
Belting over the choir ad libs, she builds tension in the pre-chorus that resolves once the chorus arrives. “Spring for me again,” she declares in the hook, holding her notes in slinky vibrato. As the chorus progresses, the beat remains at a smooth medium-tempo, but Park grows louder, and her voice more emotive. Pained and hurt, she asks, “Will spring ever come to my heart again?” Spring is the happiness she so desperately wants, but still struggles to reach.
Enter the song’s feature: fellow 2NE1 groupmate Sandara Park. Note the use of her full name on the song, not her 2NE1-shortened moniker “DARA.” Her voice is soft as ever, but layered and emotive. Her rap lines employ rhythmic dynamism and trap influence—a welcome interruption to the track’s sonic equilibrium. She executes her feature with not only the gentle prowess of 2NE1’s DARA, but also the growth and maturity of Sandara Park.
“Spring” as a song is a dramatic experience, carrying the essence of a theatrical plot as it progresses. The arc reaches its climax after the second chorus, when the ad-lib choir turns fully gospel, and our protagonist sings of her coming triumphs: “When the pain you gave me leaves / Once the tears on my cheek dry up.” Her emotional resolve is tough and thick like the soul in her voice, singing with almost religious affliction on the final chorus’s high notes and belts. She is on her knees, begging someone or something for release from her sorrows. Just as the seasons change, hopefully so will her fate.
Named after Park herself (“봄” or “bom” translates to “spring” in English), “Spring” is uniquely personal to its singer. As only the third single of Park Bom’s decade-long career, it reveals a new side to the singer unseen in her previous releases. No longer is she singing upbeat love songs or choruses for 2NE1 tracks. The new Park Bom has matured, and is using her music as a vehicle for self-expressing and overcoming her hardships.
Above all, “Spring” tells the powerful story of a musician who has, through the tumults of public fallout and mental illness, made her dreams of singing onstage come true once again. Perhaps the long, dark winter is finally over, and spring will come once again. Park Bom is back.
Park Bom's "Spring"
5
What do you think of Park Bom’s return? 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.
