It’s been well documented in the last few weeks that girls dominated K-pop in 2016. Rookie groups like Twice, Gfriend, and BlackPink found their footing quickly and built on it well. Among the other girl groups there was some great work too. Cosmic Girls (WJSN) had one of the songs of the year in “Secret,” and member Cheng Xiao made a name for herself in a number of variety shows. Long suffering DSP group April continued the fight despite a number of member changes and less than spectacular songs. Compared to those two, though, MIXX are real minnows. Their funky cutesy debut from 2016 “Oh Ma Mind” was wildly underappreciated in a year that needed more great girl group debuts. Each of these groups came back this week in order to try capture that new year spirit.
“I Wish” by Cosmic Girls
I had more anticipation for Cosmic Girls coming into 2017 than any other group. “Secret” grew to be one my most listened to songs of 2016 and portrayed an elegance that few rookies can claim. That’s why “I Wish” has been so disappointing. The verve of “Secret” was immediately palpable and infectious while this is a bit flat.
Produced by Glory Face (Twice’s “Woohoo”) and Long Candy (Ailee’s “Mind Your Own Business”), “I Wish” feels like it has the potential to be something interesting. The combined guitar and synth riff that open it have an appropriate space-like feel. It becomes a quirky new jack swing track by the time the vocals kick in. There’s a sense that the producers were trying to recreate what e.one did with “Secret” but failed to capture the epic scale that he so accurately found. Musically the details are there: the spontaneous use of auto-tune is great as are the ‘90s drum rolls.
Vocally is where “I Wish” falls down though. In particular the failure to use Dawon at what she is best at. Each of the girls are pitched quite obviously to give the song some more feminine qualities and Dawon can easily hit these notes. But she works much better as a counterpoint with a stronger less breathy vocal. In other WJSN songs like “Secret,” and even more so in “Bebe,” Dawon cuts through the tension with power and without ever losing the tone. Without using her for this, the song feels like it goes nowhere.
In almost the exact opposite circumstances to Cosmic Girls (they even stole their producer), April entered 2017 on the run of a number of weak singles. The style they were going for was well trodden and nothing (except for a dancing egg) set them apart. “April Story” doesn’t stray too far from that but adds to it and makes it better than before.
e.one brings the orchestral dramatics of “Secret” with added Gfriend-style guitar riffs. It’s clearly a sound that fits with the fairy tale concepts that April continues to favor, and honestly suits the concept far better than most of their previous songs. The song is a story about the seasons personified as people and April’s member sing as a girl from spring in love with a boy from the Land of Ice. She loves him but knows they can’t live together. It’s a simple story (similar to Lovelyz’s “Destiny”) but is brought to life thanks to e.one’s dramatic song production. GFRIEND’s “Rough” is the obvious comparison thanks to the balletic orchestra but those strings also bring to mind WJSN’s “Secret.” Especially the bits in between when the strings flutter for a moment. It builds the tension right back up after the chorus in two seconds. Again, there is nothing original about them but April have grown with this release. The production is a step up and helps the fairytale look a little less childish.
MIXX are the group to get behind this week. With their first two singles the fresh girl group have cultivated a unique sound. “Love in a Sudden” is similar to “Oh Ma Mind” yet still fun enough to warrant more listens.
MIXX’s song tells a story about a girl coming to a realisation about her sudden love. Unlike April though, MIXX find fairy tales to be no comparison to “the warmth of your hand” or “the sweet night air.” It’s a decidedly bouncy track. Producer Majinchoee (마진초이) laces the R&B beat with bright synths and there’s a breeziness to the way MIXX deliver it. It’s a chilled out vibe but their excited voices prop the song up. The major R&B sounds come in and out, peaking at the end with a great vocal solo while the rest of the girls are playful and talkative, punching out repeated phrases with glee. It’s similar in its laid back structure to “I Wish,” but “Love in a Sudden” succeeds much more thanks to the idiosyncratic nature of MIXX.
Which of these songs do you prefer? Who do you hope will be successful? Share your thoughts in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.
https://kultscene.com/wp-content/uploads/2017/01/wjsnaprilmixx.png800800Joe Palmerhttp://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngJoe Palmer2017-01-07 09:22:492017-01-07 09:22:49WJSN, April, & MIXX: K-Pop girls trying to take 2017
On Jan. 5, f(x)’s Amber Liu posted an image on Instagram to promote a “famous singer, new alias.” The image announced that a singer, using the alias A.leean, will make her U.S. debut on Jan. 7 with the single, “Fall Back.” Amber’s fans were quick to offer options as to whom the mystery singer A.leean might be. Many of the guesses veered towards Ailee, a K-pop singer known for her outstanding vocal performances.
A.Leean’s chosen alias offers clue to her identity, but the fact that Amber posted the image also suggests that it might be Ailee. Amber and Ailee are close friends and have performed together. At KCON NY in 2016, Ailee, a Korean-American singer raised in New Jersey, did mention that she was angling to release music in the United States.
To find out a bit more about A.Leean, Kultscene reached out to David Kim, a Hollywood-based entertainment lawyer promoting the singer’s debut in the U.S. When asked to reveal the singer’s identity and confirm her K-pop credentials, he chose not to comment. However, he did say he’s not worried about the singer’s existing fans outing her and revealing her identity. “We’re not afraid of fans,” he said. “Because we’d actually like more fan participation. We just won’t be making an official statement until later.”
For a few weeks, A.Leean won’t publicly state her identity or make promotional appearances. The release of the song’s music video will also be delayed, leaving listeners free to speculate on her musical background. According to Kim, the decision to release music anonymously enables listeners to judge the singer on the merits of her voice and not her background.
If A.Leean is, in fact, already a K-pop star, she has chosen a different route than other Korean or Korean-American singers attempting to debut in the U.S. As yet there is no predictable formula for a successful crossover. Psy dominated the charts with his Korean language “Gangnam Style,” while 2NE1’s CL released the English language single “Lifted” in Aug. 2016 and reached 94 on the Billboard Hot 100. Even Korean-American bands have until recently met with limited success; the most successful was Far East Movement. The group’s record “G6” reached first place in Billboard’s Hot 100. Any k-pop singer trying to break into the U.S. market will confront complicated concerns, including misleading preconceptions and the possibility of racial prejudice.
“We wanted to focus more on the music and not so much on the person behind the song, which is what musical pop culture has evolved into,” said Kim. “Not that pop culture is a bad thing, but we wanted to focus on her talent. When the song gains traction and becomes popular, we will reveal her identity.”
The international platform that YouTube offers can make a formal music release in the U.S. seem less important to some recording artists, but A.Leean’s team sees it as the logical next step toward global recognition.
“The U.S. music market is still the official authority on what music is broadcast all over the world,” Kim told KultScene. “Our artist is not an amateur. She’s been singing for years. We felt like the whole world could be seeing her perform and not just a segment of the world. We wanted to broaden her base and felt we had to do it through U.S. market first. “
Kim is working with LA-based Westside Entertainment to launch the singer he describes as “having powerhouse vocals” and “being a mix between Whitney Houston and Ariana [Grande].” Westside Entertainment is the company behind The Notorious B.I.G., Nelly, MASE, Lil Fizz, and Keyshia Cole. After playing the single for members of his music industry family, Westside Entertainment VP Stephen Umavitz is confident that this singer has what it takes.
“A good handful of Hollywood legends and entertainment music industry veterans have already personally listened to the song,” said Umavitz in an official statement. “They said it has a crazy hook and that it’s gonna be a hit record.”
“Fall Back,”A.Leean’s single about falling in love again has a Jan. 7 release date. On Jan. 11, the lyric video will be released on YouTube. The official video will be released at a later date, depending on how “Fall Back” performs in the U.S.
A.Leean is not the first recording artist to anonymously release music. Electronic dance producer and DJ Marshmello is currently at 84 on the Billboard Top 100 and his real identity remains unknown. But while anonymity creates hype at first, that won’t matter if the singer does not ultimately climb high on the charts. Luckily, if this is who we think it is, we’re sure A.Leean’s vocals are going to impress America.
Do you think A.Leean has what it takes to succeed in the U.S. market? Can you guess who she is? Share your thoughts in the comment section below and be sure to subscribe to the site. Follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.
https://kultscene.com/wp-content/uploads/2017/01/A.Leean_.png00Joan Vos MacDonaldhttp://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngJoan Vos MacDonald2017-01-06 13:12:362017-01-06 14:12:21What’s the deal with A.Leean?
The most intriguing moment of South Korean film Master comes within the first five minutes, when actor Lee Byung Hun preaches to an audience about the capricious state of public opinion and naysayers. While it’s a speech given by his character, charismatic con artist Jin Hyejang, it’s as if Lee breaks character from his role in Master to speak directly to the viewer.
“Even if there’s a person you trust and respect, when he becomes a subject of rumors and ridicule and is criticized by society, your trust in him slowly fades too.”
Lee has been involved in multiple lawsuits relating to his sexual conduct, resulting in negative public opinion despite the fact that he has more or less successfully crossed over to the American film industry. Master isn’t only about Lee Byung Hun (it also stars the talented Kang Dong Won and Kim Woo Bin), but it sure feels like the movie focuses quite a bit on his wrongdoings.
The question that hangs in the air throughout the film, thanks to this first scene, is whether the viewer can separate the actor from his role. Like many Korean action movies, the first hour is relatively slow and sets up the more blockbuster second half, giving the audience more than enough time to digest the film’s opening dialogue. Lee is daunting as Jin the conman, a bit crazed even. He takes pleasure in controlling others, enjoys hunting, drinking what appears to be blood, and has little problem with victimizing others for his gain. Clearly this is a character and not the actor himself, but the first few lines pull together fiction and reality.
But just as villainous as Lee’s Jin is, he has a counterpart in Kang Dong Won, a police officer intent on taking down the man robbing thousands of people. Both characters are extremely intelligent and sly, but Kang’s detective Kim Jae Myung regrets the violence and pain that accompanies his investigation as he inches closer to capturing Lee. There’s a sense of desperation from Kim as he hunts Jin; every moment that he doesn’t have the conman in custody, somebody else is losing their livelihood and, occasionally, their lives.There are moments where Kim appears to be enjoying the game of cat and mouse, and the finale is positively cathartic, but the character repeatedly expresses distaste at how things are turning out. While Kang Dong Won is a terrific actor, Kim has no real backstory to support his intensity and overall this leads to the film feeling a bit lackluster. Master seems to have shunned the excess of sentimentality found in many Korean movies in favor of focusing on the action, to its detriment; it may as well be a study in stereotypes of cops and robbers.
While Lee and Kang are overpowering actors in their own right, their characters were written a bit flat and one sided. In comparison, Kim Woo Bin’s Park Jang Goon is the only character to go through true growth in the film as he contemplates how his past and future actions affect those around him. He tries a bit of double crossing, and attempts to use his charm as a weapon, but it’s never quite clear where his loyalties lie. Park is like the odd man out with the other lead two characters: he’s a computer genius and the mastermind behind Jin’s plans, but when he gets involved with Kim’s police operation he seems at a total loss. (Neither Jin nor Kim ever seem baffled by what life, and the other, throws at them.)
For an action-crime film, Master is two hours of a solid face off between the law and the lawless. It offers Lee’s nefarious Jin as an antagonist for audiences to revile while Kang’s detective Kim is the eternal Good Guy, with Kim’s Park serving as the only character with any real depth. Master failed at giving either of the primary two female characters, played by Uhm Ji Won and Jin Kyung, a whole lot to do, as most of the time the men were pulling all the shots. There’s plenty of action, and some great surprises, but this cast deserved a bit better than the rather straightforward plot.
Master is directed by Cho Ui-seok, and was released in Korea on Dec. 21. According to Korean media, the film earned over $20 million USD in less than a week. It opens in the US & Canada on Jan. 6.
Have you seen, or do you want to see, Master? Let us know what you think! Share your thoughts in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.
https://kultscene.com/wp-content/uploads/2017/01/Untitled-design-6.jpg7681024Tamar Hermanhttp://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngTamar Herman2017-01-05 19:34:172017-01-05 19:36:56Lee Byung Hun taunts the public and Kang Dong Won in ‘Master’
2016 turned out to be a busy year for may Korean artists. From singles, to music videos, to albums, fans were showered by an influx of new material almost every day in 2016. And while we’ve already addressed the best Korean songs and music videos of the year, now it’s time for albums. Unlike previous years, this time around, KultScene staff picked the albums we liked the most instead of arbitrarily choosing the best K-pop albums. Some were biased, some were genuinely blown away by new findings. But overall, these albums spoke volumes to us in 2016.
Flight Log: Turbulence by GOT7
GOT7’s Flight Log: Turbulence is the second part of what seems to be a potential (and hopeful) series. All hands were on deck, as this was the first album in which all seven members had full involvement and participation in composition and lyric writing. For the first time since their 2014 debut, JYP Entertainment’s very own founder and notorious whisperer, Park Jinyoung, had no part in the album. Since debuting, “Flight Log: Turbulence” is the first album where lines were so evenly distributed, probably because the members had the most say this time around and were able to divide up the parts on their own terms and not through someone else. The entirety of this album was greatly diversified, unique, and even sentimental at times. Moreover, the member’s individual personalities shone right through each song. These guys were big on dancing from the get-go, so it’s no wonder that Flight Log: Turbulence was heavily influenced with climatic tunes. Most of the songs on this album can easily be dance tracks because, why wouldn’t GOT7 be inclined to break out into some sort of electrifying choreography to express themselves? They’re a little less than a month shy of their three year anniversary but they’ve shown an ample amount of growth, both musically and as entertainers, within the last eight months. GOT7 has had quite the hot year and we can’t wait to see them rise even higher in 2017.
— Tam
End Again by Ga-In
No one in K-pop crafts a mini-album quite like Ga-In. With the mini-album End Again she approached death with confidence. The album tells the story of Carrie, remembering the time she had with her lover. “End Again” is built upon predominantly orchestral sounds. The sound of each song fits its mood and place in the album. In the opener “Carrie (The First Day),” Ga-In thinks of her conversations with him; they “become songs and remain.” This moves into her death march and single “Carnival (The Last Day),” which ends on a distinctly ominous few notes. “Forest of Fireflies” is the only real solemn moment on the album. It’s her goodbye, a ballad that relinquished the filler ballad title thanks to its placement and beauty. “Secret” is the best of the lot. A sexy take on what came before with pulsing bass that drives the sensual chorus. The album ends with “End Again,” an instrumental that sounds more like an interlude than an ending. Yet in the context of Ga-In’s work, it is the last flicker of life.
–Joe
130 Mood : TRBL by DEAN
Riding on the buzz of one of the hottest debuts in 2015, singer/songwriter/producer DEAN finally dropped his album this year and showed us all how R&B is really done. And then he took it further. In one word, his debut album 130 Mood : TRBL is perfection. Right from the pounding knocks on “And You (Outro)” to the funkiness of “21,” the album instantly disconnects you from reality for its duration, taking you on a soothingly sexy trip. While two of the songs (“Pour Up feat. Zico” and “I Love It feat. Dok2”) had already been released, he added them to the album’s track list, which only complemented the themes of passion, excess, and heartbreak. While cohesive, every track on the album stands on its own: “Bonnie & Clyde” is hauntingly addictive, “what2do” with Crush and Jeff Bernat just as sweet vocals rip our hearts out with their melodies, and “D (Half Moon)” only makes us fall for the singer even deeper. There’s emotion in Korean R&B, of course, but no one does it like DEAN. He revolutionized the genre by bringing an experimental and trendy sound to it, not to mention he probably single-handedly put the sexiness in it too. 130 Mood : TRBL has it all: soul, falsettos, ethereal harmonies, and raw emotions. And if his multiple collaborations from artists like Heize, Taeyeon, and Zico aren’t an indication that this kid is a musical genius, I don’t know what is.
— Alexis
Daydream by DAY6
DAY6 made me a fan of theirs when they made their debut last year with The Day, but the release of Daydream made me even more convinced that I was stanning the right band. Their musical talents on full display, this album was made up of songs filled with the contributions of various members of the group, whether in songwriting or lyric writing. In particular, the first song, “First Time” was composed by all five members, and it’s truly one of the highlights of this album. Although they’re technically still a rookie group, they already have a unique identity and colour of their own as musicians. The best part? They’re seriously enjoying what they’re doing, and that’s evident from the passion they pour into each of their tracks. 2017 is set up to be a busy year for DAY6, and I do hope they’ll gain more well-deserved recognition in due time.
SHINee’s immense talent is undeniable, and the nostalgia-inducing 1 and 1 is a perfect addition to their eternally-exploratory discography. This album, a repackage of this year’s 1 of 1, turns the auditory experience to retro elements, most noticeably on the new jack swing “1 of 1” and similarly ‘90s-esque “So Amazing.” There’s a very SHINee sense on this album, with each song providing a new sonic attitude, but still extolling the group’s blended vocal skills. Songs like “Tell Me What To Do,” a phenomenal single that’s only low note is a forced rap section, and “Feel Good” seem like natural extensions of 2013’s “Symptoms,” keeping SHINee within the realm of the emotionally charged dancepop music. Individually, each track is a pleasure to listen to, but 1 and 1 as a whole showcases SHINee’s multifaceted approach to music and is one of the best albums out of Korea this year.
— Tamar
Free Somebody by Luna
With triumphant bangers and emotive vocals, Luna‘s solo debut Free Somebody is by far my favorite musical body of work released this year. A six song mini album, Free Somebody allows Luna to shine as both a pop star and ballad artist, alternating slow, evocative songs with EDM-influenced dancepop songs. From the house genre titular track to the introspective “Breathe,” to the climactic “Galaxy,” Luna is swift and confident in creating a diverse and unique musical footprint for herself within the K-pop world. With self-compositions “I Wish” and “My Medicine” shining among dance-oriented gems like “Keep On Doin’,” the album demonstrates Luna’s versatility as a one-woman music machine, full of talent and potential to impact the listener with a variety of genres and musical stylings. In 2016, I deem this album the most likely to both move you to dance and move you to tears.
— Kushal
Infinite Only by INFINITE
A year after their last album came out, INFINITE released their sixth mini-album Infinite Only. The majority of this album was produced by Woollim producers Rpahbet to deliver the signature sound that the group has been expressing for the past few releases. This album is a good mix of fast paced dance tracks to softer rock sounds and ballads that complement the boys’ varying vocal ranges and styles. The title song, “The Eye,” has no rap verses (à la “Back”) and showcases all of the members’ vocals. Some members even participated in writing lyrics and music: Hoya and Dongwoo wrote some of the lyrics for “One Day” and “True Love,” while Hoya wrote some of the music for “One Day.” But if there was one member who seemed to shine on this album, it would have to be L. Compared to previous songs, L’s vocals have greatly improved earning him longer more prominent parts like singing the climax of “One Day” as opposed to Woohyun or Sunggyu (that’s not to say that they were not great, their singing is always superb). Overall, this album was a solid addition to Infinite’s discography that any Inspirit would enjoy.
— Katherine
Wings by BTS
After a long awaited two years, BTS came back with their second full-length album, Wings, and is probably the group’s most eclectic and interesting musical undertaking to date. Headlining the album is the moombahton trap-fused single “Blood Sweat & Tears,” which advances their previous themes of youth during Young Forever to new heights. Here, it depicts the album’s overarching narrative of finally growing up in its lyrics; about how one thinks, chooses, and resists temptations. But not only does the album allow the members to showcase their maturation as artists and as men, it is also gives each of the seven members an opportunity to boast of their individual talents and tastes. From J-Hope’s fun and retro song “Mama” dedicated to – you guessed it – his mother, to V’s neo-soul track “Stigma,” each of the solos suit the personalities of the boys perfectly. A personal favorite is Jungkook’s “Begin,” an emotional synth ode to his fellow members and his rebirth while as a member of BTS. Yet despite all this, Wings is fundamentally a BTS album, and the latter half of the album proves that with classic feel-good songs like “2! 3!” and the fourth iteration of their Cypher series. With such a diverse and personal roster of sounds, Wings caters to both old and new fans. And closing with the optimistic dance interlude “Wings,” the group hints that this is not the last we’ll hear from them yet.
–Shelley
Noir by B.A.P
The busy members of B.A.P released their sophomore full-length studio album, Noir this past November, two years after their first. Alike previous songs, leader Bang Yongguk partook in the composition of all but two tracks on this 13 song album. If Yongguk writes a song, you can almost always bet that that song will more or less have something to do with societal issues. No matter how bright their music may seem to be at times, there’s always an underlying message. “Ribbon in the Sky” (Sewol Ferry incident), and “Kingdom” (monetary corruption) are just two more examples of B.A.P spreading awareness. Noir exhibits a colorful blend of some new, some old, and some we’re still-not-used-to-hearing-from-them concepts. This album was not only the group’s first time experimenting with Jazz (“Le Noir”), but also the first time since debut where the vocalist-line, and rapper-line performed their own songs separately, (“Fermata” and “Confession”). With the members being a bit older now and having gone through more personal experiences, songs like “Walking,” “Chiquita,” “Killer,” and Jongup’s long awaited solo “Now,” have become a bit more relatable since we’re not listening to just empty words. On top of their interest towards love songs, there also seems to be a recurring interest since past releases that displays an eagerness to deliver a more sensual side of them (“I Guess I Need U”). And of course, it wouldn’t be a B.A.P album if there wasn’t the incorporation of yet another heart pounding, dominant track like “Skydive.” The saying “things get better with age” truly translates onto this album. Noir has allowed B.A.P to showcase a different range of diversity in not only their styling, but has also shown their steady musicality growth and the group’s constant experimentation with genres outside of the normal pop and hip-hop scene.
— Tam
New Pop by Aseul
The Korean indie scene had just as good a year if not better than our much beloved K-pop. Top of that bunch is definitely Aseul’s kaleidoscopic New Pop. The album is best listened to as one whole at all times. The single doesn’t really stand out, and that’s what’s best about this. The aptly titled “Dazed” (the guitars in this are especially amazing) is merely one part of the hazy dream that Aseul beckons us into. Her synths and electronics contrast with fuzzy and clean sounds to shift us around, our state of mind unclear but in digital heaven. Highlight “Weird World” uses 8-bit video game samples sparingly to create its atmosphere. Like in most of the songs, Aseul uses a multitude of different influences without letting them overcrowd her album. It’s the most measured and precise piece of electronica this year.
— Joe
Q Is. by NU’EST
An art that is practically dead in K-pop is the release of a cohesive album. However, one group that has been keeping it alive is the ever-underappreciated NU’EST with their first mini album Q Is.. (They later released CANVAS, which is just as stellar, truly). The sonic theme throughout Q Is., from the ballads to the up-tempo tracks, is the smoothness of it all. Contrary to most K-pop releases as of late, NU’EST steers away from the heavy trap, noisy, bombastic jams. Instead, tracks like “Lost & Found” and the single “Overcome” perfectly create a house/R&B hybrid with pop vocals. Not to mention that the members got a hand in the songwriting and production of the album, which only makes Q Is. that more legit. The production is intricate without the pretension of showing off a big EDM sound. As mentioned earlier, NU’EST followed up this mini album with a second one as equally genre defying. While heavily underrated, NU’EST as a group and as individuals showed in 2016 their growth as artists, setting the bar way up for what they’ll come up with next year.
— Alexis
Voice by Jung Seung Hwan
I’m a known ballad fan, and have been ever since I can remember, but there are just too many generic ballad singers around. Jung Seung Hwan, however, is different. I’ve followed him ever since he finished K-pop Star and listened to many of his beautiful OST releases in glee. When his album Voice was released recently, however, I listened to it with extremely high expectations. Thankfully, these expectations were met. Right off the bat, his intro track allowed listeners to tune into the album and really experience the outflow of emotions Jung Seung Hwan takes us through. His title track “The Fool” is also an extremely noteworthy one and did well on the charts. It’s extraordinary how effortlessly yet emotionally Jung Seung Hwan sings. The entire album is produced very well, both showing off his strengths as a balladeer as well as maintaining a cohesiveness through all the tracks.
There is no Korean singer who astounded this year as much as BTS’s Suga with his revolutionary mixtape. In the highly image-based world of K-pop, releasing Agust D amidst the group’s biggest year was risky. But rather than ruining his career as a show of weakness, the reflective mixtape resulted in an outpouring of support for Suga for his frank portrayal of his struggles with his career and mental health. As a mixtape, Agust D isn’t as polished as typical K-pop albums, but that’s where the beauty of it lies because it is Suga at his most earnest. The first few tracks, including the title single and “Give It To Me” are full bravado, fitting for someone whose group made history this year, while the second half of Agust D offers more depth and stylistic diversity. The aggressive, desperate flow of “The Last,” which describes the rapper seeking psychiatric help, is the perfect depiction of someone struggling with depression and social anxiety after losing himself in his attempt to reach the top of his chosen industry. The 10-track mixtape’s finale comes in the two final songs, “Interlude; Dream Reality” and the electronic “So Far Away” featuring Suran, both of which are more mellow but an even more unsettling, escapist look into the artist’s mind. K-pop may be filled with dazzling pop distractions, but Agust D is true art.
— Tamar
35 Girls 5 Concepts by Produce 101 Contestants
Not really a collective body of work as much as it is a compilation of singles with different genres and producers in each song, 35 Girls 5 Concepts captured the dreams of Produce 101‘s 35 remaining contestants in mid-March of this year. Creating five temporary groups of seven members each, each song came from a different producer and tackled a different girl group style. From the largely feminine stylings of “Fingertips” to the “hip-pop” genre “Don’t Matter,” the album seeks to capture the nature of girl groups desired by the K-pop market at the moment. And given the show’s incredible relevance in K-pop this year and the contestants’ probable continued relevance in future years, this album serves as the show’s main musical output and the lasting legacy of those trainees still looking for mainstream success or a company group debut. Perhaps we’ll see them soon, but until then, these five songs and their corresponding performances are the pinnacle of a trainee’s hopes and dreams.
— Kushal
Where’s the Truth by FT ISLAND
After announcing that they were going to start creating the music they wanted to do during their 2015 tour, FT ISLAND has done just that this year. Their sixth Korean studio album, Where’s the Truth was released back in July and was entirely self-produced by the members, showcasing a wide range of musical styles. The album starts off with loud and intense rock songs like “Out of Love” and the title track “Take Me Now,” which mirror the harder vibes of their previous release and then gives way to lighter pop-rock songs like “Mask” and beautiful rock ballads “Becoming You” and “We Are…” The album contains great hooks that could get the crowd cheering along. With this album, FT Island was able to establish hard rock roots, but still maintained their old sound (which is not a bad thing); it makes them a truly versatile group.
— Katherine
The Clan Pt. 1 ‘LOST’ by Monsta X
It seems like the trend of splitting a whole album into mini albums and calling it a “series” is a popular one these days because even Monsta X is doing it. The first concept of 2.5 of their “The Clan” project, LOST, was released in April 2016, featuring their usual mix of melodic ballads, such as their pre-release track “Ex-Girl” featuring Mamamoo’s Wheein, and powerful electric hip-hop songs, like “Focus On Me.” With this comeback, the group hopes to express their feelings of pain and confusion, and whether or not it was a result of deliberate intent, the tracklist arguably reflects that. Indeed, the café-friendly “White Sugar” shifts gears into the fast-tempo “Unfair Love” and back down again to the casual R&B “Because of U.” Albeit, LOST is a rather safe enterprise for the group, it nevertheless makes the cut for Best Album thanks to their dynamic and highly produced title track “All In.” Very rarely can I confidently say that a song is magnum opus material, but with this one the septet reached new peaks and marked their positions as musical savants. If Monsta X continues to ride on the direction of LOST, we are sure to expect great promise in the rest of the one and a half installations for “The Clan.”
— Shelley
What was your favorite Korean album this year? Share your picks and thoughts in the comment section below and be sure to subscribe to the site. Follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.
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Music videos, or MVs, and K-pop are practically synonymous at this point, and it’s rare for a song to do well without an accompanying music video. Hundreds upon hundreds Korean MVs are released each year: sad ones, happy ones, indie ones, blockbuster ones, short ones, long ones, etc. There are Korean music videos that that make no sense, and ones that have the Best Plot of the Year and others that are just visually attractive. The KultScene staff saw a lot of great MVs in 2016, and we now present you with our personal favorites.
“Selfish & Beautiful Girl” by Block B BASTARZ
After a year and a half, Block B’s subgroup BASTARZ finally made a comeback. And while they released a couple of singles that didn’t really live up to last year’s hype, the music video for “Selfish & Beautiful Girl” made up for it. First off, it’s very appreciated when K-pop acts release music videos with an actual plot. Add that it’s quirky and fun, and you have a winner. Following the lyrics about a selfish girl the narrator is in a relationship with, the storyline follows this girl and how she annoys her neighbor for being unruly. She disrupts his sleep because she’s dancing to a Just Dance-like game. In this video game, the BASTARZ members are the characters, with each member representing a style in the song’s tempo change; from disco to hip-hop to pop. Moreover, the actress — bless her soul — while a bad dancer, her tattoos and piercings were a different sight for a K-pop video girl, but interesting nonetheless. In a time when all Korean music videos started to look the same thanks to many acts using the same directors, “Selfish & Beautiful Girl” found an ingenious, amusing way to follow the groove of the song perfectly.
— Alexis
“Blood Sweat & Tears” by BTS
Creative director Lumpens has been working with BTS ever since their debut, but their collaboration reached its pinnacle by far with the visually pleasing and highly produced music video for “Blood Sweat & Tears.” You do not have to be an art history buff to appreciate the various nods to Michelangelo and Pieter Bruegel, of which whose sculptures and paintings all depict a fall from grace. Nor do you have to understand, or even know, Hermann Hesse’s Demian, the 1919 work that inspired their second full-length album Wings, as seen by the use of recurring bird motifs and even direct quotes from the text. Every aspect serves to further ideas of temptation, freedom, and escapism that the song and the album collectively convey, thus nothing about this six-minute music video is done out of pure aesthetics. Of course, that is also not to say that it cannot be enjoyed for face value. There’s an undeniable homoerotic subtext to the plot, which is at once political and indulgent. Other cinematographic choices, such as the various uses of crimsons and other warm hues, are jarring yet arresting. This music video successfully projects the extravagant lifestyle we all wish we had, while warning us against the dangers of seduction, overall leaving room for lots of potential analysis.
— Shelley
“Carnival (The Last Day)” by Ga-In
Like the song itself, Ga-In’s music video for “Carnival (The Last Day)” is a celebration of life and death. Approaching death in a way few artists in the world would, Ga-In and her director Han Sa Min depict a joyous while reverent look at passing. This is all seen through some of the most interesting images K-pop has ever seen, particularly Ga-In’s funeral and her angelic ascendancy during her procession. Bright pastels dominate, fireworks explode in rainbows, and Ga-In dances with her umbrella as if the all the weight has fallen from her shoulders. The melancholy only remains with the living as we see Ga-In’s former lover pay his respects. Yet, maybe it is his memories we see of their time together: even he is choosing to see the qualities of life rather than the tragedy of death.
The Korean title of Red Velvet’s first single of 2016 is “7th Day of 7th Month,” referencing the Korean lunar holiday Chilseok and its tale of separated lovers. But rather than depicting a romance-driven storyline, the music video for “One Of These Nights” is a bit of a mystery. Bright colors contrast with dreary sets, the members are surrounded and flooded by water, and there is what appears to be an ethereal, woodsy afterlife where some members don white, the traditional Asian color for post-mortem shrouds. But the video’s subtle references to 2014’s Sewol Ferry accident, which took the lives of over 100 high school students, makes “One Of These Nights” all that more poignant: references to the Sewol and the tragedy appear throughout the sets, while the five Red Velvet members appear to take on abstract portrayals of the victims and survivors. It’s an ambient, thought-provoking, and altogether beautiful work of cinematography.
— Tamar
“Hard Carry” by GOT7
The entirety of GOT7’s “Hard Carry” music video is strikingly attractive; from Jackson’s sleeveless outfits and quick one-two, his “let me just casually lift up my shirt” scene at the beginning, to a white room filled with lively green (and not so lively brown) pine trees. Even when it was dark and you could barely see the members faces and all that is visible is the fire lit up behind them, it’s visually appealing. No to mention the neon lights during the dance scenes are captivating. Overall, the videography, combined with the meaning of the lyrics, portrays the effort one must take to “carry” the team, as seen in the the scene where all the members dive into the water in order to “save” Jinyoung. However, more than being solely visually attractive, the music video together with how they employed the lyrics into the theme is a proper representation of what GOT7 is all about: teamwork, helping each other out to strive collectively.
— Tam
“11:11” by Taeyeon”
While not the regular dance-visual overload that K-pop fans are used to, Taeyeon’s “11:11” succeeds at quite the opposite — fitting the somber, sentimental nature of the song perfectly. Shots of Taeyeon and her anonymous significant-other are filmed beautifully against fading sunlight, flashing lights, or pale white walls. They accurately frame the song’s sentiments, which deal with the end of a relationship. The song’s warm, delicate nature is captured perfectly by frames of Taeyeon sleeping in a thick white sweater, or laying in a fluffy king-sized mattress sprawled out next to the waves. Along with “Rain,” “11:11” seeks to alter Taeyeon’s image. Instead of group-leader dance-pop star, Taeyeon is now a serious, musically-oriented soloist, and one of Korea’s most successful at that. With its autumnal color scheme and brilliant visuals, “11:11” depicts both Taeyeon and the emotional impact of a breakup in a creative and memorable way.
— Kushal
“Décalcomanie” by MAMAMOO
If Zanybros are producing a music video, you know you’re in for an optical treat. MAMAMOO’s video for “Décalcomanie” is visually stunning and tastefully (considering the edited version and not the original) done, considering the video is full of visual metaphors for a woman coming into her sexuality. The girls start off being attracted to the man in their respective scenes, and as the desire between both of them grows, they kiss and then… fruits explode (if you don’t understand that metaphor, you can ask your parents). The girls untie their blindfolds to symbolize loss of innocence or coming to fully see/understand their desires and feelings. The mirror scenes and the mirrored images also play a nice homage to the title of the song, which is the French word for a technique that transfers an image or pattern from one medium to another. In other words, imprinting on another or making a copy. Aside from the bit of controversy that surrounded the original version, which resulted in a horrific scene depicting sexual assault getting removed from the music video, the video for “Décalcomanie” shows off the group’s femme fatale concept that they wanted to portray.
— Katherine
“I Am You, You Are Me” by Zico
Known to be a hard-hitting rapper, Zico ventured this year into R&B ballads and showcased his vocalist chops by releasing “I Am You, You Are Me” at the beginning of the year. So what called for this unforeseeable change in style and concept? Love. Love turns the bad boy into a good guy. Right off the bat in his first verse after the opening chorus, Zico sings I only ever listened to hip-hop/Now I’ve turned acoustic, setting the tone for the song. “I Am You, You Are Me” is about being in the lovey-dovey phase in a relationship when the couple starts emulating each other. The music video, in brief, is aesthetics galore. Zico displayed his trendy and colorful style, and in order to go with the theme of the song, the lead actress dressed exactly the same or similarly to the rapper to equate how they mirror each other. The setting, a convenience store, allowed a beautifully diverse color palette in the photography, from pastels to neons to neutrals. The overall aesthetics of the music video — dreamy with an electric tinge — paired perfectly with the equally tender yet lustful song. Not so tough now, right, cookie?
— Alexis
“Secret” by Cosmic Girls
Recently directors have been getting better at making the standard idols sing and dance towards camera in pretty settings more interesting while not losing the essence of that. Kim Zi Yong in particular has been great at this thanks to his visual effects skills. His highlight in K-pop is clearly “Secret” by Cosmic Girls. The video shows the 12 original members summoning new member Yeon Jung in their own unique ways. The quality of animation and sense of scale Kim brings to it is the best of the year and a quality befitting these otherworldly girls. Not to mention it’s drop dead gorgeous at every turn. Also, I’m sure everyone can agree that the shot of Cheng Xiao growing her wings is the coolest thing ever.
— Joe
“Re-Bye” by Akdong Musician
The dramatic “Re-Bye” music video by Akdong Musician, or Akmu, as they’re known, is a fun film-noir music video that fits the pair’s theatrical melody. In a year when many Korean music videos seemed to be lacking true plots in favor of seeming more avant-garde, “Re-Bye” fits a murder-mystery into its four-minute music video with an old-school flair. It’s a bit Sherlock Holmes meets Baz Luhrmann both in plot and color palette– they may as well have been singing the “Elephant Love Song Medley” from Moulin Rouge— and it’s absolutely delightful to watch. The sibling duo is supremely talented as musicians, but their youthful quirkiness in music videos like “Re-Bye” adds another element to their appeal.
— Tamar
“Skydive” by B.A.P
Who needs James Bond or a Quentin Tarantino film when you can watch a B.A.P’s blockbuster-like 10 minute music video for “Skydive?” The members gave subtle hints on their social media platforms and in their individual teasers prior the release that this music video was going to be the most intense music video, if not even more intense than their 2013 video for “One Shot,” they’ve ever done. That within itself was enough to have all their fans, known as Babyz, on edge because, really, what can be more extreme and vivid than the members engaged in a robbery, shoot out with some thugs, and then the sudden betrayal? “Skydive” not only incorporated yet another robbery, but an all ARMED robbery, with shots ringing left and right 35 seconds in. There’s a kidnapping/hostage situation, murder, and, yes, even more betrayal than the first time around! The anticipation was nonstop, every second of this video had one gasping for air. Because it was constantly scene after epic scene, you’d probably have to watch it several times to fully grasp each and every detail and hints that would later on give away the true culprit. This music video could’ve gone all sorts of wrong, but due to the amazingly shot cinematography and the members superb acting, “Skydive” was totally badass.
— Tam
“One More Day” by Sistar
SISTAR made a risky move with the music video for “One More Day,” their collaboration with Europop songwriter and producer Giorgio Moroder. Not only did the quartet not appear in the video, but the video’s protagonists were two female lovers, and the plot touched upon abuse. Now this may not be a big thing in Western cultures, where LGBTQ+ are somewhat prominent in entertainment and lifestyles, but in South Korea, the majority of the population still consider it a taboo subject. Now the fact that the female leads kill the abusive boyfriend may not be the best representation of the LGBTQ community, it does portray the love story in a dramatic matter and the dangers of an abusive relationship.
— Katherine
“Cheer Up” by TWICE
It’s no secret that TWICE dominated 2016, from album sales to song popularity and everything in between. They even topped our best Korean songs of 2016 list. But what is the source of their success — how did TWICE become the dominating girl group of 2016? At least in my opinion, it’s their music videos. From Jihyo’s cheerleader character to Chaeyoung’s cowboy outfits, the “Cheer Up” music video worked to create vibrant and colorful characters for each member, establishing each one as unique and worthy of individual attention within the larger group framework. With the music video’s changing lenses, there’s something for everyone — Dahyun is poised and regal, Tzuyu is beautiful and elegant, and Momo is badass and sexy, just to give a few examples. The creative direction of this music video highlights TWICE’s biggest strength as a group — personality. The “Cheer Up” music video sent the K-pop world a message loud and clear: TWICE, in all their beauty and stage personality, is here to dominate. And in 2016, they certainly did.
— Kushal
“Forest of Skyscrapers” by Neon Bunny
The only indie artist on our list this year (despite being a more well-known one), Neon Bunny clearly had an advantage when it comes to what she can depict. Given more time and presumably more freedom, director Kim Zi Yong delivered another video for the ages with “Forest of Skyscrapers.” They brought together a number of cinematic influences to comment on modern South Korea’s stagnant population. The sprawling neon cities of Akira and the ephemeral love stories of Wong Kar Wai come to mind as Seoulites try to navigate their lives. It suggests a sort of confusion, a literal kaleidoscope of colours and mind-numbing visuals. However hard they try to get away, speeding down highways on a motorbike, it seems impossible. The irrefutable pull of the neon monolith is punishing.
Torn between innocent and hypersexualized, K-pop idol stars are essentially built to fulfill audiences every “Fantasy” through their music videos and performances. 2016 outed Korean pop stars, or idols, as a “healthy” form of pornography, but nobody took it as far as Fei of miss A, who appears in her music video as a virtual peep show dancer. Her blatant, slightly shocking, approach to the topic of sexualizing women comes across as refreshing in an industry that makes numerous attempts to cover up the maturity of its stars. The music video for “Fantasy” is overtly sexual throughout, literally turning Fei into the object of desire for a male viewer, and things get all that much more interesting when virtual Fei comes to life, strips, and takes things to the next level just as the screen cuts to the title card. The video for “Fantasy” is beautifully shot, extremely sultry, and subversive of the industry’s narrative towards female stars.
— Tamar
“Emptiness” by MADTOWN
MADTOWN made an expected (but delightful) change by switching up their music styling and concept when the group released a rather mellow, mid-tempo ballad paired with the chic black and white music video for “Emptiness.” It showcased a tranquil and melancholic atmosphere, the polar opposite from the swaggy and high energy we’ve seen from the group in past videos. In order to match the song’s delicate melody, the music video was muted down a bit, hence the simplistic, clean choreography. MADTOWN’s elegant portrayal of their moments of despair and grief can lead the viewers to suddenly feeling the anguish and sorrow themselves, even if they were feeling happy go lucky prior to watching “Emptiness.” There are moments during the music video that makes one want to clench their chest, due to a sudden surge of heartache. It’s dramatic, but that’s just the effect of the music video.
— Tam
“The Eye” by INFINITE
When you’re preparing to watch an INFINITE music video, there are a few things you can be sure to look forward to: a whole lot of drama and a totally awesome dance break thrown in for good measure. The lyrics of the song suggest that a painful memory (of someone) is trapping the members like a hurricane (or “Typhoon,” as the Korean in the title suggests). And when they think they found peace, they are right in the eye of the storm, still surrounded by the painful memories. The video takes it to another level: L appears in a depressed or dire situation and is then transported to a state between realities where he is confronted by the other members who all represent different emotions. When each member interacts with L (who represents Sadness), the action represents him going through that emotion: Hoya represents Hate and aggressively pushes L, then turns into Woohyun, who represents Regret. All of this happens while L is moving towards a light, which may or may not represent death. In the end, L has the courage and resolve to return back to his reality and live. Director Hwang Soo Ah does a great job creating a complex, philosophical, and intriguing plot that keeps the viewers invested till the very end.
— Katherine
“All In” by Monsta X
Monsta X’s “All In” did wonders for the group in many ways, enabling the group to diversify their hackneyed hip-hop concept. With the music video, the septet deviated away from dance-based music videos to one with actual substance and narratives. Opening with the dystopian ending scene in which the members seem to be either running to or away from something, the video employs a nonlinear mode of storytelling that was not present in their previous videos. Admittedly, because the music video also deals with two storylines — one feautring Shownu and one surrounding Hyungwon and Minhyuk — it is very easy to miss certain nuances upon initial viewing. But even after watching it for the nth time, gleaning for said nuances, we cannot guarantee that all our questions will have an answer. The biggest mystery probably is the one surrounding the relationship between Minhyuk and Hyungwon’s characters, who mutually exhibit homoerotic tendencies especially towards the end in which Minhyuk drowns himself in the tub with Hyungwon while holding hands. The beauty of it all is exactly how director Dee Shin leaves many threads up for interpretation, allowing fans to engage in open-ended discourse and conjecture theories of their own. It’s been a rather popular form of storytelling as of late in K-pop, but is still nevertheless engaging and effective.
— Shelley
“Whistle” by BlackPink
With colorful settings, bright outfits, and memorable choreography, BlackPink‘s “Whistle” stood out in its ability to quickly establish the new group’s personality and musical style. Taking after their YG predecessors 2NE1 and BIGBANG, BlackPink quickly utilizes edgy and eye-popping visuals — Rosé casually sitting on both the Earth and cars buried in sand, Jisoo sitting cross-legged in the middle of three open doorways, Lisa’s hot pink turtle-neck contrasting with her blonde-blue hair — to make the group seem hardcore but also personable. Not to mention, clips of the group driving a car in circles wearing bandanas and baseball caps serve as the video’s main recurring visual element, further establishing the fun badassery concept. And, unlike other girl group music videos this year, “Whistle” boasts a notable lack of smiling, a subtle yet incredibly important aspect of the video. The group instead focuses on giving us the edgy smolder or mischievous glance, once again reinforcing the group’s personality in every closeup shot. The “Whistle” music video clearly sets BlackPink up for success — it sends the immediate message that, if you liked any of the edgier girl groups of K-pop eras past, you’ll love BlackPink just as much.
— Kushal
“The One” by EXO-CBX
Though technically not a music video for whatever reason — SM Entertainment prefers the term “special clip” — EXO-CBX’s music video for “The One” is just too golden not to include on the list. For the first time in an EXO production, the boys, or at least Chen, Baekhyun, and Xiumin, are able to show a different, more silly side to them as they dress up in ridiculous, mismatched clothes and act foolish. EXO’s leader Suho makes a cute cameo as well, filling in for just about every role from Yakult vendor to sanitation worker. Unfortunately, SM missed an opportune moment to cast him as the female love interest as well, which would have given the video a bit more cohesion. Nevertheless, everything about this is still hilariously good fun, and none of the humor comes off forced. At times, Suho even seems like he is going to burst out laughing himself. The video milks the comedy until the very end, where it cuts the accompanying music off before letting it finish completely, leaving a dancing Chen to sing alone and shifting the camera angle to make it seem like we were filming them the entire time. EXO-CBX’s “The One” is just the personal and playful break from the usual self-serious routine that they, and we, all need.
— Shelley
“Hold My Hand” by Lee Hi
While musically we didn’t get exactly what we wanted from Lee Hi’s much awaited comeback, the music video for “Hold My Hand” was near perfection. The aesthetic of the music video was a kawaii explosion, and a beautiful one at that. The pastel color palette, together with the 8-bit graphics, tied in perfectly with the romance and dreaminess of the song and lyrics. It’s all too sweet — just as Lee’s serenade. Plus, the inclusion of her doo-wop backup singers as her side kicks were a cute, quirky touch. Bright, multi color music videos have been a trend for quite some time now (thanks, Digipedi), but “Hold My Hand” managed to give something tried a lovely spin. From Lee holding hands with the camera to the styling to the real and 8-bit backgrounds, it all comes together to create this delightful, little heart skip that makes us all feel young and in love again.
— Alexis
What was your favorite Korean music video 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.
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As mentioned in part 1, 2016 turned out to be a year full of surprises in the world of Korean entertainment. Groups we held dear disbanded or lost key members, but it does not do well to dwell just on the negatives. 2016 was a transformative year that saw K-pop’s generation shift, with second-tier groups rising to the top spots and the explosion of new groups, especially girl groups. This year may not had been the best for older fans and their groups, it was a tall glass of fresh water. K-pop’s all about innovation and reinvention, and that’s just what we got this year.
After 2015 being a nearly perfect year in music releases, 2016, on the surface, might seem like it didn’t live up to expectations. However, this was the year of more variety in the industry and a much deserved and needed shakeup. And after much consideration, the KultScene staff painfully narrowed it down to our favorite 50 songs of the year. Make sure to get all the way to the end to see a special year-end video!
25. “Monster” by EXO
The single off of their Ex’Act album, “Monster.” has the same air of self-seriousness as some of EXO’s most iconic works (“MAMA,” “Wolf,” etc.) while shedding the corny lyrics and audiovisuals. The distorted synths are eerie like the monster inside of them, and Chen’s repetition on the word “creepin’” at the end stresses this, well, creepy factor. But what carries the tune throughout are the up and down contours of the refrain, which are inevitably designed to be an earworm. Even if you have never been a fan of the group, you can at least agree this one has staying power.
— Shelley
24. “Drip Drop” by Taemin
In terms of Taemin’s 2016 singles, “Press Your Number” was an extremely digestible track. However, the lead-up single “Drip Drop” made for a much more interesting audible experience. “Drip Drop,” with it’s massive blend of R&B, pop, dance, and hip-hop, together with the beat shifts and whatever’s happening on the chorus, is a song you either love or hate. However, the juxtaposition of the smooth vocals and verses paired with the up-tempo, futuristic chorus and progressions on the second half of the song, and how it dips again on the pre-chorus is a masterpiece in itself. “Drip Drop” is a rollercoaster, but an exciting one we’d keep riding on and on.
— Alexis
23. “Letting Go” by Day6
The unofficial princes of breakup songs return with their sophomore release Daydream and the title track “Letting Go.” In this pop rock ballad, Day6 does what they do best: deliver a heart-wrenching song about young love lost. The boys create lovely harmonization between the vocals and instruments, with none of them overpowering or outshining the rest. But this release was a bittersweet mix of emotions for fans, with keyboardist Junhyeok leaving the group a month before the release. And though the song may or may not be about him, the music video surely plays homage to their lost member with the empty keyboards throughout the video. Overall, “Letting Go” is the perfect combination of music, lyrics, and visuals to get all the feels happening.
— Katherine
22. “Press Your Number” by Taemin
By the time Taemin’s first full-length album Press It dropped, audiences already knew SHINee’s maknae could hold his own from his previous mini album Ace. Moreover, much buzz resulted from the fact that Bruno Mars and the Stereotypes had produced his lead single “Press Your Number.” And while the artists didn’t get to actually collaborate, the American songwriter/producer gave Taemin a real gift, for it completely complimented his style. “Press Your Number” builds up perfectly, starting with snaps, light twinkles, and Taemin’s sorrowful vocals before exploding at the chorus into a full-fledged dance song. Plus, you don’t even have to understand Korean to feel the yearn behind Taemin’s interpretation. K-pop groups are a dime a dozen. So when a real performer comes out of a K-pop group, survives, and excels, they deserve all the kudos. While we all hold SHINee dear to our hearts, we can’t help and crave more Taemin solo singles for they show him at his absolute best.
— Alexis
21. “All In” by Monsta X
Following tradition, Monsta X’s “All In” retains much of the noisy ambitions and fighter attitude that the seven piece hip-hop group have shown in the past with hits like “Hero” or “Trespass.” The opening, with its yawning horns, revving engines, rhythmic claps, and warped electronic beats, is overwhelming, and the raps about patriotic loyalty and protection in the name of love lyrically manifests the song’s belligerent tones and war motifs. In both themes and music, the song is characteristically Monsta X, so then, what about it causes such a visceral reaction? It could be that this time, the clamor and riot of its heavy beats act as a thin veil for the song’s sublimely melodic undertones. The “go hard” sentiments of the past is only second to the optimistic pre-chorus and ballad-like chorus. Especially integral in these hopeful moments are the subtle percussive rings of increasing pitch, which provides us with a much needed contrast and softening effect. It is here where the song’s contours change when we least expect them to. Indeed, under all the polyphony is a delightful gem, a magnum opus.
— Shelley
20. “Angel” by Berry Good
Berry Good’s most glorious moment of the year is a triumph of personality over production. “Angel’s” cheap sheen is the first obvious thing about it. It’d be very easy to switch it off after 20 seconds thinking it won’t go anywhere. Yet the longer it goes, the more you get out of it. There’s a tenderness that grows to absolute euphoric love. The girls hold nothing back; every ounce of them is on this track. Their climactic vocals burst through any sense of balance. You forget everything else that came before and just want to hear it again and again.
— Joe
19. “Knock” by KNK
Hands down and without a doubt, KNK had one of the most impressive debuts of 2016 with “Knock.” KNK couldn’t have debuted at a better time, considering how boring of a year we were having. With a noticeably catchy chorus on the mid-tempo, rich ballad, it’s no wonder they garnered fans so quickly. 2017 can be a blossoming year for these guys if they continue at the pace they’ve gone at in the last nine months.
Musically, Ladies’ Code had a fantastic year. “The Rain” is an incredible continuation of themes established by “Galaxy” in both song and visuals. While it is sad that the Korean public hasn’t taken as much notice of the group’s musical blossoming, we here at KultScene definitely have. Taking the soul, trance-influenced vibes of “Galaxy” and adding a dance element, “The Rain” adds another level to an already complex musicality and demonstrates the members’ collective prowess in both vocal and emotive performance. Bravo, Ladies’ Code. The three talents have come back from one of K-pop’s worst tragedies with some of 2016’s best music.
— Kushal
17. “Tell Me (What is Love) by Yoo Young Jin X D.O
SM Station hasn’t always worked out commercially, but it has done a great job as a platform for sometimes experimental and fresh K-pop. It’s also an avenue for several idols to collaborate with other singers, as in the case of EXO’s D.O and Yoo Young Jin’s remake of EXO’s song. Both singers are extremely skilled and they build on each other’s strengths successfully to create the beautiful soulful track “Temm Me (What is Love).” The song has a pretty complicated rhythm, but they sing so effortlessly, it’s just a work of art.
— Anna
16. “Secret” by Cosmic Girls
After a rocky start, Cosmic Girls fulfilled the promise their otherworldly name suggested. “Secret” combines space age synths and symphonies to great effect, creating something befitting the cosmos. Despite this, it still moves with an insatiable groove. “Secret” is grounded by the rhythm section and soars thanks to its contrasts sounds. Similarly, vocals are put against each other to accentuate the range of WJSN’s voices. This works best in the lead up to the chorus with it moving from Cheng Xiao to Mei Qi to Seola. Quivering strings and fluttering voices make “Secret” one of the greatest songs of the year.
— Joe
15. “Very Nice” by Seventeen
Seventeen had one of the most exciting debuts we’ve seen in awhile last year. And while “Pretty U” was a lovely song, “Very Nice” takes the cake for their best single of 2016. “Very Nice” is like taking a big bite out of a cotton candy ice cream on a summer day. It’s sugary, it’s big, and it’s fantastic. Seventeen single-handedly brought back bubblegum pop for K-pop boy bands in a time when everyone was trying to be edgy and swag-tastic. Seventeen, coming from a smaller company, is one of those groups that started from the bottom and have excelled purely based on their talent (and not on the prestige of their company, cough, cough). With “Very Nice,” Seventeen further cemented their brand and showed us all they’re here to stay.
— Alexis
14. “Pieces of You & Me” by Fromm ft. Giriboy
One word: woah. “Pieces of You & Me” is just one of those songs you question where has it been your whole life and is a great introduction to K-indie for anyone who has been thinking about testing its waters. From the gentle toots of the trumpets to the mellow acoustics of the guitars, the song uses grassroots instrumentals to stay true to the independent genre. The slow tempo and brilliant lyrics (Let’s build a castle of our own / I’ll drink all the sad tears) is reminiscent of a simpler time, and is quite fantastic in the word’s original “existing only in imagination” sense. I feel not only protected in Fromm’s fair vocals, but I believe that such a dreamworld exists. Likewise, I also find reassurance in Giriboy’s contrastingly deep and soothing lullabies, for to simply write them off as mere vocals don’t nearly do justice to his feature. Now if only the duo could collaborate on more music in the future, world peace may actually be an attainable goal.
— Shelley
13. “Free Somebody” by Luna
Keep in mind, everyone: Luna was recruited to SM Entertainment for her dancing, not her singing. And today, she is a main vocal and a lead dancer (a very rare sight in the world of K-pop), and also (occasionally, and thankfully!) a solo act. While Korea may not have exactly given this release two thumbs up, “Free Somebody” is incredibly infectious and addictive. Mixing traditional K-pop hooks with EDM and house, the song is incredibly innovative, perhaps ahead of its time even. Not just anyone could do a song like this — it takes the kind of multi-faceted talent that Luna wields so flawlessly to pull this off. Our conclusion: Luna is a gem, and we hope her solo efforts continue as the years go on.
— Kushal
12. “Russian Roulette” by Red Velvet
Red Velvet seems to have a thing for quirky tunes that repeatedly drill their hooks into your brain, and that’s not a bad thing at all. The underlying synths and catchy melody create a retro sound without feeling dated, while the video, like the song, is colorful and a bit strange in a good way. Who would’ve thought that you can make killing your friends look so cute and playful? The visuals of this song is also quite genius with the robotic acting and facial expression of the girls to match the electronic and repetitive beat of the music, making “Russian Roulette” a fun audio-visual experience.
— Katherine
11. “Why” by Taeyeon
Taeyeon showed in this song what she’s truly capable of. “Why” is energetic and melodious, but not in an annoying way that “I” often was; it’s downright addictive. The way Taeyeon’s voice sounds so natural in the midst of the funky instrumentals of the song and how every part of the song seems to blend so seamlessly is audible glory.
After going from a seven member group to five members, to six, and then back down to a five all within the span of a few years, it’s amazing that a K-pop group could still be standing, let alone releasing music. With the return of the group’s leader from military service and the recent loss of another member, 100% held strong and released their comeback song “Better Day.” The song is about wishing to return to a past relationship and has a dark mature sound with a heavily synthesized backtrack. But this song is really all about highlighting the group’s amazing vocal abilities. The vocals on this track are mind-blowing (yes, they sound like that live as well), and Rockhyun and Hyukjin do an extraordinary job conveying that sense of longing that can be felt within every commanding note. The group does a good job balancing soft vocals with powerful notes all while lacing in solid and steady rap verses, creating a dynamic song that is something that should not be underrated.
— Katherine
9. “The 7th Sense” by NCT U
While the different NCT sub-groups released a few singles and even an album this year, NCT U is the clear ground breaking satellite that actually brought something new to the table. To say “The 7th Sense” is yet another K-pop song would be a tragic disservice, for it’s too great to be reduced to such confines. It’s a chaotic yet smooth trap-infused trance; an acid trip meant to mesmerize the senses with the R&B vocals. With every listen, you find new sounds — whistles, doors opening, yawns, monk-like chants — making it a true intricate piece of sonic art. SHINee is the known SM Entertainment group that handles the “experimental” releases, while the “dark” is reserved for EXO. Will NCT U have the “weird” and “interesting” down? One can only hope that this particular sub-group is a permanent one for it dropped the best SM song in 2016.
— Alexis
8. “Fly” by GOT7
2016 was an exceedingly busy year for the members of GOT7. They released their fifth EP Flight: Departure earlier this year, had their Fly Tour, circling throughout Asia and North America this summer, and released their second full-length studio album Flight Log: Turbulence this fall. It’s clear that they took their “Fly” concept to heart, because the guys definitely took flight this year. Ha-ha, get it? “Fly” showed off the members various skills and even charismatic personalities through their individual lines. Considering that they’re still under the control of their company, the members might not openly admit or even have the time to do this, but they’re all still at the prime stages of dating and wanting to be in love, so as cheesy as these lyrics are, can you really blame them? Why are you afraid of being loved, I’m next to you so why are you scared and afraid? Yeah, why would you be afraid of anything if it’s GOT7?
— Tam
7. “Galaxy” by Ladies’ Code
Ladies’ Code may as well change their name to “Phoenix,” because “Galaxy” brought new life to the career of the girl group after one of the most devastating moments of recent K-pop history. In 2014, two members of Ladies’ Code passed away in a car accident, reviving interest in the b-list group and turning Ladies’ Code into martyrs. “Galaxy” turned the trio into survivors, and into one of the most musically innovative K-pop groups of 2016. Rather than return to their original colorful retro-pop styling, their comeback single brought Ladies’ Code into the realm of ethereal, jazzy R&B. The combination of gentle synths with jazz instrumentals, mellow vocals, and lilting chimes is a pure eargasm that doesn’t limit itself to K-pop banality. “Galaxy” doesn’t soar, and it’s not song to play at a party: it’s soft, and it’s simple, and it’s melancholic. And it’s safe to say, it’s near perfection.
— Tamar
6. “FXXK IT” by BIGBANG
Taeyang’s opening lines to “FXXK IT” definitely set the tone for the rest of the song. It’s a bright, delightful and cheerful song; all of which might’ve been purposely done in order to leave fans with positive feels as the members get ready to enlist in the following years. “FXXK IT” is all around carefree and simplistic, and despite this not being your typical BIGBANG adrenaline pumping tune, it’s smooth enough to make you want to get down, get drunk, and party (maybe one day with BIGBANG). This is a well balanced composition; the entirety of the song blends well with no excessive tunes or over usage of certain lyrics. Although it only took them a year and a half to finalize the MADE album, if that’s what it takes for full gratification and perfection, then we’ll happily take it.
— Tam
5. “Oh NaNa” by K.A.R.D
From the first few seconds of this song, it was clear that K.A.R.D meant business. The quality of this song was both incredibly impressive and very surprising, considering that DSP Media’s groups have been on a downward spiral recently due to a lack of musical or popular impact. But “Oh NaNa” is an entirely different story. With two impressive female vocals and two charismatic male rappers, the song is balanced almost perfectly. Not to mention, the “na na na” hook is incredibly infectious. The fact that this song, released only a little more than ten days ago, has been able to make our top five says something tremendous about this group’s potential. Maybe co-ed groups are the future for K-pop. Only time will tell. For now, we can keep jamming and hoping that K.A.R.D will start a trend of stronger music releases from DSP on the whole.
— Kushal
4. “Save Me” by BTS
BTS has had an amazing year, chock full of quality releases with their Wings LP and the compilation album The Most Beautiful Moment in Life: Young Forever, earning them the success and recognition they deserve. In particular, “Save Me” stands out with its addictive melody and instrumentals, which feel fresh while still being definitely familiar. It’s admirable how BTS’s songs are always instantly recognisable as theirs; their group identity as musicians is undeniably strong, which unfortunately can’t be said for many other groups in the K-pop industry. If they keep up the momentum, this identity, as well as the members’ individual talents and charms, will definitely keep the group at the top for a long while more.
— Anna
3. “The Eye” by INFINITE
While it took INFINITE quite a long while to make a comeback, the wait was definitely worth it for their amazing album INFINITE Only. Its title track didn’t disappoint either, with “The Eye” being one of the group’s musically better releases in recent years. Accompanied with a heartbreaking and haunting music video, the song combined unique instrumentals with the emotive vocals of INFINITE’s members. In particular, rappers Dongwoo and Hoya really stood out for their vocal performances in this rap-less song, while Sungkyu’s quiet opening was pitch perfect. While the content of the song is pretty similar to other recent INFINITE releases, its dramatic melody is pretty arresting and makes the song an easy one to put on repeat. The way “The Eye” intensifies through the verse from member to member, building up to the chorus and several mini-climaxes that allow for cool dance breaks, is sonic perfection.
— Anna
2. “Blood Sweat & Tears” by BTS
BTS came back with their widely successful Wings album in the latter quarter of the year, and with it, showed their maturation with the sensual “Blood Sweat & Tears.” At the intersection of the burgeoning Moombahton Trap genre and K-pop, the song about a boy who falls into irresistible temptation uses reggae as its base and finds the perfect blends of EDM and trap to form a wonderful medley of sounds accessible to fans and casual listeners alike. The near whispers of the vocals mesh well with its chill synths too, recreating an epicurean spirit in form and content. But the real highlight of the piece is in its chorus, where the trap influences can be found in rapper J-Hope’s intonation: wonhae manhi, manhi, manhi (I want it more, more more). It’s inexplicably charismatic and familiar. It’s easy to appreciate how the song’s individual parts work in harmony with each other to form a melodious fusion. The title cannot be any more telling of the ingredients that went into its production.
— Shelley
1. “TT” by Twice
Standing tall amongst the wreckage that is 2016 is Twice. The JYP girl group capitalized on a strong debut, turning into human memes, and delivering catchy tunes to become one of the strongest forces in K-pop. Musically, they didn’t really hit their stride until “TT,” though. Black Eyed Pilseung found his feet with them, giving them something quirky but not forceful. Their voices are not strained, but wrapped around the beat as if they are all one. Jihyo’s vocals are much better as a result; her inflection as she sings, “I eat all day and I’m still hungry” is the best part of the whole song. Numerous musical details litter the song that make every new listen rewarding. The synths are in constant flux along with the electro drum beat that becomes more physical as it signals an increase in tempo. “TT” is perfectly suited to be representative of its group. Twice’s joyous oddness was a constant comfort in a year where we all felt like TT. Don’t think twice. Get into Twice.
— Joe
Make sure to watch our video countdown to the best song of 2016!
What was your favorite Korean 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/2016/12/PART2.png8001280KultScenehttp://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngKultScene2016-12-26 15:12:022016-12-31 15:49:4250 Best Korean Songs of 2016: Part 2
After experiencing one of the best years of Korean releases in 2015, the expectations were high for 2016. This year, however, we were all bamboozled on every front imaginable, making 2016 a monumental year but not necessarily for the reasons we expected. Big names in K-pop disbanded, Korean R&B arose as hip-hop did in previous years, and a dominance of new girl groups became evident. It also marked the year the generational shift began, with older groups falling to the wayside to make room for newer acts. Even though we didn’t get to see strong comebacks by more established acts, the newer ones started, or continued, with a bang.
As every year, the KultScene staff determined what songs we thought were above the rest. And after fierce competition, we narrowed it down to the 50 best of 2016.
50. “The Closer” by VIXX
VIXX made a name for themselves with dark, weird concepts that they’ve developed throughout a few comebacks after their debut in 2012. However, ever since last year, the sextet has been experimenting with their sound. And after last year’s releases and another one earlier this year where they veered towards SHINee’s funky pop territory, VIXX went back to more somber, fantasy concepts with “The Closer.” This time, however, instead of relying on the pop-heavy vocals, they mixed it up with early 2000’s R&B for a smoother sound. This track showed just how much the group has grown artistry-wise and proved that what they do, they do it well. A group known for two power vocals in K-pop, the highlight goes to Ravi who, thank goodness, has been on a steady non-cringeworthy rap stride as of late. Now that the cutesy boy band trend is coming back, a concept group like VIXX is highly appreciated. Stay weird, kids.
— Alexis
49. “Secret” by Yuri and Seohyun of Girls’ Generation
There has never been a better commercial jingle than “Secret,” Yuri and Seohyun’s collaboration with Pantene. Yes, the shampoo. “Secret” is a full-blown EDM song that veers towards generic, but the execution by the pair is filled with energy and surprises. Seohyun’s well-recognized as a great vocalist, but Yuri comes into her own in “Secret,” and the song never falls flat, despite the song’s chaotic composition. Pounding beats come to near complete-halts before sonic builds to the whispery choruses. The song is a glorious show of the pair’s diversity as singers and leaves us wanting to see what this duo could do together as an actual Girls’ Generation subgroup. Hint, hint, SM Entertainment.
— Tamar
48. “Don’t Believe” by Berry Good
Perennial underachievers Berry Good rounded out the best year of their careers with this superb slice of tropical house. Jettisoning their trademark big vocals, they let producers Nassun and Big Tone weave “Don’t Believe” into something altogether more professional sounding than usual. The girls bring a restrained pain that rises with every part, starting out with some sort of hope but eventually concluding that “all of me is meaningless.” It makes the catharsis of the dance break more down to earth. Instead of the euphoric joy of “Angel,” Berry Good eke out a final goodbye to love through music and their bodies.
— Joe
47. “Why So Lonely” by Wonder Girls
This song breathed life into the Wonder Girls brand, which had been fading even after the group’s return last year with “I Feel You.” A self-composition mixing K-pop’s trademark sultry female vocals with a unique retro reggae sound, “Why So Lonely” gave the group new relevance as the song blasted up the charts and into fans’ ears. In both band and dance form, the song is catchy and relaxing, and proves that an older group can, in fact, survive and thrive in the constantly changing world of K-pop. After “Why So Lonely” received so much success this year, fans are excited that at least some remnants of Second Generation girl groups will remain intact, but with their contracts expiring in January, we can only hope that Wonder Girls will continue to develop their self-composed sound in the future.
— Kushal
46. “I’m Good” by Se7en
Feels like a current K-pop trend is to go with the kind of instrumentals present on the song, but I’ll admit it’s a great trend. The song feels a bit more current and there’s just enough variation artists can spin on this type of instrumental to make it sound different from song to song. Where “I’m Good” excels isn’t on the instrumental however; it’s on Se7en’s emotional and silky vocals. I also like the use of repetition in the song, it fits in with the beat and adds a layer of depth to the lyrics of the song.
— Anna
45. “Flower” by Bada feat. Kanto
To celebrate her 20th anniversary since debuting as a member of first generation girl group S.E.S, Bada released her Flower album, and the title track is one of the most invigorating electropop tracks we’ve seen this year. The composition is subtle, but intense thanks to gentle synths and the pounding beat. Bada’s soft vocals blend with the building electronic rhythm, reminding listeners why she was one of the most popular K-pop singers of the ‘90s, while rapper Kanto aids a snappy rap to the mix.
— Tamar
44. “Sting” by Stellar
Charismatic girl group Stellar continued their great run of singles and staked their claim to be one of K-pop’s greats with “Sting.” Produced by Monotree member GDLO, “Sting” utilizes tropical house to create a breezy inquisitive mood. A multitude of sounds combine to great effect, giving layers to the song that build with each listen. Synth wails, funky guitars, and simple bass grooves highlight Stellar’s incisive manner of questioning. Along with Digipedi’s best video of the year, Stellar confront male ineptitude with brazen confidence. Their sting, both satisfying and necessary, lingers in the skin.
Lee Hi’s debut will forever remain as one of K-pop’s best, and because she raised the bar so high for herself already, it was going to be understandably difficult for her to outdo herself. “Hold My Hand” comes close, though. The song is the latter of the two title tracks off of her Seoulite album, and is yet another stellar throwback to Western soul influences. Lee Hi’s husky voice suits the doo-wop vocals and bassline of the track well, not to mention that the harmonization of her backup singers lends it some musical authenticity. The diminution on “again” towards the end of the song resolves the overall ‘60s girl group vibe she was going for effortlessly, at the same time leaving listeners on a soaring high with the progression in the background vocals. “Hold My Hand” is one song we can all listen to again and again.
— Shelley
42.”All Mine” by f(x)
f(x) may not have formally promoted in 2016, but their clapping EDM SM Station song “All Mine” was one of the year’s best party songs. After 2015’s onslaught of EDM, K-pop took a step back from the genre, but f(x) has always been able to take tried and trued genres and put their own spin on them. “All Mine” is bright and uplifting in its electricity, with the foursome’s voices belting (plus Amber’s rap) above the pounding beats. Plus, f(x) released it with a self-made video featuring Krystal scaring Amber and their friendship is absolutely adorable.
— Tamar
41. “Love Paint” by NU’EST
As far as underrated male groups go, NU’EST, by far, takes the top spot. Truth is that since debuting, the group has consistently delivered complexly crafted pop perfection, and “Love Paint” is no different. This song starts out with orchestral elements before turning into a smooth yet futuristic R&B ethereal experience. The juxtaposition between the first part of the song and the chorus is one of the most layered and interesting transitions of the year. It’s a real K-pop tragedy that NU’EST is slept on popularity wise. One can only hope that they survive another year and drop more pop defying jams.
— Alexis
40. “Home” by Ailee
Unlike her usual K-pop sound, Ailee showcased the more sultry side of her with R&B release “Home.” Listeners are probably used to hearing uptempo and lively songs from her, but her best vocal performances are the ones like this. “Home” might not have an impactful punch or intense climaxes throughout the song, but it’s still enjoyable and still allows Ailee to apply her versatile vocals. For someone who’s been called Korea’s Beyonce on multiple occasions and still puts on outstanding performances, she’s still rather underrated. This song had so much potential, especially when you have a powerhouse vocalist like Ailee and the legendary Yoon Mirae on the same track. Unfortunately, the song was not as well promoted this time around as previous songs. It could’ve done better, especially with non K-pop listeners, if there was a little more promotion than what was done. It kind of makes one wonder if this song would be better recepted if there was an English version? Hey Ailee, how about that?
— Tam
39. “Take Me Now” by FT ISLAND
With a definite lack of rock representation on Korean music charts, FTISLAND does their best to fill that gaping void. The band continues to move far far away from their Korean pop rock roots with their latest self-produced album Where The Truth. The title track “Take Me Now” is probably the hardest rock song they have put out to date, at least in Korea. Although it’s not a sound that most fans are used to, it definitely shows the direction the band has been driving towards these past few years. Throughout the song, Hongki’s voice alternates between haunting verses to a blaring chorus that showcases all of his vocal abilities to a T. The rest of the band does a great job keeping up with the intensity of the song through combined soft and hard vocal progressions to make the dynamic song complete. From the looks (and sound) of it, FTISLAND definitely shed their pop idol band label to make the music that they want. So throw your fists in the air and get ready to rock out!
— Katherine
38. “Crying” by Stellar
If you’re going to play it safe after two years of being the most divisive girl group in Korea, then Brave Brothers is your man. With “Crying,” Stellar have shown they can a rock a classic Brave Sound track just like the rest of them. The tempo is high, the synths aggressive, and the vocals diverse. Like all great Brave Brothers tracks, the details are what make the potentially generic songs not so generic. Especially the delay in Hyoeun’s vocal in the second verse and the layers of synths in the chorus. Even when playing it safe, Stellar are still one of the great K-pop girl groups. You can catch me crying at the club listening to this.
— Joe
37. “Rough” by GFRIEND
Rookie girl group GFRIEND is known to release catchy dance tunes and “Rough” is no exception. With the mix of synth and orchestral instruments, the song creates a more sentimental melody while still remaining upbeat and catchy. The lyrics and the vocals are crisp and bright and seem to have greatly improved from their last release giving a more matured feeling, leaving fans excited to see what else the girls can accomplish.
— Katherine
36. “Someone Like U” by Dal Shabet
2016 kicked off strong with Dal Shabet dropping “Someone Like U” early in January after losing a couple members. They made their comeback by going back to their 80’s synth-pop sound by way of a Brave Brother’s jam and delivering pop flawlessness. The dance track is a big fuck you to that ex who you didn’t even like that much in the first place and now is breaking up with you. And what’s more relatable than a spiteful song dedicated to your ex you can dance to? “Hey! Go meet someone stupid like you,” is truly what we all would like to tell our exes. Dal Shabet is one of those girl groups who sadly don’t get the recognition they deserve. However, “Someone Like U” goes down as one of the best songs in their discography ever.
— Alexis
35. “I Am You, You Are Me” by Zico
Zico has already established himself as a rapper of speed and power, but here he brings it back down to a crawl, preferring grooves over hard beats. Everything about Zico’s “I Am You, You Are Me” is hypnotic and infectious. Something about the chimes or the fingersnaps or the ooh’s of the backing track makes me feel like I entered a place that I should not have, and to say the least, it’s indulgent. The song confirms the Block B frontman’s versatility and artistry, and not for nothing his solo career is one of the best there is in K-pop currently.
— Shelley
34. “Me Like Yuh” by Jay Park
It seems like you just can’t go wrong when Jay Park sings over a Cha Cha Malone track. This time, Cha Cha and Jay tried their hand on one of 2016’s biggest trends, the Caribbean inspired, tropical dance song. After establishing himself as a rapper last year, Jay dropped his album Everything You Wanted and is, well, everything we wanted: an R&B album, which is what the performer does best. His clear standout of the year, “Me Like Yuh,” is somewhere between Justin Bieber’s “Sorry” and Drake’s “Hotline Bling” but with Jay’s signature high-pitched, honey R&B vocals that’s all about the groove and how the song feels. Jay may rap about asses and sex all the time, but there’s just something about when he gets a bit romantic and vulnerable that comes across genuinely. Jay and Cha Cha are a match made in heaven that we can only hope lasts for a very long time and results in many bomb releases.
— Alexis
33. “Very Very Very” by I.O.I
This song is the epitome of addictive. Bringing all eleven members of I.O.I back together, this song served not only to diversify I.O.I’s limited discography, but also reassert their dominance as the monster rookies of 2016. The song uses a fast beat, infectious repetition, and an occasional rap to bring out the members’ various charms — whether it’s Yeonjung’s vocals in the prechorus, Doyeon’s killer aegyo, Yoojung’s outgoing stage presence, or Somi’s powerful roundhouse kick, each member gets to shine in ways that prove I.O.I’s unique and lovable group character. While the group may not be around for much longer, “Very Very Very” is clearly unforgettable, whether you liked it or not.
— Kushal
32. “Toy” by Block B”
They may be better known for their fun, hip-hop songs, but Block B really exceeded expectations with “Toy.” The sedate, dreamy track showed a softer side to the boy band through jazzy piano notes and mellow, scattered synth beats. The song’s composition layers different rhythms and melodies with sentimental vocals, to create the overwhelming, lovelorn ambiance of “Toy.” It’s different than what we’ve seen from Block B in the past, but the Zico co-composed song shows maturity to the group’s sound and we hope to see more of this style from the septet in the future.
— Tamar
31. “Galaxy” Bolbbalgan4
From the first note, it’s clear that this isn’t K-pop as most people think of it. In fact, calling it “K-pop” would be a disservice to this sweet song, since K-pop typically describes songs sung by K-pop idols. But Bolbbalgan4 is an indie duo that appeared on Superstar K6 in 2014 and shot to fame with this single after its release in August. The song begins with an otherworldly, high pitch tone that sounds similar to what one would expect if they licked a finger and ran it around the edge of a glass filled with water. Ahn Ji Young’s sweet, breathy vocals are backed up guitarist Woo Ji Yoon, who also provides harmonies and a quirky rap, and ‘60s inspired instrumentals blended with a medley of soft electronica sounds. “Galaxy,” the fun and innocent sound of the indie rock track, ended up making it one of the most popular songs of 2016 in South Korea.
“Bermuda Triangle” is a great fusion of captivating sounds and diverse talents. The combination of these three artists is truly a match made in music heaven. The transitions between the sick beat along with Zico’s killer raps, Crush’s (sudden and shocking) badass verse and Dean’s velvet-like vocals were smoother than butter. All three artists consistently show up and always give a stellar performance in their own individual songs, so it was no surprise that “Bermuda Triangle” was done to pure perfection. If you didn’t love this song right away, then you need to get on it. One of Zico’s earlier lines is “What happened in 1992?,” well, basically, the birth of three phenomenal musicians happened, that’s what.
— Tam
29. “Whistle” by Blackpink
While this song may not be everyone’s cup of tea, it gave the K-pop world a much-needed dose of attitude. With the rise of TWICE, GFriend, and I.O.I and the disbandment of acts like 4MINUTE and 2NE1, there’s been a tragic dearth of edgy, badass girl groups. With the exception of BLACKPINK, that is. With addictive melodies and fast-paced rap sections, this song brings back hip-hop dance themes so reminiscent of K-pop a few years ago, while also including some newer, unique musical elements. As the generational shift brings us back to cutesy, feminine girl groups on top, Blackpink and their songs like “Whistle” do the important work of carving greater musical and stylistic diversity into K-pop’s current era.
— Kushal
28. “Overcome” by NU’EST
The saddest part of NU’EST’s history is that people think their heyday was their debut with the phenomenal “Face.” 2016 was, without a doubt, filled with the group’s most avant-garde singles “Love Paint” (no. 41) and “Overcome.” This is electropop at its finest, and NU’EST’s members at their best; their vocals and adlibs are near flawless on this brassy synth track. Layers upon layers of overdubs flit throughout “Overcome,” as if it challenged the listener to pick out the individual elements. After beginning with punctuated beats, the song incorporates scattering synths, brassy percussion, falsetto, digitized piano notes, and much more to overwhelm the senses. Then, “Overcome” ends off on a gentle, sleepy melody in a way that seems to put the whole sonic experience to rest. NU’EST, we’d like to see more of this in 2017.
— Tamar
27. “Navillera” by GFRIEND
Few do synthpop dance songs as well as GFRIEND, and “Navillera” was an ideal follow-up to the more sentimental “Rough” from earlier this year. The bright, rock-tinged “Navillera” wouldn’t seem out of place on an INFINITE album (and the opening drum beat callback to the opener of “Man in Love”), with its retro-tinged electronica sound. The song’s title is a reference to a Korean poem about a butterfly, and the high-pitched synths and underlying electric strings help create a quirky, fluttering sound. There’s a few verses, but the majority of the song is built around a soaring pre-choruses followed by the speedy chorus, which in actuality serves as an intro for the fast-paced dance break. The guitar solo at the end is so atypical for K-pop that it helps “Navillera” further hone in the idea that this song, and the group, is a long-awaited breath of fresh air.
— Tamar
26. “Bonnie & Clyde” by Dean
Where’s the sign up sheet to be Dean’s Bonnie? Because as long as Dean is Clyde, he’ll be winning over hearts. Every song he’s released has been absolute gold, and this one is no exclusion to the rule. “Bonnie & Clyde” leaves you feeling such a natural high, sitting on a cloud not wanting to get down. It’s just so damn easy to be engrossed in that sweet, bewitching voice of his.
— Tam
Also make sure to check out the first half of this list, featuring our picks for the 25 Best Korean Songs of 2016.
What was your favorite Korean 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/2016/12/KultScene-2016-Best-K-Pop-Songs-1.png7681024KultScenehttp://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngKultScene2016-12-25 15:07:312016-12-28 05:02:3550 Best Korean Songs of 2016: Part 1
Swooping in at the end of the year, tvN’s Goblin is quickly is on its way to being one of the most watched Korean dramas of all time. Only two weeks into its eight-week-long run, Goblinhas already surpassed this year’s previously most popular K-drama, Descendants of the Sun (aka DOTS); Goblin’s second week of ratings was on par with DOTS’s fifth week.
The new series tells the stories of a goblin who has spent a millennium looking for his bride who will — wait for it– put an end to his life and suffering. It stars Gong Yoo, Kim Go Eun Lee Dong Wook, Yoo In Na and BTOB’s Yook Sungjae as the motley crew of characters who have entranced K-drama fans internationally in a way no other show in 2016 has even come close to.
But why? Why is this one show, a short, 16-episode miniseries essentially, getting such a roar of approval from audiences who have already seen several well-received dramas of 2016?
Quality Truly Does Matter
To compare Goblin with other 2016 hits, like DOTS, W, Moon Lovers: Scarlet Heart Ryo, Cheese In the Trap, or Answer Me 1988, would make a lot of sense. But the fantasy romance has surpassed all of those and other popular dramas of the year, simply thanks to its amazing production value.
The show was partially pre-produced in a year when pre-production seems more like a curse than a blessing for some K-dramas. But knowing when and how to use pre-production isn’t the only thing that showrunners have excelled at on Goblin. They have made the most of its limited episode-length and actually done something most Korean television shows struggle with: make a coherent plot without the need for unwarranted filler.
While it’s only four episodes in, every moment in the drama seems to have a point. The stillness of the quiet moments, the hilarity of the bromantic fighting between the Goblin and the Grim Reaper, the main character getting bullied in school… Each moment on its own could be seen as a subplot keeping the two main characters apart and avoiding the inevitable moment when Kim Go Eun’s Ji Eun Tak attempts to put an end to the Goblin’s suffering. But none of it comes across that way, and the show’s writing and cinematography stage the tale so perfectly that (in the first four episodes at least) every storyline runs into one another and nothing comes across as pointless scenes to kill time. The relatively small ensemble fills each episode fully while the scripting and storylines make viewers care for each character.
Kim Eun Sook has written numerous popular dramas, including Secret Garden, Gentleman’s Dignity, The Heirs, and, yes, Descendants of the Sun but she’s turned things up a notch for Goblin. While several of those shows were built to appeal to millions around the globe, it seems that Goblin’s home on a cable channel has given Kim the environment to create a show and characters that are a pleasure to watch rather than poorly written characters portrayed by major stars. The multi-faceted characters are the best Kim Eun Sook have written, even more so than the fully-leshed out playboys from Gentleman’s Dignity, and if tvN is what she needs to provide actors with wonderful scripts, she should never leave cable. The dark comedy is the best thing she’s ever had her hand in.
The Actors
After the fiasco that was Cheese In The Trap, placing Kim Go Eun as the lead in any show seemed risky. Although Kim herself wasn’t the problem with Cheese, she was attached to it and carried the weight of the show on her shoulders. But her portrayal of Ji Eun Tak hits all the right notes: She’s a spunky high school student who has dealt with more than her fair share of hardships but strolls into Gong Yoo’s Goblin’s life like a burst of sunshine.
Gong Yoo, in turn, is providing his best performance to date as the stoic title character who goes from vicious warrior to adorkable “what if she doesn’t like me?” bridegroom on a moment’s notice. His chemistry with Kim, whose character is in high school, works because neither character’s intensity overwhelms the other: although they’re involved in an epic love story, there are still the individual quirks that make lovers attracted to one another.
Then, aside from the two leads (although it really feels like each of the quintet has some lead value), there’s Lee Dong Wook and Yook Sungjae acting as the Moe and Curly to Gong Yoo’s Larry. But each actor provides so much more to Goblin than just characters to act as foils to Gong Yoo’s less-than-perfect hero. Lee’s Grim Reaper brings the perfect amount of gravity to guiding humans to the afterlife, never taking pleasure in his role as intermediary between life and death but instead seeing it as penance for the life he himself cannot remember. His interactions with Gong Yoo’s Goblin are tinged with a hatred, jealousy, and appreciation, and a pleasure to watch. (The bromance between the two supernatural entities is filled with some of the best K-drama moments of 2016.)
Meanwhile, Yook Sungjae is acting as the annoying little brother (or nephew) character for the show’s titular character and doing his best to figure out why a Goblin and Grim Reaper live with one another. (And get his credit card back from Grampa…)
And after her mother’s death and being raised by horrible relatives, Kim Go Eun’s character finds support in Yoo In Na’s Kim Sun (Sunny? Still unclear!) as an older sister mentor figure. Yoo In Na has had the least amount of screentime in the four aired episodes, but she’s had a major impact as a flirty but serious shop owner looking for financial success and love.
The male-dominated show needed another woman for Kim to interact with, and choosing to go with the strong-willed, independent Yoo instead of the obvious choice of a high school classmate was a perfect decision by the showrunners. (Fans speculate that Lee and Yoo’s characters also may have a wider connection than currently explored on the show, related to in the series’ pilot and the Goblin’s curse. We’ll just have to wait and see!)
Production 2016 has proved that bigger isn’t necessarily better, with well-funded K-dramas like DOTS and Moon Lovers not being able to deliver on well-written plots that matched their sizeable budgets. Goblin, which doesn’t appear to be troubled by an excess of sponsorships, has taken the characters to autumn in Quebec and historic battlefields with some of the most beautiful cinematography coming out of Korea in 2016.
Combined with a soundtrack filled with appropriately haunting ballads, Goblin’s setting is the perfect accompaniment for the plot and characters. While often considered lesser than the actors or screenwriters, Goblin’s crew deserves a round of accolades for being able to put together what is one of the most perfectly created K-dramas of the year, if not decade.
Only time will tell if Goblin lives up to the promise delivered in the first four episodes, but for now we’re enthralled.
Are you watching? If not, it’s available on DramaFever in the US. Share your thoughts in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.
https://kultscene.com/wp-content/uploads/2016/12/mug_obj_147969686725553367.jpg13332000Tamar Hermanhttp://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngTamar Herman2016-12-14 08:25:482016-12-14 08:42:22The magic of tvN’s ‘Goblin’
The Korean film My Annoying Brother is getting released in the U.S on December 8 at Los Angeles’ CGV Cinemas. The film is widely popular in South Korea and has built a lot of buzz because of its impressive cast. My Annoying Brother stars EXO’s D.O (Du-Young), Jealousy Incarnate’s Jo Jung Suk (Du-Shik), and Doctor Crush’s Park Shin Hye (Su-Hyun) at their very best as they ramble between love, hate, triumph, and despair.
Ahead of the film’s release, here are some things you to hopefully entice you into seeing the dramedy.
1. The Sibling Struggle Is Real
The film’s English title My Annoying Brother is actually quite different than the Korean one, Hyung, or “Older Brother.” The English expands on the meaning, introducing the film as one brother dealing with the other, implying that both D.O’s Du-Young and Jo Jung Suk’s Du-Shik find his brother irritating, but in the Korean version it’s a clear emphasis on the older brother being… Something. That something turns out to be a con artist who ran away from his family years ago, and gets out of jail pretending to be heartbroken over his younger half-brother’s sudden blindness.
K-pop idols-turned-actors often have a bad reputation, but there’s no question that D.O’s portrayal of the blind judo athlete Du-Young is extremely powerful and impressive. D.O has played a variety of characters in the past, including the abused Han Kang Woo in It’s Okay, That’s Love, but depicting a blind character proved that D.O’s acting skills are just as impressive as his vocal prowess. (And perhaps even then some.) While the eyes are traditionally used in acting to depict a wide array of emotions, D.O was able to portray the smallest, most nuanced emotional shifts with the rest of his physique. Watching him outshine some of the other actors in the film was definitely a pleasure.
3. There’s Something for Just About Everyone in My Annoying Brother
If you like sports films, con films, comedies, or dramas, My Annoying Brother hits all the categories. The film is about a con artist dealing with his estranged family situation, an injured athlete, a coach trying to support her trainee without ruining her own career, the Rio Olympics, comedic attacks at convenience stores, bath scenes in saunas, and so much more.
But, just note, if you’re looking for romance, that’s not really in this film. But there is whole lot of Bromance for you!
About 30 minutes into the film, one character points out that “there are many families that aren’t blood related.” In South Korea, where blood ties have been traditionally incredibly important in determining one’s place in society, My Annoying Brother is all about the relationship between siblings rather than the actual blood flowing in their veins. Du-Sik and Du-Young are only half brothers, and Du-Sik feels major resentment towards Du-Young, but at the end of the day the two learn to support one another as brothers. Su-Hyun also joins in on their little family, offering a maternal role to the two overgrown children as they struggle to understand one another.
5. It’s A Big Hit In South Korea
Earning more than $14 million USD is no mean feat, but beating out Fantastic Beasts and Where to Find them is what’s really impressive about My Annoying Brother. According to Variety, the film was the best-earning film in Korea this weekend with Missing and Fantastic Beasts in second and third place respectively.
What do you think of My Annoying Brother? 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.
B1A4 always brought something different to K-pop. Of all the boy groups K-pop provides us with, I think this quintet is the one I have personally neglected the most. Their brand of pop tends to lean at a more cheesy ballad angle, which is usually a big turn off for me. B1A4, however, bring a level of innovation to each song that moves them into a space that’s hard to define. To start, think of One Direction through the lens of Seo Taiji’s eyeglasses.
Their leader Jinyoung can probably be thanked for this as his move into producer and composer has not stopped their great run of form. New album Good Timing is probably their best to date. It’s a seriously smooth and diverse long player that retains a sense of playfulness on every track. Best of all Jinyoung and rapper Baro are all over the track list’s credits, a clear reason as to how they perform so well in their niche.
The album opens with one of K-pop’s patented abstract intros. “Intro” is an interesting little instrumental. A hollow percussive sound taps out a slow beat as sci-fi beeping synths fade in gradually. Those synths are the first sign of B1A4. They’re familiar to fans as a sound they use a lot, especially to contrast with their other signature instrument, the electric guitar. All of the different instruments seem to be reversed. This creates an odd atmosphere, a certain feeling of anxiety that is supplemented well as we move through the album.
Naturally the album then moves into lead single “A Lie,” a not quite ballad about an ending relationship. Like the intro suggested there’s a longing to Jinyoung’s lyrics that have accepted the loss even the pain carries on. Musically “A Lie” is B1A4 at their best. Mixing slight electronics with a band allows a balance of emotions. Pulsing processed drums provide a constant to the verses, giving them freedom to move around whether it’s the member’s vocals or Baro’s raps. The drums take a backseat for the chorus as it provides the emotional brunt of the song, Jinyoung’s falsetto pining as he says he was lying all this time.
“A Lie” epitomizes B1A4’s sound so well that they can move onto different, newer styles in the rest of the album. Tracks three and four provide some lovable pop. “Moment I Fall For You Again” is similar in structure to “A Lie” but takes a more soulful route. Its verses are loungy and its chorus is cheekily inquisitive compared to the passion of “A Lie.” By the time “Good Timing” comes along you’ll probably wish they had switched it up somewhat despite it adding more to the B1A4 brand. This time it’s a bit more ‘80s, the electronic drums are more clearly electronic, and the chorus has a much more prominent hook. I don’t know if I really like it but I do appreciate the fact that they go all out and give it a guitar solo. I mean, it has to be an upside given how few K-pop songs you can play the air guitar to.
“Nightmare” arrives at a great time on the album and probably provides Good Timingwith the impetus it needed to keep it going. “Nightmare” is a hazy reggae track that jettisons the structures and sounds we’ve gotten used to over the first four songs. Interestingly as well, B1A4 uses synths to create the sound coupled with a classic reggae beat. Eventually reverbing guitars and hammond organs bring the highlight in the second half of the verses. As the title informs us, it’s not a sunny reggae track. Not quite on the dub spectrum but there’s an uneasiness to the way it sways.
The album’s opening half is characteristic of the consistency and skill of B1A4. Their unique flavour permeates throughout an album that does not stop giving. “Sparkling” is synth-led urban pop that goes past just sparkling and pops right out. Shimmering synths lead up to the chorus, which then has a guitar take over funk duties as it becomes more chant-like. Baro shines here along with CNU, whose voice has fragility to it that brings out great emotion. “To My Star” provides the smoothest moment yet, with Its synths well supported by keys to make a chilled slow jam before it picks up again.
“Melancholy” does a great job of masquerading B1A4’s anxiety. It’s a contradiction of sounds and words that somehow comes together. Similar to their punchy and weird single from 2013 “What’s Happening,” “Melancholy” has tiny details and big transitions that move the song to place we could never expect. Its effusive synths and dazed vocal delivery constantly clash with the repetition of the word “melancholy.” It’s a mess of tones and ideas that feels true to the melting pot of emotions that exist in this album.
The energetic high of “Melancholy” gives way to a more subdued conclusion. Ballads “I Will Find You” and “Together” have some nice intricacies although do nothing to stand out here. “Drunk On You” meanwhile is a wavy hip-pop track that shows how best to make a predominantly rap sounding song sound good with a pop angle. But, let’s be honest, put B1A4’s vocalists on any track and it’d be hard to not make at least a little delightful.
B1A4’s plight is that they are too unique. In Korea they may have once been popular but now that heavy hip-hop and EDM sounds dominate boy groups it’s hard to see them finding a lot of success. That being said they may attract a more mature ballad-loving audience looking for something to spice up their usual coffee-shop playlists (no pumpkin spice jokes please). Similar to Beast who were more known at home for their mid-tempo tracks. Even internationally their boy next door image is taken over by newcomers like Astro who appeal to on much easier levels than B1A4.
No matter what though, Good Timing shows the diversity B1A4 can find within their own style. Given the length of a full album we get a number of great ideas and sounds that all mesh well together as Good Timing traces the steep highs and deep lows of any relationship. Songs are clustered together in terms of positive and negative views of the relationship. It’s hard to keep up with where they are in the relationship but by the time “Melancholy” comes along it’s impossible to even know what to think anymore. In the best possible way, the album itself is as much of an enigma as B1A4.
What’s your favorite song from B1A4 and this album? Share your thoughts in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.
https://kultscene.com/wp-content/uploads/2016/11/kFA16Mu.jpg14001400Joe Palmerhttp://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngJoe Palmer2016-11-29 13:42:092017-01-10 11:45:31B1A4’s ‘Good Timing’ Album Review
