F(x) has always been one of the most distinctive groups in K-pop, experimenting with sounds and elements not often seen until their debut, in 2009. Taiwanese-american artist Amber Liu seemed a good fit for this group that was born to be different – from haircut to clothes, the group’s rapper had her own cool style that differed from what female idols used to look like, and apparently SM Entertainment, the group’s agency, respected that.
But was it enough? Was Amber happy? How would Amber sound if she could make art in her own terms? With the release of Rogue Rouge on April 15, we have some answers.
This sixtrack mixtape was not the first time fans could see a different side of Amber, though. While in f(x) she had the position of main rapper, a role she also played in her bright/energetic solo release “Shake That Brass,” Amber has released several singles showcasing her singing voice: “Beautiful,” “On My Own,” “Borders,” and “Need to Feel Needed.” Amber also directed the Music Video for f(x)’s “All Mine,” and released a duo with f(x)’s colleague Luna, “Lower.”
One could say Amber has had multiple opportunities to do something different than what she does in f(x), and that’s true. But one can also say that, as an artist, she still has more to show and has the right to seek for creative freedom, and that’s true too.
That being said, Rogue Rouge may not have come as a total surprise for those who paid attention to Amber out of f(x); however, the mixtape can still shine new lights on what we know about her life and career.
Releasing a mixtape nowadays might have some sort of a charm, like a countercultural alternative to the polished and well planned release of albums and EPs. It’s also a popular way for a group’s member to show their individual colours, like what happened with the solo mixtapes released by BTS members Rap Monster, Suga, and more recently, J-Hope.
In Amber’s case, though, a mixtape released on a democratic platform like Soundcloud says a little more. Rogue Rouge is an independent work, made without any connection or money from SM Entertainment. Everything about Rogue Rouge was 100% the result of Amber’s personal efforts and collaborations with friends, such as Singaporean artist Gen Neo, who co-wrote “Closed Doors” and “Right Now,” who also provided vocals for this last one; and model and photographer Stefanie Michova, who directed the music video for “Closed Doors.”
There is no confirmation that Amber is still under SM Entertainment. Therefore, the very fact that Amber is able to do this mixtape suggests that her contract with them allows the space for a bit of artistic freedom. But, if the mixtape is available for free download, it could also mean that Amber isn’t allowed to make money out of her agency.
If you’re waiting to hear anything near K-pop or f(x)’s past music on the mixtape, just know that you won’t find it here.Sonically speaking, Rogue Rouge is quite an homogeneous piece of work, sticking to R&B tunes (“Get Over It,” “Closed Doors,” “Right Now”) and pop (“Three Million Years”), with little presence of EDM elements (“High Hopes,” “Lifeline”).
The production is far from the grandiose that K-pop instrumentals sound like.ut whether it’s due to being independent work or just Amber’s personal choice, it doesn’t really matter. The simplicity works perfectly fine here. Amber’s beautiful voice and interpretation are the big stars of every single track. Even the simpler songs sound so meaningful because it’s obvious that she’s putting a lot of love into them. It is possible that her choice to go for smoother jams could be saying something about how she feels towards the effusive, loud music she has been doing as an idol. But, just like any artist who has to deal with limited creative freedom (or no freedom at all) when they’re under a group, maybe she just wanted to do something for herself.
Lyrics
Amber wrote all the 6 tracks, with the help from Gen Neo in two of them.
They’re all in English, her native language, and most of them about heartbreak. Yes, it seems like someone broke Amber’s heart – and while such person deserves to be punched (!), seeing such a stripped and honest side of Amber’s lyricism is a delight.
by Alexis Hodoyan-Gastelum
It’s a not a side often seen from K-pop idols: they have to act, speak, sing in a certain way. No matter how bold is the concept, they can only go so far – and even if it’s very far, it’s only to cause an impression.
But in Rogue Rouge there’s just an adult woman being an adult woman, and it includes occasional cursing, heartbreaks, desire, the dilemmas of public versus private life etc.
Overall Feeling
From the emblematic instance when Amber spokeon social media about being neglected as an artist to how independently Rogue Rouge was done, it seems that Amber’s main wish is to just sing a story that’s all hers, rather than to prove anything to anyone.
Rogue Rouge has no climax or wow moments. It sounds genuine, though. The lyrics for “Closed Doors,” the best track, sums up the whole purpose of Amber with this mixtape: no overthinking or reinventing the wheel; no need to run, hide or “keep on choosing sides.” This is just Amber being Amber and doing what she feels like doing. If that really is her purpose, then, indeed, she wouldn’t need sumptuous instrumentals and complex songs to do that.
In Brazil, we have a saying for when we’re gifting someone we care about yet we can’t afford something expensive: “It’s simple, but it’s from the heart.” That seems to be the case here: simple (compared to K-pop) but meaningful music. Again, I don’t know if money has anything to do with the crude sonority of Rogue Rouge, but I don’t even care, and it seems like Amber doesn’t care either. She’s pouring her heart out, and for a project that aims for expressing individuality rather than charting, that’s more than enough.
Amber Liu's 'Rogue Rogue'
4
Let us know what you think of Amber Liu’s “Rogue Rouge” 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/2018/05/Amber.jpg5001000Ana Clara Ribeirohttps://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngAna Clara Ribeiro2018-05-04 14:35:382018-05-04 14:35:38Amber Liu’s ‘Rogue Rouge’ album review
Slightly over a year since the airing of the first episode of the boy group survival show Produce 101 Season 2, the next installment of the show, Produce 48 has been attracting buzz with the revelation of the A-list trainers involved, such as FT. Island’s Lee Hongki and former Sistar member Soyou. The continuity of this Produce series can be attributed to the roaring successes of its first two seasons, and of the groups formed following the show (I.O.I and Wanna One). In fact, one year after the program, the K-pop industry is currently dominated by several idols who participated in it. Temporary and project groups have been formed, soloists have debuted, and existing groups were revived due to the popularity of the program, proving the great impact the show has had on the industry.
Wanna One
As the victors of the program, this group naturally had a lot of popularity right off the bat. With their debut song “Energetic” winning 15 music shows and topping both local and international charts, the members gained even more fans through their appearances on several variety shows such as Weekly Idol and Knowing Brothers. Their consistent album releases and music promotions helped sustain this popularity, and their most recent title track “Boomerang,” from the album 0+1=1 (I Promise You) also did wonderfully, netting 10 wins. Since their debut, the members have ranked highly on brand value rankings among idols, with center Kang Daniel consistently in the top ranks due to his numerous appearances in shows like It’s Dangerous Beyond The Blanket and Master Key. Even though the group is due to disband in December 2018, there will be more great music releases from them to come, both as a group and as individual members, and they definitely have bright futures ahead of them.
Nu’est W
Quite possibly the most touching success story from this second season of Produce 101, the five-membered group Nu’est experienced a surge of popularity following the appearance of JR, Ren, Baekho, and Minhyun on the program. With Minhyun in Wanna One, the remaining four members (together with Aron, who wasn’t on the show) formed a subunit called Nu’est W, and attained commercial success with their title track “Where You At” off the album W, Here, which earned them their first music show win since their debut. The experienced members shined throughout the program, with all four members making it to the top 20, and their eventual success proves that effort, coupled with talent, always pays off in the end.
JBJ
As their name “Just Be Joyful” suggests, the members of this group had every reason to be joyful because they were formed wholly out of fan demand. Consisting of members Noh Taehyun, Takada Kenta, Kim Yongguk, Kwon Hyunbin, Kim Donghan, and Kim Sanggyun, the group melded together well, releasing a string of consistently good music with their three mini albums. Another group with a timeline, JBJ recently released their final album New Moon, with the title track “Call Your Name” as a sweet farewell to their fans, full of promises to meet again in the future. With member Noh Taehyun returning to his group Hotshot after the disbandment of JBJ, I hope that the members, who all have so much potential as musicians, will be active in the music industry again soon.
MXM
A project unit formed with the two high-ranking trainees of Brand New Music, MXM consists of Lim Young-min and Kim Donghyun. The duo has released two EPs and one single album thus far, with their most recent title track being “Gone Cold,” which was released in early March. While both members have their own strengths, with Young-min focusing on rapping while Donghyun has a sweet singing voice, they work together very well to create music which reflect their distinct musical identity as a duo. While still a rookie group, they are already gaining a lot of performance experience through the Asia promotional tour they are embarking on, as well as through their participation in huge events such as Korea’s annual dream concert. There is also a high possibility that they will form a new group in the future, once Lee Daehwi and Park Woojin (their labelmates) are done with their Wanna One activities, which will be a group to look forward to given the amazing teamwork they displayed back in their Produce 101 audition.
YDPP
Another project group, YDPP is a four-membered group consisting of MXM, Jung Sewoon, and Lee Gwanghyun. As fellow members of Produce 101 Season 2, their comfortable chemistry showed through the fun “Love It Live It” release, which captured the musical colours of youth, dreams, passion, and purity that inspired the formation of the group. Lee Gwanghyun also made his debut through this project, and successfully showed his adorable charms along his members. Im Youngmin also showed a more all-rounded side of himself here because he got to sing and rap. The members complemented each other very well, and while this group is only temporary (like so many others on this list), the magic of this collaboration will last forever.
An adorable duo formed by the Korean trainees from Yuehua Entertainment, Hyungseop and Euiwoong have released two single albums so far, their most recent title track being “Love Tint,” which was released in April. While their debut track “It Will Be Good” was sweet and highlighted their youthfulness, “Love Tint” has a more melancholic and mature sound which allowed them to better showcase their rap and vocal skills, proving how much they have developed as musicians in the short few months between the releases. The rest of their second album Colour of Dream is also a treat to listen to, as they show several sides of themselves through the five tracks on it. If they continue releasing songs this well-performed and produced, the future for this duo is limitless.
Rainz
The second fan-created group following JBJ, Rainz is a project group consisting of Kim Seongri, Ju Wontak, Lee Kiwon, Jang Daehyeon, Hong Eunki, Byun Hyunmin, and Seo Sunghyuk. While none of the members made it very far in the reality show (the highest ranked member was Sunghyuk at 31), they gained a lot of fans due to their individual skills, be it in gymnastics, taekwondo, dancing or vocals, which they managed to display on Produce 101 despite their lack of screen time. Since their debut in October, they have released two mini-albums, their latest being Shake You Up with title track “Turn It Up.” The electronic track highlights their impressive synchronised dance and fully shows their charisma, made even stronger when the boys are together in a group. While the future of the group is uncertain, they have been busy leaving their mark on the industry thus far and will hopefully do more soon.
HNB
HNB is a boy group comprising of trainees from HF Entertainment, some of whom participated in Produce 101. As the group is undergoing an internal evaluation now, the exact number of members in the group is still indefinite. As a pre-debut release however, four members (three current, one past) of the group who were in Produce 101, namely Park Woodam, Jo Yonggeun, Jung Woncheol, and Woo Jinyoung released “I’m Your Light” to thank fans for voting for them. While the group is being finalized, Woo Jinyoung, Jo Yonggeun, Kim Hyunsoo, and Yoon Jaehee participated in another survival show, YG Entertainment’s Mixnine, in which Woo Jinyoung won first place in, hence making it into the final debut group for the show. The members have also been using V Live regularly to interact with their growing fanbase before their official debut.
Jeong Sewoon
Although he missed the debut lineup by just one spot (he came in 12th place), Jeong Sewoon has made it as a successful soloist thus far, with the release of his first mini album which came in two parts, Ever followed by After. He also completed a milestone first solo concert, and has been performing on prestigious stages such as Mnet Asia Music Awards 2017 and the upcoming Seoul Jazz Festival. His latest title song “Baby It’s You,” released in January of 2018, is a catchy and upbeat track which shows his wide vocal range and versatility as a singer. Beyond developing as a musician, he has also been active on the variety scene, with his appearances on programs like Sugarman Season 2 and Dangerous Beyond The Blankets, which he recently became a permanent cast member for.
One of the most prominent participants on Produce 101 from the start, his absence from the final debut lineup was shocking to many, but it also sparked a new beginning for Samuel, who debuted as a soloist one month after the conclusion of the program. While he is only 16, he has proven himself very capable of showing diverse charms, from the energetic “Sixteen” to the fiercer “One,” which he released in March. Beyond his charming outward appearance, he has an outstanding sense of rhythm which shows in his dancing, making him a wonderful performer. The best part —he’ll only get better as he continues growing.
Jang Moonbok
He first caught public attention back in 2010, when he went on Superstar K2. While he initially received a lot of hate and malicious comments, he triumphed through them and emerged stronger than before, earning him the respect of netizens as well as many of the other participants on Produce 101. With his enviable long locks, he became a very distinct personality and continued standing out throughout the show. After finishing in 27th place, he recently made his solo debut through mini album Peeps, with “Red” as his title song. Far from the Superstar K2 performance which he was criticised a lot for, Jang Moonbok has been improving his singing and rapping skills and remains an icon of persistence and growth.
Yoo Seonho
The chick trainee who captured many hearts during his run at Produce 101, especially with his many bromances and the continual growth he showed, finally made his solo debut with Spring, SEONHO in April. In line with his flower-boy and cute image, his title track “Maybe Spring” is a light-hearted ballad with a sweet melody. Just like a flower that is on the brink of blooming, Yoo Seonho has room for development, but his potential is already shining through from his mini-album, with tracks that diversify his music style by incorporating jazzy elements. He has also been busy with other activities such as CF filmings, music video appearances and a web-drama that he did with his fellow Produce 101 mate, Ahn Hyungseop.
Joo Haknyeon (The BOYZ)
After ending in 19th place on Produce 101, Joo Haknyeon was added to a new boy group under his entertainment company, The BOYZ. The 12-membered boy group has released two EPs so far, and made a comeback recently with “Giddy Up” from their second EP The Start. “Giddy Up” is a playful song with a nostalgic music video concept that would appeal to viewers of all ages. As the lead dancer, vocalist, and rapper of the group, Joo Haknyeon stands out due to his extensive stage experience but also blends well with the team to create a cohesive performance.
Lee Woojin (The East Light)
Soon after finishing the show, the beloved maknae of Produce 101 joined the talented band The East Light, which has an average age of 16.6 years, but whose members mostly have predebut experience and are skilled in various instruments. Despite the members being so young, the band has a very developed musicality. This contrast is emphasized to a somewhat humorous extent in their most recent comeback with “Real Man,” their third digital single, in which they dress in cool-looking suits, until their high-pitched and unbroken voices emerge. They have a charm that is definitely unique in the K-pop industry, and is a band worth looking out for, especially since Lee Woojin, who has shown his vocal prowess among his hyungs on Produce 101, has now joined the band as a keyboardist and vocalist.
Yoo Hwe Seung (N.Flying)
Rounding out the list is Yoo Hwe Seung. He gained much attention on the show for his vocal ability, and though he finished in 39th place, he was quickly added to FNC band N.Flying, who had made their debut in 2013. Despite being the maknae of the group, both in terms of age and experience, he quickly took center stage with his vocals and has definitely added a lot of colour to the group. Their most recent comeback, “Hot Potato,” is an addictive track reminiscent of the music of their sunbaes, FT.Island and CNBLUE, but filled with the group’s own playful flavour. Hwe Seung also created a stir with his ‘five high notes’ (rivalling those of IU’s famous three notes in “Good Day”) which he displayed through his recent collaboration with FT Island vocalist Lee Hongki, “Still Love You.” While the song is a typical ballad, and both singers gave amazing performances, Hwe Seung’s moment was the true climax and left goosebumps all over.
While the contestants have mostly went their separate ways, they are all making waves in the industry and will continue to do so for a long while.
Have you been keeping up with the Produce 101 boys? What do you think of the impact they have made on the K-pop scene? 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/2018/04/produce-101-season-2-logo.jpg720720Anna Cheanghttps://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngAnna Cheang2018-05-01 09:36:192018-05-01 09:36:19Post ‘Produce 101’: making waves in K-pop
The current, up and coming generation of female Korean rappers is made of versatile and open-minded women with the ability to think outside the box. And while the scenario isn’t exactly ideal for them yet, as standards for female and male rappers are not the same, it hasn’t deterred new names from joining the scene. Amongst those names, ARTLOVER is definitely one we should keep our eyes on.
The 25-year-old, whose real name she would rather not reveal, is the typical multifaceted millennial who gathers inspiration from multiple experiences to create something unique. Formerly a makeup artist who has worked with severe fashion magazines, she is now ready to show her own colours through music.
ARTLOVER’s first single “Want U Back,” released on March 2nd, is a melodic tune with a retro sound that showcases her rapping and singing skills. She worked on the lyrics, composition, and art cover design for the single, which just got a music video as well.
But music, fashion, and design are not the only amount of diversity ARTLOVER has her heart on. Being Korean and based in London, she also divides her time between the two countries.
KultScene talked with her about her first single, her inspirations, and views on being a multi talented artist exposed to two different cultures.
KS: Congratulations on your first release! Please tell us what inspired the lyrics and composition of “Want U Back.” ARTLOVER: Thank You! “Want U Back” is about young love and the pain of losing it. I started out with a few chords on the piano and the rest just followed so I didn’t really plan it out beforehand. It just happened in the spur of the moment.
KS: How was working with Tae-Seop Lee (producer/mixer engineering; has worked with GOT7, Twice, DAY6, etc.)? How much do you usually get involved in the production? A: I started out with Swedish writer/producer Max Billion who has worked with a lot of dance artists such as Mike Perry, Paris Blohm, and Cazzette. When we had a solid foundation we took it to Tae-Seop who then put his touch on it. I trust producers that I work with and I always give my opinion.
KS: Your stage name is quite unique. We’ve read that you designed the art cover for “Want U Back” and that you’ve worked as a makeup artist before. How do you think all these passions and talents come together when it comes to your music? A: I would say that the practical aspect of working as a makeup artist has helped me a lot, especially when it comes to being professional and get things done. The visual aspect has always been very important to me, so it would come as no surprise that I think about this a lot when it comes to my music as well. I creative direct a lot of my videos, etc. I think that music and fashion goes hand in hand and it’s very difficult to separate the visuals and the music. KS: Being Korean but living in London, how do you see the differences between the mainstream music scene of both countries? A: Korean music is wilder for sure, more effects, bigger songs, and more parts. In many ways, it resembles western pop music and follow more or less the same pattern of trends, but with more ‘90s soul and more creative arrangements. People take pop music very seriously in Korea. Just as they approach other aspects of Korean society, K-pop has always been about perfection. KS: It is natural to expect that you will at some point be labelled as a K-pop artist by some people. How do you feel about that? And how do you describe your music and style? A: I don’t really have an issue with being labeled K-pop, as I think it helps me find an audience, especially outside of Korea. I still think that my music really stands out and doesn’t sound like anything else in K-pop at the moment. If my music was purely European or American, it’s far from certain that it would get as much attention.
KS: “Want U Back” sounds heavily inspired by ‘80s synthpop music. What are your biggest influences in music and your favorite artists? A: It makes me very happy you say that, because we used mainly old synths during the recording. Max Billion brought his collection of vintage gear from the ‘70s and ‘80s so we stuck with those. I love Madonna and Cher, but my favorite artist of all time is Michael Jackson. KS: What are your plans for 2018? Can we expect more music from you? A: We are currently working on my debut EP that is due out in June, so that’s very exciting for sure. I’m also looking forward to playing shows.
Check out ARTLOVER’s “Want U Back” music video:
What do you think of ARTLOVER’s debut? 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/2018/04/artlover-want-u-back-mv-release.jpg393668Ana Clara Ribeirohttps://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngAna Clara Ribeiro2018-04-20 08:46:102018-04-20 08:46:10K-rapper ARTLOVER talks blending music & fashion, British & Korean influences [interview]
April picked up in a big way over the last week with releases from some of our favorite K-pop artists. In this week’s K-pop faves list, the KultScene team wanted highlighted some music from soloists and boy bands alike.
“Honestly” by Eric Nam (Released Apr. 11)
Eric Nam made his long anticipated comeback with his first EP in two years this week, and the amount of effort he put into it is evident, especially from his title track “Honestly,” which he co-wrote and composed. A departure from his usually sweet and gentle image, “Honestly” features the stronger use of electro-synth to create a colourful track that allows Eric to show off both his moves and his vocals. Accompanied by a vibrant music video filmed in Mexico, the track is very dynamic and sets the tone for the rest of the EP, which is a masterpiece in itself.
—Anna
“Me & U” by Super Junior (Released Apr. 12)
This week, the legends Super Junior came back with a repackage of last year’s Play. Along with the latest single “Lo Siento” and all the previous songs, Replay has a few new songs, including “Me & U.” This song perfectly blends the pop sounds we know and appreciate Super Junior for modern lite-R&B. “Me & U” perfectly exemplifies how the group, with all the members over 30 and a 13-year-old career under their belt, are moving forward sonically. It’s a great spring song to bop along to.
—Alexis
‘Yet’ by Drunken Tiger (Released Apr. 13)
The king is back, and he’s going hard as always! I am not a “today’s music sucks, bring back old school *insert music genre name*” kind of person, but wow, how I missed Tiger JK’s powerful deliver and deep lyricism. Since “Yet” marks the last album he’ll release under the name of the group that changed the scene for rappers in Korea, he surely has a lot to say – and he says it with a furious, cathartic flow, with the little “drunken” vibe that is his trademark. It is a blessing to see Tiger still going strong, almost 20 years after his debut. I’m all for having different styles and generations shining together. If hip-hop has welcomed new trends, it is because people like him paved the way for the genre to be what it is today, and Tiger’s story is definitely one worth listening to.
—Ana Clara
What was your favorite song of the week? Let us know in the comment section below. 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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After a year and a half of no official releases, soloist Anda returns with the help of superstar producer Primary. They have released a four song EP, the ominously titled Do Worry Be Happy, with each song getting a music video. Known for her controversial portrayal of lesbians in her video for “Touch” and for charming Middle Eastern billionaires without ever meeting them, Anda is an artist of unique sound and visuals. Her height and distinct facial structure help her to stand out from most Korean female soloists. Her music up to now has been stuck somewhere between pop and indie though leaving her with no distinct audience. Working with Primary is a great idea then as whatever you may think of him, he is probably the most successful producer at bringing indie sounds into the mainstream. Luckily, he’s matched his best style (the British indie inspired 2 album sound) with the compelling Anda.
Sounding like a more laboured version of something off of the Drive soundtrack, Primary and Anda open with “The Open Boat.” Featuring colde, the vocalist from R&B duo offonoff, “The open boat” is lumbering melancholic electro pop. The constant rolling synths are almost suffocating, their deep tones recalling vast oceans of nothingness. They restrain Anda, her trademark whispery style of singing tries to call out. She tries to scrape it back by pitching higher. “Touch the sky” she repeats in the chorus, her voice now more ephemeral. As the song grows she seems to be winning the fight, colde helps her break free, “Don’t stop and push forward.” Yet it is overwhelmingly cold. Together they have arrived at some sort of peace but musically not much has changed. The brisk synths continue, they have become a home for the intrepid pair but we remain locked outside.
Following this is “Zeppelin,” a song that works with Primary’s funk roots to move away from the wintery tone. “Zeppelin” is about how Anda gets out of her previous rut from “The open boat.” Her love takes her higher and higher. It’s not drastic though, it comfortably floats atop funky guitars and wavy ‘80s synths. Anda’s vocal is more childish here, and is really the only thing of interest going on. While she is distinct, it would be hard to call her voice actually good. She seems to be connecting with the wispy nostalgia of the track but not making it believable. Without hitting those feelings she would at least need to bring something strong which she can’t. “Zeppelin” should have felt fresh against the oppressiveness of “The open boat,” but it’s a mere respite rather than refresher.
The duo find their feet directly after, though, on lead single “Dressroom.” It picks up where “The open boat” left off with sombre electro pop. It immediately recalls Primary’s work on Uhm Jung Hwa’s “Ending Credit” but a little less clear. There’s a lot more space and reverb to the track. Anda, like Uhm Jung Hwa, is coming to the end of a part of her life. Where Jung Hwa is nostalgic, Anda is bitter. Her voice is vulnerable, she reverts to shouting instead of singing in the chorus. Trying to find a way out she bellows into the ether, “I broke down but I still couldn’t let you go.” It’s beautifully performed vulnerability. Anda never feels out of control, just conscious of her pain and finding ways of healing it. She has the same control in the video. She looks like she was born to be a model. Her body is being watched closely, she doesn’t take pleasure in it but doesn’t look uncomfortable either. She takes off her oversized jacket and keeps her composure. Bearing her own scars so we can forget our own.
Album closer “Moonlight” (featuring electro soloist Xin Seha) documents the effects that these troubles have on Anda. Primary keeps the mood down but plays with the track a bit more. The beat is alive this time, a constant stream of cymbals add the subconscious texture that causes Anda’s insomnia. “It’s not the coffee you drank in the afternoon,” she struggles to get out at the beginning. Primary uses Jai Paul-like details to give the song a sense of mystery. The bubbling bassy synths and warm guitar suggest strange feelings swirling around Anda and guest Xin Seha. Together they try in vain to understand but eventually decide “I will not sleep.” A resignation to the hypnotic beat.
This unlikely pair have created an album drenched in sensitivity by coming together. Anda and Primary seem like a mismatch given the producer’s usual clientele of the best vocalists and rappers Korea has to offer. Anda pulls him down to emotional depths he had never explored prior to this, though. Her voice is so light usually, almost always a whisper, and when strained to these heights it carries so much hurt. It doesn’t break but bends against the cold electronics of Primary’s music. Sometimes it’s too cold and sometimes it’s too slight. When it hits though, everything connects for a stunning look at a disaffected youth.
What do you think of Primary and Anda’s Do Worry Be Happy? Let us know in the comment section below. Be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.
Primary & Anda's "Do Worry Be Happy"
3.5
https://kultscene.com/wp-content/uploads/2018/04/Untitled-design.png7201280Joe Palmerhttps://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngJoe Palmer2018-04-06 09:37:582018-04-06 09:37:58Primary & Anda’s “Do Worry Be Happy” Album Review
If you think about how long Shinhwa has been around, you don’t need to look past their 14th anniversary press conference, where member Jun Jin put things into perspective for everyone: “The members of Girls’ Generation were in elementary school when we were in SM Entertainment. Jessica and Hyoyeon wrote us letters back in the day.”
That was six years ago.
On March 24th, Shinhwa celebrated their 20th anniversary. Rightly, the band is listed in the Guinness Book of World Records as the longest-running boy group in the world that hasn’t disbanded or had a member leave in 19—well, 20 now—years. A closer look at the band and its popularity, however, pegs Shinhwa as artists who transcend numbers and charts, and who have found permanence in an otherwise transient industry.
The Start
The six members of Shinhwa debuted on March 24, 1998 under SM Entertainment, performing the single “Resolver” on KM Music Tank. To say that the band had a rocky start would have been an understatement—accusations of being a copy of label-mates H.O.T and the controversy following the Sokcho water accident that overshadowed the promotions of their song “Eusha Eusha” soon sparked rumours of disbandment. With the exception of some songs, the group’s debut album did not chart well, leading people to speculate that the band may have been a bad investment for SM.
With their second album “T.O.P,” however, came an edgier concept and mainstream success. “T.O.P.” won Shinhwa their first major music award for “Best Music Video”, and the trajectory only went upwards after that.
A Long Line of Firsts
As both fans and writers, we know how much modern K-pop owes to the so-called first wave of Korean music. Not only was the era a fantastic prelude to the all-encompassing force of nature that K-pop would eventually become, but the artists who defined that wave also left behind a legacy that would inspire and drive the future generations. Seo Taiji and the Boys, for example, gave Korea quite possibly its first tryst with R&B, and member Yang Hyun Suk later established one of South Korea’s premier entertainment companies, YG Entertainment. S.E.S, one of K-pop’s early girl group successes and the first girl group from SM, would later go on to inspire numerous other girl groups.
For as long as they’ve been around, therefore, it’s only inevitable that Shinhwa’s legacy be an ode to their popularity. What’s surprising, though, is knowing just how much contemporary idol and fan culture owes to the band and their fandom, “Shinhwa Changjo”. (The name means “making a legend”, aptly complementing the band’s own name meaning ‘myth’ or ‘legend’.)
In 2002, while still under SM, the band released their sixth studio album, thus officially becoming the longest-running act in K-pop. A year later, while reviewing their contracts, SM offered to renew contracts with all members except vocalist Dong Wan. Rather than splitting up, Shinhwa decided not to renew their contracts with SM, and departed from the company as one unit, signing later with Good Entertainment. As somewhat of an unspoken trend in K-pop, artists who leave one company for another often experience a wane in popularity. Shinhwa, however, is one of the only bands in K-pop whose members went on to have incredibly successful careers despite a company change and the mandatory military enlistments. In fact, their first Daesang (or Grand Prize), for the seventh studio album Brand New, came in 2004, almost a year after leaving SM.
But just because they left the label that formed them didn’t mean Shinhwa broke away from SM entirely. In 2013, member Min Woo looked fondly upon his time at SM, saying: “[Founder] Lee Soo Man is truly an amazing person. From each member’s hairstyles to everything we did on stage, he took care of us meticulously. He used to talk to all of us about every little thing.”
Following their mandatory military enlistments, Shinhwa became the first K-pop group to establish their own entertainment company in 2011. For a while, the band was locked in a legal battle with SM Entertainment and Joon Media (formerly Open World Entertainment) for profits and use of the name ‘Shinhwa’. The case was, however, settled in 2015, and Shinhwa Company (which had been dubbed ShinCom for the duration of the case) came into existence.
Shinhwa was also one of the early trendsetters in the industry in terms of musical control. While their creative license was limited under SM, the members participated actively in the production of their albums after leaving. By that time, most members had released solo music and found their personal styles. The result was an eclectic combination of sounds on future albums, making the band a truly versatile act.
It’s not just their music and their exceptional team spirit that set Shinhwa apart, though: the band was the first in the industry to break away from the mainstream style of the time. When much of K-pop focused on trendy skinny jeans and bright colors (think SHINee’s “Replay” era), Shinhwa adopted a much more sophisticated style with clean-cut suits and cropped hair—quite uncommon for popular acts at the time.
Also uncommon was Shinhwa’s dedicated fandom, Shinhwa Changjo, who, honestly, were fandom goals before the term went mainstream. Shinhwa Changjo are credited with starting the popular rice wreath trend—it was member Hye Sung’s fandom who first sent rice wreaths to support his solo concert in 2007. Shinhwa’s fandom was also the first to have planted forests in support of their idols.
The Making of Legends
Part of the reason why Shinhwa remains a groundbreaking act in K-pop is, as The Atlantic put it, their “smart self-awareness.” In an industry that’s sometimes too full to the brim with new acts, Shinhwa chose to evolve and mature in their own timeline, striking an attractive balance between age and trends. The result? Hilarious variety shows and appearances where the members didn’t, and continue to not, hesitate in poking fun at themselves, all topped off by the very refreshing devil-may-care attitude that came with spending years in the industry (I will never be able to hear the words “Do you smell something burning?” without laughing.)
In fact, despite their seniority in the industry, age hasn’t ever been something that’s held Shinhwa back: the band has embraced their late 30s with fervour and humour, even going so far as to admitting that having a “battle of stamina with younger groups” is pointless. Now that they don’t have the “weapon of youth”, they’ve turned their focus on charms that suit their age.
There’s the cheeky SNL Korea broadcast where the members dress up as exhibits in a museum—only the exhibits are their younger selves from a decade ago—with visitors standing around, confused about who they’re supposed to be. There’s the sarcastic “Idol Retirement Insurance Plan” skit, where the members sold insurance plans to idols in the climax of their careers that included obsessive fans to stalk them and make them feel young. Or, if you need something else, there’s the infamous “Farting chorus” broadcast—which is exactly what it sounds like.
That’s probably the most endearing part about Shinhwa—with the passage of time, they made their own interpretations of what they were supposed to be, both as individuals and as a group, and molded the expectations to fit them than the other way round. As a unit, it makes them relatable. They never shy away from sharing both their successes and their struggles—the members have always been vocal about arguments among themselves, but have also been quick to admit how their long bonds have made working together easier. In a recent interview about their 13th studio album, member Jun Jin put the feeling into words: “If it weren’t for Shinhwa, Jun Jin wouldn’t exist.”
It isn’t just the marvelous teamwork; it’s also the fact that Shinhwa has never been a group that downplays their concerns, both as artists and businessmen. Group leader Eric expressed his anxiety about working in an industry where Shinhwa is one of the only groups left from the first generation: “We have no role models, nowhere to get advice. I think we have to grasp our future direction ourselves as we continue to work.”
They’ve also never had qualms about admitting to concerns about their company—Eric once talked about how Shinhwa realized that running a company was different than being an idol when they had to monitor how much money they spent on meals. Somewhere down the line, Shinhwa shed the skin of idols and became human, which brought them to closer to their fans.
Speaking of which, part of the reason why they remain popular favorites is also their relationships with their fans, which has always been more like that of bickering best friends and less like the typical fan-idol interactions. In fact, the group has never been hesitant to call out fans on their behavior. As a story about their first fan-sign goes, member Dong Wan told the fans that “Shinhwa is definitely not responsible for your lives.” He received some flak for that, but Dong Wan defended himself, saying that the “fans’ love could sometimes be over the top.” It was an example of how Shinhwa were mature since their early days, not caring about gratuitous fanservice and establishing a relationship of mutual trust with their fans.
K-pop is an ephemeral industry: every burst of fame and omnipresence is followed by a plateau where new groups come in and take over, and fandoms are inherited down the generations. Yet, Shinhwa is one of the only groups from the first generation of K-pop to not only continue making music, but to be loved by fans and the industry alike. They remain among the groups for which the word “groundbreaking” rings utterly true—because of their acceptance of the changing times; because of their self-deprecating and brilliant humor; and, most importantly, because of their steely resolve to always be one unit for themselves and their fans. They never take themselves very seriously, and that’s what makes them so endearing.
If you’re just starting out with Shinhwa, check out the remake of their music video, “All Your Dreams,” which was released on the 20th anniversary of their debut.
What’s your favorite Shinhwa song? Let us know in the comment section below. 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/2015/08/DSC_09891.jpg531800KultScenehttps://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngKultScene2018-04-05 09:43:382018-04-05 09:43:38The Shinhwa story: 20 years young & still going strong
Finally after a year and five months, the very last LOONA girl, Olivia Hye, was revealed. It’s a testament to the time and effort put into the project that so many people were eagerly anticipating this moment and the moments still to come. LOONA has given us probably the most interestingdebut roll out in K-pop (all music?) history, considering that twelve girls were rolled out over that year and a half through twelve solo singles, 4 sub-unit singles (with more to come), and countless fan theories about what it all meant. To look back on this all before the last unit finish out the debut project we ranked the twelve solo singles.
12. “Around You” by Hyunjin
Hyunjin has the undesirable position of starting us off with her solo track “Around You.” Produced by Lee Juhyung of Monotree, “Around You” is by no means a bad song. Its reverberating piano refrain is in fact a gorgeously simple riff to build a song around. It is helped along the way by some more crisp stabs of the keys and glances of guitar details. Structurally the track falters though. By moving towards a more conventional chorus and adding more parts “Around You” loses the fragility of its opening. That frailty worked wonders with Hyunjin’s equally weak voice as she sang of her foolish patience, and if it had remained small and instead gone for a big change at the climax it could have held onto that power longer. This begs the question though, could Hyunjin have even been able to pull that off? I guess we’ll find out with LOONA’s debut.
11. “Love Cherry Motion” by Choerry
Choerry is the member of LOONA who exists on all sides of the Mobius. To the uninitiated that just means she can interact with any of the other members right now. She’s also one of the most energetic of them all and musically both of these traits are very clear in “Love Cherry Motion.” Her bubbliness comes through right from the beginning and makes the song as fresh as it should sound for the summer. Its pre-chorus delves into deep bass EDM territory and finally culminates with Middle-Eastern style synths to change things around. Switching genres on a whim is an overdone staple in K-pop at this stage and “Love Cherry Motion” feels like LOONA was pandering to that. Without her story, the song would be just another version of that. Producers Ollipop, Hayley Aitken, and Kanata Okajima do handle it well though. They let the darker sound take over for the bridge before transitioning back into the softer side with an ease they seemingly wanted to avoid at first. They tell the story of Choerry’s flexibility in the story of LOONA but also how it feels for a young girl to fall in love.
10. “One and Only” by Go Won
The last few girls of the LOONA project were unlucky in that they had to live up to increasingly high expectations. It’s a somewhat unfair prospect given that the solo songs as a whole are meant more as calling cards for the particular members rather than singles built to chart. Go Won’s “One and Only” is, like her, slight and mysterious. Produced by Darren “Baby Dee Beats” Smith, “One and Only” is shimmering but simple synth pop. Go Won delivers an equally simple vocal in variety of ways amid the synths and processed drums. She half-chants half-raps her wonderful feelings of self-love brought on by the moonlight, raising her pitch with each line, mimicking the ascending synth; Go Won’s self-love is simple but comes from hard, repetitious work. But, apart from the bridge, “One and Only” undergoes essentially zero structural changes. It is straightforward to a fault, the song doesn’t really have to go anywhere, but that’s because Go Won doesn’t either. She is happy being her one and only.
9. “Eclipse” by Kim Lip
Kim Lip changed it all. From the opening chords of “Eclipse” and Lip’s more mature voice, it was clear LOONA were starting off on a new path. “Eclipse” grows with impassioned ease, building an eclectic bed of sounds through which Lip can sing between. Even from just the music video she was by far the most natural performer, blatantly a girl the group could be built around. Produced by Daniel “Obi” Klein and Charli Taft, “Eclipse” was a new style for LOONA with a silky variety of synths. The bridge is a moment to savour, fingersnaps and gorgeous vocals slowing things down to reveal the depth of what Kim Lip can do. Over time however, “Eclipse” grew somewhat tired. It feels too busy in comparison to LOONA’s more simple moments and not busy enough compared to what the ODD EYE CIRCLE girls would do after her. Its impact came from its surprise factor but couldn’t hold attention much longer after that.
8. “Egoist” by Olivia Hye feat. Jinsoul
Closing out the solo cycle of LOONA was Olivia Hye and her song “Egoist.” Olivia enlisted Jinsoul to feature as well as taking on her future bass sound. “Egoist” is a less volatile and unfortunately less interesting take on what Jinsoul previously displayed, though. The production, by Artronic Waves, LAB301, and Pablo Groove, is filled with great and varying details, from the repurposed whistles to the always growing percussions. Olivia can’t quite match the song for personality though. She is at first cold, and from among bassy moody synths and piano she sings of a broken relationship. She’s hiding her feelings, and in their place she only shows pain. As the song moves forwards, stronger more expressive synths take over from the piano. They lift Olivia not to express her emotions but forget them. She learns to love herself but unconvincingly so, leaving the song a bit lacking.
LOONA’s sole Chinese member Vivi faced a similar challenge as Hyunjin, failing to make her song strong enough to stand alone despite her weak voice. For this, the LOONA team went for a throwback vibe. On “Everyday I Love You” Vivi reveals her feelings through hushed, breathy vocals over some quintessential 90s beats, while synths shimmer as a guitar nervously plucks out an accompaniment. Everything comes together for an exciting chorus. In the absolute highlight of the track, the aforementioned guitar slides to introduce the chorus, it’s a cliched technique at this stage but that is precisely why it works so well. Horns join as Vivi pushes her small voice to high pitched delights. It’s one of the most simple but fun moments in all of LOONA’s discography.
6. “Vivid” by Heejin
LOONA began as they meant to go on, with Heejin and Monotree releasing “Vivid.” As an opener it is odd but no less polished than everything that followed it. “Vivid” is a brash confident offering from Heejin. Her voice goes up and down with ease, as she inflects her words with a cheeky rasp over filtered brass and piano. Her ease as a vocalist and acting in the video were a clear warning that these girls were here for serious business. At first watch I thought she was a new soloist, completely ready to take on the likes of Lim Kim with a more youthful quirky take. But even knowing that she is only one small part of an unknown whole doesn’t change how good this was though.
5. “Heart Attack” by Chuu
Vocally none of the girls quite matched Chuu in terms of personality on their solo tracks. She teases us at first, leaving small breaths between each line as she gradually rises to the chorus. As soon as she reaches it though, she drops the intensity only to rise it towards the end once again. From there she doesn’t have a chance to breathe, showing some of the biggest vocals LOONA has seen, with raps and adorable little “ooh oohs” for added color.” Ollipop and Hayley Aitken return to the LOONAverse to once again bridge gaps between the girls. Here they bring back the orchestral elements of LOONA ⅓ but don’t shy away from more modern beats and details. They weave a variety of horns, pianos, and synths around Chuu’s voice, constantly challenging her to one up herself. She matches them step for step and they come together brilliantly on the climax, letting go of any restraints that might have been holding them back.
4. “New” by Yves
Yves bit the apple and led LOONA out of Eden with her solo track, “New.” Similar to Kim Lip she opened her era with supreme confidence, showcasing strong vocals and dancing as she easily performs to the retro stylings of Brooke Toia, Daniel Caeser, and Ludwing Lindell; it’s 80s synth pop through a modern lens. The production is deceptively simple, with just synths, a beat, and Yves’ voice. In the first verse, the beat doesn’t fully reveal itself at first, starting with just finger snaps and a bass drum but in the second one, an ascending high hat is added, slowly rising to the chorus. Those same few elements are used in the chorus and to great dramatic effect: the synths are heavy and satisfying, and Yves’ vocals airy but totally under her control. This magnificent drama tells a story of self-confidence, a tale that Yves acts out with such sincerity.
Behind the languid chorus of “Singing in the Rain” lies LOONA’s most complex song to date. Jinsoul’s luscious future-bass track (produced by Caesar & Loui) juggles a number of sections, all of which come together in the end to crushing effect. It opens with the most exciting and varied drum beat I’ve heard in years, and slowly rises and falls. The complexity is helped by her vocal range, as she was the first one to rap and sing in her song giving “Singing In The Rain” an edge when it comes to the second verse. A different pre-chorus is also added for the second chorus, lending the song a surprising, driving intent. It’s essentially a series of overlapping and intersecting circles, growing in intensity with every new one added. The track culminates with the genuine Hollywood euphoria Jinsoul had been looking for. “I used to be untouchable and dangerous” she sings, suggesting a wicked unpredictability to her.
2. “Kiss Later” by Yeojin
No track was helped more by Monotree and LOONA’s dedication to using real instruments and orchestras than “Kiss Later”. Yeojin’s solo is a Broadway musical-inspired pop explosion that really fits the young girl’s voice. It starts off with a soft, shimmering melody, and Yeojin uses her tinny vocals to great effect before the song crashes into a frenzy of strings, horns, and percussion. It’s such a satisfying pay-off, and lends the rest of the song an unwavering kinetic energy. The music blends masterfully with Yeojin’s voice as she likes to talk-sing at times, even as she playfully follows the pointed details of the track with great strong syllables. As the youngest member of LOONA, her anxieties are rendered almost like a game. She understands that there are adult concepts at play and can avoid them, but doesn’t, and still has the most fun out of anyone. There hasn’t been a song in the last few years that quite matches “Kiss Later” for fun on every level.
1. “Let Me In” by Haseul
Ending LOONA’s first year was Haseul, with her soft voice whispering confusion of her identity on “Let Me In.” The song is the key to understanding the first five girls of LOONA, a track that rejects common pop rules in favour of building a unique world. Written and Produced by 오레오 [Oreo] and arranged by 웅 킴 [Oong Kim] “Let me in” is a purely orchestral song with no regular beat or modern instruments. Among this Haseul restrains herself at first. Her voice, pitched beautifully high, tells of a love so strong she feels like she is becoming one with her lover. These joyous feelings are highlighted by stunning musical details, including the tweets of a piccolo, delicate pulls of a harp, and, most of all, the strings that constantly change. It builds a sense of history made believable thanks to Haseul tiptoeing right up to her range; her voice is strong but vulnerable. Overall, Haseul and “Let Me In” define the identity struggle that the whole LOONA project was about. On the cusp of womanhood, these girls felt the push and pull of various paths and this song contains the dangers and joys of all those paths.
How would you rank all of LOONA’s solo singles? Let us know in the comment section below. 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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On Episode 28 of KultScene’s K-pop Unmuted, Stephen Knight is joined by musician and podcaster Rhodri Thomas to discuss Jazz and Kpop. We talk about the influence of jazz on a dozen Kpop songs. We also discuss our K-pop Unmuted picks, The Snowman by Jung Seung Hwan, and Bboom Bboom by Momoland.
You can listen to this episode, and previous ones, of KultScene’s K-Pop Unmuted on Soundcloud, iTunes, and Stitcher.
Let us know what you think of K-pop in 2017’s latest and KultScene’s K-pop Unmuted 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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This week for our K-pop faves, we picked very diverse picks. From R&B, to soloists, to up and coming boy bands, here are the songs that stood out to us the most.
“Swimming Pool” by George (Released Mar. 3)
The last couple of years have seen a surge of R&B acts in Korea, and while not all of them are particularly good, there are a few that stand out. George is one of such artists I’ve been low key keeping tabs on. His latest release, “Swimming Pool,” is chill and depressing and is just such a #mood for colder days or when you’re PMS-ing. The singer produced the song all by himself, proving that he has the chops to join his contemporaries as a fave in the scene. It is, after all, barely his third single, so I can’t wait to see how his artistry and career play out.
—Alexis
“Idle Song” by Jeon Soyeon (Released Feb. 28)
Cube Entertainment’s plucky little secret weapon, Jeon Soyeon came back this week an interesting track called “Idle Song.” Written and produced by herself, along with “Flow Blow,” “Idle Song” is about a stagnant romance. After a long time, Soyeon and her lover have become too comfortable with each other. She’s reminiscing at times about how much she loved this person, but now it’s so far gone she can even criticize his Stussy hoodie (shock horror). The music follows her languidly. It’s basically just a continuous bluesy guitar riff, a beat, and a few scattered keys. Soyeon raps over with her irresistible charm. She switches between rapping and singing with such ease that they eventually seem to be the same thing. It’s a unique quality that even labelmate Hyuna can’t quite grasp. Everything combines to perfectly express the discontentment of her words. It’s not merely a sense of boredom that she’s conveying, the guitar gives it that feeling of love and the sense of a past. It’s a sad realization that even the best things must come to an end.
SF9 got on the radar of a lot of people (including myself) with their last comeback, “O Sole Mio.” At first, “Mamma Mia” could seem that it would go for the same style of its predecessor, due to the title in Italian language. But instead, the FNC Entertainment boy group went for an upbeat song with reminiscences of rockabilly music and other 1960’s sounds this time. It’s definitely their catchiest release so far. I love how the chorus stands out from the harmony of the verses and intro/post-choruses, and overall, I absolutely love the spectacle, musical, and theatrical vibes. For someone who doesn’t really stan a lot of boy groups, I’ve been getting impressed by SF9 way too much, and if they continue to release songs like “O Sole Mio” and “Mamma Mia,” I think might become a big fan.
—Ana Clara
“Stuck On” by Kim Sungkyu (Released Feb. 26)
INFINITE’s Kim Sungkyu has always had solid albums, and his first full album 10 stories is similarly so. An elongated, perhaps not as tightly produced, rehash of his electro and synth-pop 2015 27 EP, my personal standout track is the hypnotizing “Stuck On.” Blending electronic beats and a simple piano melody, the B-side packs a powerful emotional punch and one of his best performances on the album, not at all diminished, and perhaps even enhanced, by the heavy vocal distortions. He chose to perform it at several music shows alongside the single “True Love,” and it’s absolutely glorious to hear Sungkyu’s clear vocals interacting with the echoing backing track.
I first heard this song on the variety program All the Butlers, when Jeon In Kwon (vocalist of Deulgukhwa) performed it for the members at the end of their stay with him. It brought the members to tears, and the strong emotions of the song were indeed very moving, even if I wasn’t privy to the socio-political context of the song. On his recent appearance on Yoo Hee Heol’s Sketchbook, INFINITE’s Kim Sungkyu performed a toned down but equally touching version of it, displaying his musical-trained impressive vocal abilities through the entirely live performance. With his clear, sweet voice, Sungkyu conveyed in his own way the desperate sentiments of the song, and brought a new meaning to it.
—Anna
“Daydream” by J-hope (Released Mar. 1)
After countless mentions, teasers, and false alarms, BTS’s J-hope was able to finally drop his debut solo mixtape, Hope World, this past Thursday, becoming the third member to do so after RM and Suga (aka Agust D). Along with the “Hixtape,” the colloquial name fans ascribed to the album, the rapper also released a pop-art inspired music video for “Daydream,” an artistic direction that suits the modern funky song to a T. It addresses the deep, unattainable desires with profound psychedelic elements, using bouncy beats as a framework for whispery vocals. Like the references he makes to Lewis Caroll’s psychedelic novel Alice in Wonderland, we are able to get a better sense of these mirage-like dreams when we take everything in holistically.
—Shelley
Let us know your favorite song of the week 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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WJSN/Cosmic Girls had a pretty disappointing 2017. After releasing the best song of their short careers “Secret” along with an otherworldly concept to match their name, they turned to something more simple; “I Wish” had elements of the girl group’s concept in the music video but none in the music, and “Happy” was a complete 180 turn. Sticking to concepts isn’t something that groups should always do, and it is in fact often discouraged. But WJSN’s was perfectly pitched with “Secret.” So it’s no surprise then that they see a return to that style with their new single “Dreams Come True,” a strong return to form.
Song
Even though it comes months later, “Dreams Come True” feels like a direct sequel to “Secret.” This time helmed by producers Full8loom, WJSN bring their unique vocal flavour to a mix of europop synths and orchestral pop. Full8loom do a good job of replicating e.one’s style on “Secret,” combining electronics and an orchestra to create WJSN’s cosmic sound. The synths give it the classic sci-fi feeling while the orchestral elements sends it into the stratosphere.
It is clearly not a rehash though. “Secret” was decisive, an almost complete song right from the beginning. “Dreams Come True” takes more time to reveal itself. “Secret” would swap between its synths and strings within a section whereas “Dreams Come True” devotes whole sections to a particular sound, slowly adding elements to prepare for the climax. “Secret” was a song about hidden feelings, the anxiety of simultaneously falling for someone and barely knowing who they are while “Dreams Come True” is about bridging that gap, a song about gradually building the courage to give yourself to someone.
As the music begins its ascent, it is ambiguous. The girls are tasked with being the major deviations at the front of the song. WJSN have a lot of vocalists that have similar sounding voices but with noticeably different timbres when lined up. In the first verse it moves from Seola’s divinely clean voice, to then a quartet of Eunseo, Mei Qi, Bona, and Xuan Yi. Eunseo goes against the grain type by pitching high, accentuating her slightly nasally voice which meshes well with Mei Qi’s sensual whisper. Bona is more conventional and sets up the true alien of WJSN, Xuan Yi and her tiny and distinct, almost vacant voice. The sense of nervousness is clear with each one’s delivery: Eunseo complains that, “When we pass by we seem like strangers,” and Mei Qi replies, “And I hate thinking about it.”
Dawon takes advantage of the diminutive Xuan Yi to bring the power and lift the song as only she can. She represents the bubbling confidence of WJSN as she bellows, “It’ll become a miracle, It’ll pull us together, It’ll make our dreams come true so…” This line has its own weird internal rhythm. Dawon is fitting as much as she can into the bar, ignoring usual resting spots. Whether or not she is ready to believe what she’s saying, she knows she doesn’t have a choice but to trust it.
From there the chorus hits,at first with a thud and then grows as it goes on. It’s given time to breathe and slowly differentiate itself from the verse, andit finally ends with the opening signature synth which even Cheng Xiao can ride with ease into outer space.
Exy’s rap represents the biggest vocal shift of the song and the music follows her. Holding on to the electro tone of the chorus, it shifts into dubstep as Exy slows things down and opens with the ominous line, “I am in the dark.” Her rapping is nicely crisp but gets slightly more emotional as it goes on, increasing in tempo as she starts to move out of the dark. Finding courage, the beat intensifies and continually adds drum fills that changes the second verse.
The bridge’s stunning quiet moment is the highlight. It has time for four of the girls to sing variations of the same scale, while the track reduces itself to just strings, a few keys, and some beautiful harmonies. It’s a stunning moment of clarity and tension, as if the whole song was leading to this point rather than the actual climax. It contextualizes the cosmic dramas of their lives in terms of their lover’s dreams. “You and me to be drawn as a dream, it will be done as you dream,” they repeat, finding the hope of their love in the short moment of peaceful stillness among the shifting scales of the track.
“Dreams Come True” continues one of the better visual collaborations in K-pop as Kim Zi Yong and Fantazy Lab return to direct the music video. It is definitely a sequel to “Secret” as we see some references from it including the book with the iconic phrase, “Have you ever felt cosmo inside of you?” In “Dreams Come True” the girls are separated by space and time and are faced with the threat of a giant wormhole opening up over Seoul. There seems to be human versions of themselves that inhabit Seoul and the cosmic versions who are in a heaven type area who stay connected via phones. They work together to call down Bona from her flying space bed, and she flies straight into the wormhole, destroying it.
This is all communicated much more elegantly in the video by Kim. No one is better at connecting the real and imaginary worlds with special effects than he is. He uses a large amount of smaller moments to build his world. Each image has very simple fantasy elements executed perfectly, but this formula is slightly tired at this stage. Compared to “Secret” it’s not much better or worse but doesn’t have the same surprise factor. It also has an unnecessary and ugly bluish colour grade. If they had gone for something closer to the wizarding world of the teasers, there could have been a lot of room to try new things. Kim Zi Yong’s aesthetic has worked well in a number of concepts and would have been unique enough to separate itself from obvious potential Harry Potter comparisons.
Overall
WJSN’s return to the cosmos has turned out to be as appropriately dramatic as can be though “Dreams Come True” lacks the dense, unique production of “Secret” that lends it its immediate qualities. Structurally though, “Dreams Come True” betters “Secret.” It produces an epic scale from disparate parts coming together and finally disappearing so the girls can dream clearly.
WJSN's "Dreams Come True"
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https://kultscene.com/wp-content/uploads/2018/02/ssis.png800800Joe Palmerhttps://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngJoe Palmer2018-02-28 06:26:192018-02-28 06:26:19WJSN’s “Dreams Come True” Music Video & Song Review
