Ever since the conclusion of JYP Entertainment’s survival reality program Stray Kids, where the nine members of the group took part in various challenges set by the company to prove that they were able to debut as a whole group, the victorious (and complete!) group was busy with promotions for their pre-debut EP, Mixtape, which featured the group’s tracks that were mostly performed during the program.
Following its release, Mixtape proved to be a fan favorite and topped charts in the States, and also proved to encompass the essence of what is unique about this group and, by extension, showcased the new direction that JYP Entertainment is taking in debuting this group. All the seven tracks on the EP were composed in some way by the members of Stray Kids, be it in lyric-writing, songwriting or arranging. In particular, the members of “3RACHA,” a previously established trio within Stray Kids consisting of leader Bang Chan and rappers Han Jisung and Seo Changbin, wrote the lyrics for all the songs and took part in the music composition for six of them. The ownership and individuality shown here is rare in the K-pop industry, considering this is a group who has yet to officially debut.
It is even more surprising considering JYP’s usual management of their groups. With the exception of rock band DAY6, whose debut EP was also composed of songs created by the members, JYP’s boy groups mostly started out with EPs and title tracks composed by Park Jinyoung himself (i.e GOT7’s “Girls Girls Girls” and 2PM’s “10 Out of 10”). The members of these groups eventually went on to create their own music for their later albums and title tracks (i.e Jun K’s “Go Crazy,” JB’s “You Are”) after a few years, which is a common practice in the industry. Stray Kids releasing Mixtape could thus be an indication of a shift in JYP Entertainment’s priorities for their new groups: no longer are they optimizing safe and polished debut performances but instead highlighting releases that showcase more musicality and creative freedom. Perhaps this is to align with the current trend of self-composed music in the industry but whatever it is, it is definitely paying off for Stray Kids.
The exceptional composing skills of the members, especially the members of 3RACHA, were constantly displayed throughout the program, an instance being their rap face-off with YG Entertainment trainees, where Changbin and Jisung wowed with their original track “Matryoshka” (from their third mixtape, Horizon).
Since last January, the trio have been releasing their original tracks through SoundCloud and YouTube, with a total of three mixtapes out at the moment. The exposure they received as trainees does explain their prowess now especially for long-time trainee Bang Chan, who has so-far single-handedly done the producing and mixing for most of 3RACHA’s tracks, with Changbin and Jisung contributing to the lyrics.
The trio’s experience shows in their works, and really helped the entire boy group establish a very unique musical identity right off the bat. With the music video of “Hellevator,” the title track of “Mixtape,” racking up millions of views on YouTube before the reality show even premiered, anticipation was high for Stray Kids thanks to this intense song which highlighted the various strengths of the members, in particular their synchronized dancing. The group continued to impress with their music through the missions on the show, where they took on challenges such as performing at a live broadcast and busking on the streets.
While the group as a whole is definitely still a rookie one, especially with regard to the vocal areas, Stray Kids has proven that they can (and do) distinguish themselves from other rookie boy bands, not just musically but with their fresh personalities as well. Often displaying tough and charismatic images on stage, they played up their youthful charms on the show once off stage and even now on the occasional V-live broadcasts that they do. With an average age of 20 (youngest member Jeongin is a 2001-er), the members are cute and playful especially when they interact with each other.
Speaking of which, the unity of this group is remarkable, despite only being formed a few months before the show. Perhaps this is where Stray Kids differs most from Sixteen, the survival show from which TWICE was created in 2015. In Sixteen, the 16 members competed against each other to get into the seven member group (it was later changed to nine members), which naturally created a lot of rivalry among the members. Stray Kids, on the other hand, was promoted and run as a show where the group “fought” with JYP to debut together. Their adorable friendship and dynamic were on display from the start, and got viewers passionately rooting for the group to stay together. The most unique part of this survival show was the lack of competition between the members and the cooperation they displayed. There was very little “fighting for the main part” that often goes on in such shows, and instead, there were so many moments where the more experienced members sacrificed their own practice time to help those who were lagging behind or in danger of elimination. The hard work and effort that the whole group put in to help each other improve led to heart-wrenching and tear-jerking moments for members and fans alike when a few members ended up being eliminated through the course of the show (they were eventually brought back in the final mission), further endearing the group to the viewers.
With all the hype and popularity Stray Kids has already gotten so far, their debut is definitely a highly-anticipated one. It still has to be proven if the “free-reign” direction JYP is taking with this group will last in the future, but for now, it’s producing results and I cannot wait to see how far this group will fly from here.
Have you been keeping up with Stray Kids? What do you think of the new direction JYP is taking with them? 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/2018/02/sk.jpg5001000Anna Cheanghttps://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngAnna Cheang2018-02-27 19:25:592018-02-27 19:25:59Stray Kids: JYP’s new direction
This week for our K-pop faves, we turned to up and coming faces that we’re all familiarizing ourselves with. To balladeers to rappers to amazing SM Entertainment performers, these are our faves.
“Francesca” by Hash Swan feat. Dean (Released Feb. 21)
Earlier this week, the rapper and Show Me the Money alumni Hash Swan dropped his second mini album, Alexandrite. The record features a slew of famed producers, such as Cha Cha Malone and Gray. For the album cut “Francesca,” Hash Swan teamed up with Dean and delivered a “Havana”-esque tune. The rapper’s laid-back flow paired with Dean’s own signature crooning plus rapping create a mellow vibe and is a low key bop.
“Baby Don’t Stop” by Ten and Taeyong of NCT U (Performed Feb. 24)
So it’s not technically out yet until tomorrow, but Taeyong and Ten‘s NCT U duet of “Baby Don’t Stop” premiered on the 24th, so it counts for this week. The minimalist track utilizes digitized drum beats and a smooth bass riff to provide a melody over which Ten and Taeyong alternate between smooth crooning verses and deep-voiced raps. Both are known as dancers in the group, and the performance perfectly pairs their dynamic grace. The best part about it, personally, is that it gives Ten a chance to fully show off his vocals, in a way he wasn’t necessarily able to do in NCT U’s “The 7th Sense” or even own solo “Dream In A Dream,” where the ambiance overtook his vocal delivery. But with a clear tone and his charisma that has made him NCT’s No. 1 Bias Ruiner, “Baby Don’t Stop,” at least the performance version if not the single and MV itself, give Ten that moment to shine while countering it with Taeyong’s smolder. It’s honestly one of the most mature sounds NCT’s shown off so far, and I’d love to see more of it.
Coming off the success of his first mini-album “His Voice,” balladeer Jung Seung Hwan made his return to the K-pop scene with his first full album Spring Again. While it is mostly an album of slow ballads, “Excuses” stands out for the amazing vocal technique and range he displays in this song. From the instrumentals which come across more harshly here than in the other tracks to the overall more angsty mood of this song, there is ample room for Jung Seung Hwan to express himself here, and he pours in his emotions in a way that he’s never done before. For me, “Excuses” beats out even the title track of this album, “It’s Raining,” and it shows his immense growth as an artist even over the short span of this year, evidenced also by how he wrote the lyrics of this song (and others in the album) with his CEO Yoo Hee Yeol. It’s only the beginning for this talented vocalist, and I can’t wait to listen to more.
—Anna
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.
Following the resignation of CEO Na Byung Joon under controversial circumstances, Fantagio Entertainment and all its artists’ short term futures were in doubt. Weki Meki were one of those groups and had apparently been preparing a comeback as the news broke. Thankfully things settled down enough for them to bring their follow up to debut mini WEME and divisive single “I Don’t Like Your Girlfriend.” They have done that in the form of Lucky, their second mini album which seems to be going as far from their debut as can be. “I Don’t Like Your Girlfriend” was a song of many contradictions and the album it came on was equally filled with ups and downs. As an album, Lucky is tonally much more coherent and an easier listen. Let’s find out if that’s a good or bad thing.
As is common in K-pop minis, Lucky opens with an intro track by the same name. I love K-pop intros. At their best they are abstract representations of the albums that follow it. They don’t have to follow pop rules so tend to be the most unconventional K-pop can be. They can also be like “Lucky,” acting as a slightly remixed and shorter version of the single it precedes. Alongside “La La La” producer Rodnae “Chik” Bell; Hyuk Shin, MRey, and Ashley Alisha (all members of the Joombas Music Group) are the composers here and don’t do much to alter “La La La.” It sounds like they put the harsh processed drums of “I Don’t Like Your Girlfriend” underneath and added heavier bass. As an intro it doesn’t differentiate itself enough from the follow to warrant inclusion.
The lead single “La La La” is, unfortunately, similarly derivative of much more interesting songs. In what seems like a response to criticism of their debut, “La La La” has the energy of “I Don’t Like Your Girlfriend” without any of the eccentricities. It replaces the electronics with a variety of guitars and brass in favour of a more traditional pop stomper style. Vocally, it stifles them. The members are restricted to trying more soulful singing and straightforward rapping. On “IDLYG” the girls could just about match the gleeful twists and turns of the track, pulling it into something that works. On “La La La” they do nothing to change the direction of the song.
This is best evidenced by the chorus’ lack of movement. Musically it has an almost imperceptible change which could have been fine if the vocals went somewhere. The “laaaaa la la las” and the cheeky rap one liners are nowhere near enough, though. Wherever you lie on the “IDLYG” scale, this is a major disappointment as the highly anticipated successor.
Luckily though, Weki Meki may soon become the queens of b-sides if their albums continue work like this. “Iron Boy,” produced by the Full8loom team, is the third track and a delectable slice of 80s style electro pop. Like all great retro tracks the key to success is a juicy bass line. On “Iron Boy” it gets things going alongside Doyeon’s slight but sultry voice. From there it blends more physical elements like a guitar with some wonderful synths. Like “La La La,” its structure doesn’t do anything new. But crucially it has musical progression. By the time the chorus comes along there is now spurts of brass and fluctuating synths. There are layers to its production and the members fit it well; Sei and Suyeon’s vocals in particular stand out, as they seem just about caught in the back of their throats in a childish but powerful way.
“Metronome” is much more modern. Producers Trippy and Le’mon weave a heavier house riff around the more indifferent vocals of the girls. A piano is used to create some sense of emotion in contrast to the bassy synths. It is in a sense monotonous like its title would suggest. The song transitions using the piano parts but does so with such nonchalance that it suggests that Weki Meki feel that thin line between dancing and emoting.
Full8loom return for the final two tracks “Colour Me” and Butterfly, both of which continue the retro theme. “Colour Me” is very much in the Bruno Mars mold of nostalgia. Disco synths and funk beats meet to create a super comfortable feeling. It gives the girls some room to stretch their vocals, even more than previous songs. In the pre-chorus there are some great harmonies, and the chorus has a variety of strong high pitches and whispers.
“Butterfly” is the epitome of a winter cash in. It’s plodding retro bass drum and chimes are cliched almost to the point of parody here. It is a cover, however, of “Butterfly” by Loveholic, and these parts are there to make it relevant to the Winter Olympics. The chorus remains utterly impressive. Bonus points for the adorable sign language choreography. Minus points for reminding me of “Do They Know It’s Christmas?”
Lucky is a settler for Weki Meki. Their rocky debut might have slowed their potential ascent thanks to Doyeon and Yoojung’s fame but it also made them distinct. Lucky doesn’t quite have the ballad lows or the “Fantastic” highs of WEME, and honestly suffers for it. Given a stronger single it could have been the perfectly solid mini they needed. Instead it falters right from the beginning and spends the rest of its run time trying to catch up. It is slick from there on in but not quite unique enough to match the Weki Meki we have come to love or hate.
Weki Meki's "Lucky"
3
Let us know what you think of Weki Meki’s “Lucky” 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/2018/02/28342643_954959777995167_1898900365_o.jpg6661000Joe Palmerhttps://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngJoe Palmer2018-02-22 05:38:562018-02-22 12:46:51Weki Meki’s “Lucky” Album Review
2018 is shaping up to be a great year for K-pop releases, given how strongly artists have started out the year. This week in February was no different, with a few comebacks from many familiar names we’ve been waiting on for awhile even amid the Lunar New Year industry-wide hiatus. Here are some of our faves.
“Boss” by NCT U (Released Feb. 18)
I went into this NCT U “comeback” very upset because I’m a Ten stan. Even though SM Entertainment announced that U’s lineup was rotational, I couldn’t understand why they weren’t including the talented dancer once again. Those feelings were momentarily interrupted once the music video for “Boss” finally dropped today. Though the focus is, predictably, on NCT’s trinity — Taeyong, Mark, and Jaehyun — we were introduced to two new members, Lucas and Jungwoo. Win Win was also added and, like with 127, was ignored (though the boy served major looks!). “Boss” resembles NCT 127’s concepts more than “The 7th Sense,” being hard-hitting and relying heavily on hip-hop rather than being experimental. And while the song’s arrangement and line distribution were pretty predictable, the surprises came mainly in the form of a rapper other than Mark and Taeyong (this time Lucas) having a verse all to himself (and murdering it, mind you) and Jungwoo’s vocals blending perfectly with Doyoung. “Boss” is yet another gem in NCT’s growing discography and, like with every release, further proved that there’s nothing they can’t tackle and completely own.
With the recent release of a music video for “Sober,” Suzy’s self-composed ode to blurting out your true feelings while drunk just about qualifies for this week’s playlist. Suzy’s solo career has been somewhat smaller than you’d expect from a star as big as her but it has luckily been extremely composed. She’s one of very idols who can walk around a stage and completely captivate with a mere glance. On the b-side to her second single “Holiday,” Suzy effortlessly whispers her way through a minimal track of precise sounds and movements. Produced by EJAE, Aaron Kim, Isaac Han, and Andrew Choi, “Sober’s” instrumental is mostly percussion and handclaps, with the odd bubble popping to highlight certain elements. It’s a song of pure confidence and comfort. Singing her own words Suzy knows her limits and beautifully blends with the music to create that easy feeling. It’s believable that a performer like Suzy could be this comfortable while drunk but it turns out she was tricking us this whole time. Her confidence is very real and not clouded by alcohol as she reveals in the last line, “Baby, let me be honest with you, don’t be surprised, I’m not drunk at all, I’m sober.”
—Joe
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.
What happens when you put together Latin roots and K-pop? The answer lies in singer and dancer Samuel Arredondo Kim. Known as Samuel in the K-pop scene, he was born in Los Angeles to a Korean mother and a Mexican father, making him one of the few Latino K-pop stars. He became a huge hit at just 15-years-old, proving that age is really just a number.
When Samuel, now 16-years-old, first made his solo debut last August, he immediately caught my attention as well as the attention of many others. And not just because of his unique cultural background. He possesses certain star qualities and a seemingly inborn talent that distinguishes him from others in the industry. His career began at a very young age when he appeared in commercials for a Volkswagen dealership in Bakersfield. In these videos, we see a young and goofy Samuel, gushing about the cars on screen, constantly flashing a cheeky smile. He even sports an oversized suit and tie and speaks fluent Korean, adding to his more-than-adorable image. His comfort and ease in front of the camera makes it obvious that Samuel was born to be a star.
At age 11, he moved to Korea to begin his training with Pledis Entertainment. While a trainee, he was in the lineup to become a member of boy group Seventeen and appeared in the live broadcast series, Seventeen TV. In these broadcasts it is not difficult to spot Samuel as he is the youngest of the group and quite visible. He is so small compared to the others, that before watching the video, I questioned whether or not he was a part of the group and whether or not his skills would be up to par. However, when he starts to dance, there is no doubt: it is indeed the young prodigy. In fact, he dances with such skill that he blends in with the rest of the group despite the obvious height difference. Unfortunately, Samuel left Pledis Entertainment and was unable to become a member of Seventeen.
That’s okay though, as it did not stop Samuel from pursuing a career as a K-pop idol. In fact, it was probably for the better as he embarked on a path that would transform him into the Samuel we see today. Shortly after leaving Pledis Entertainment, he signed with Brave Entertainment and became one half of the hip-hop duo 1Punch. They debuted in January 2015 with “Turn Me Back,” the title track of their album, The Anthem. The music video shows Samuel, now a preteen, sporting dreads and an outfit that is highly characteristic of the hip-hop genre. Though his appearance is drastically different, it is still undoubtedly Samuel as only he could possess such advanced dancing skills at such a young age. Although the “Turn Me Back” music video does not adequately show off his full skillset, Samuel is still able to give off a hip (yet adorable) vibe that catches people’s attention.
Not long after their debut, 1Punch disbanded after fellow member One joined YG Entertainment. However, Samuel retained his stage name “Punch” and collaborated with American rapper Silentó in “Spotlight.” This catchy single won them the 26th Seoul Music Award for Global Collaboration, and Samuel later went on tour with Silentó. The fact that he was able to go on tour at his young age proves he has the stamina and qualities of a star and was a good indicator of his future successes.
Samuel’s next big moment came when he joined the survival reality show Produce 101’s second season at the beginning of 2017. He immediately stood out to viewers with his indisputable talent, and even co-choreographed his team’s performances. One of Samuel’s most memorable performances was his performance of Chris Brown’s “With You,” where he displayed incredible footwork and, to the viewers’ pleasant surprise, even lifted his shirt to give a quick peek of his abs. It’s evident through this performance that Samuel has grown and matured so much since he first began his career in Korea. He was such a favorite throughout the show, that people were shocked when he ultimately did not end up making the cut for the 11-member boy group.
Samuel’s true breakout moment came in August 2017, when he finally made his solo debut with “Sixteen,” the title track of his album.. Just when we thought he couldn’t get better (or cooler), he did. Sixteen was so successful, that the first batch of physical copies sold out, with the title track reaching number one on the iTunes worldwide album charts in Vietnam, Indonesia, and other Asian countries. It’s clear to see why: “Sixteen” is such an irresistibly fun bop that it’s quite impossible to not feel the urge to jam and dance along to it. In the video, we also see an obvious transformation in the young idol’s image. Instead of the adorable persona he once exhibited, viewers find themselves charmed by his cool charisma and attractive visuals. If that wasn’t enough, his vocals and choreography once again improved by tenfold, wowing fans even more.
Not long after that, Samuel released his second album, Eye Candy, in November 2017, which didn’t disappoint with its equally catchy songs. His most recent release was his birthday single, “Winter Night,” which he released January 16, one day before his birthday. Although the rhythm is slower than what we are used to from him, it still shows off his awesome vocals, proving that he is capable of a diverse range of musical styles.
As Samuel has already accomplished so much at such a young age, it’s exciting to see what else he will achieve as he continues to grow in his career and all eyes are on him to see what he does next.
Let us know what you think of Samuel 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/2018/02/20228873_1428466017221237_5501712719689624518_n-e1518214492393.jpg657955Jolene Chaohttps://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngJolene Chao2018-02-09 18:01:152018-02-09 18:16:23Artist Spotlight: Samuel
In the 27th episode of of KultScene’s K-pop Unmuted, Stephen Knight, Joe Palmer, Tamar Herman, and Gabriel Wilder reflect on the best moments and songs out of Korea in 2017, and even give out some of their own unique awards.
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.
https://kultscene.com/wp-content/uploads/2018/02/kpop-unmuted-logo.png15001500KultScenehttps://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngKultScene2018-02-07 06:56:092018-02-07 06:56:10K-Pop Unmuted: 2017 Awards – Part 2
Between starting the year with a tour in North America and ending it as a mentor on the career-reboot show The Unit, 2017 was a busy year for Hyuna. With the disbandment of 4Minute in 2016, we might have thought that it would mean one less possibility to see her in the media. However, Hyuna surely made up for the absence of the group by promoting in a diversified range of activities, between solo projects and her work other Cube Entertainment artists, and it was a year filled with the best version of Hyuna the world has ever seen.
2017 was the year we got to see many of Hyuna’s previously unseen colors. Her star quality was evoked when she lent a hand in CLC’s transition of concept, plus she wrote the lyrics for their single “Hobgoblin” and styled the music video. She also took part in the trifecta Triple H, formed along with Pentagon’s Hui and E’Dawn. But it was in solo promotions that we saw the most interesting sides Hyuna showed this year — or, I dare to say, the best of her entire career.
While 4Minute always had a powerful concept, Hyuna’s sex appeal was too strong to be restricted to a role in a group (although, needless to say, she outshone the rest anyway). Noticing that, her agency branded her as an outrageous bombshell, which resulted in solo works mainly based in catchy electronic bops and sassy music videos. And, of course, the provocative duo Troublemaker, formed by her and former member of Highlight, formerly known as Beast, Jang Hyunseung (even if their comeback is long overdue).
The exploration of Hyuna’s image through an outrageous concept, like said before, made it less credible for me, to the point that I’ve always had a hard time liking Hyuna, because sometimes it seemed that she was trying too hard to look like a bad girl. And, while I believe that she holds enough sensuality and fierceness to make it unnecessary to bring out these attributes 24/7, I also believe that the most wrongful side effect of it was making us think she was a one-trick pony. She definitely isn’t. And her latest releases “Babe” and “Lip & Hip” prove just that.
Although it’s not exactly a ballad, “Babe” was the softest thing Hyuna has ever done, both sonically and aesthetically. The lyrics about living a love that makes her feel younger, together with the music video that shows her in light colored dresses and high school skirts, were definitely surprising. The Hyuna factor was still there: hip-shaking, dancing between boys, her unmistakable rapping. But it was definitely refreshing to see a slower paced song and a bit less party-hard image from her.
Conversely, “Lip & Hip” might seem at first like another typical Hyuna song, and sonically, it is. However, it’s the concept for the music video and her performances that has brought us the most interesting side in the “sexy Hyuna” videography. If in “Red,” “Bubble Pop,” “Roll Deep,” and “How’s This?” Hyuna was firming her image as a sex symbol, in “Lip & Hip,” she is mostly arousing us to think of sexuality (hers and ours too) in a more curious and playful approach. The song talks about a girl’s confidence towards her own body, and the visuals showcase two versions of Hyuna dealing with her puberty changes and exploring the possibilities of how she can look like.
The music video has tireless close ups of Hyuna’s body parts, but it’s different this time. We can see how “Lip & Hip” differs from her previous work if we compare, for example, her chest shootings in “Red” —obviously meant for the appreciation of third parties — and in “Lip & Hip,” where they seem more like the recording of a young girl discovering that her boobs are growing. It’s still provocative, but through a different perspective. It is relevant to say that showing cleavage is not well received in Korea, and by showing hers, Hyuna is not only defying Korean taboos, but also defying us to think of why a natural part of the female body is so sexualized. If you didn’t catch this, you’ve been successfully manipulated.
This video plays with your mind, going from Hyuna dealing with braces (symbolising teenage struggles) to the rapper doing a sexy dance with a bustier (symbolising her grown woman attitude) in a few seconds. Of course, the type of scene that catches the most attention is the last one, and it will make you think “Lip & Hip” is just about Hyuna being the Hyuna she’s always been. But make no mistake: this is her most unique and clever music video so far.
Overall, a good synthesis of “Lip & Hip’s” smart irony is the end, as Hyuna leaves home with torn pants that let you see her underwear, alluding to her previous sexy and daring figures in past releases. But, joke’s on you: she doesn’t appear internationally sexy or desirable, she’s just looking like a normal young girl, with glasses, a backpack, and a bear. After all, panties are just a piece of cloth made to cover a piece of skin, aren’t they?
Well, of course you don’t need to doubt your own sanity if you missed the point of the music video and only saw Hyuna’s body and sexy dancing. There is, indeed, a lot of intentional sexual content in “Lip & Hip,” both in the music video and in the performances she has done so far — but, that’s not all there is to it. And that’s where my complaint lies: Hyuna has always been sexy, but why is that the only concept we’ve seen of her so far? “Babe” and “Lip & Hip” have shown that she can be sexy while also exploring different nuances, and I just wished Cube hadn’t waited so long to show it. After all, Hyuna is more than just pretty lips and hips, but we don’t really see that a lot.
Now that we’ve seen different sides from Hyuna, I believe that there’s enough room for her to keep shining and doing amazing things. 2017 was the year that Hyuna showed that she has what it takes to last in this industry, and she definitely deserves to.
What was your favorite moment of Hyuna this year? 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/2018/01/HyunA.jpg5601000Ana Clara Ribeirohttps://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngAna Clara Ribeiro2018-01-26 11:07:592018-01-26 11:07:592017 Hyuna was the best Hyuna
Last year, South Korea was overrun by some great new music, and some of that music came with beautifully shot music videos that had the KultScene team enthralled. So here we present our best K-pop music videos of 2017.
“Goodbye” by 2NE1
From the standpoint of my emotional attachment to 2NE1, this video, the group’s last, is still difficult for me to watch. At first glance it is easily the group’s darkest music video, filmed entirely in black and white. Starting with CL arising on a bed of roses and candles, she passes in front of projections of past music videos, concert footage, and photoshoots. Most notable is the inclusion of Minzy in the video clips, not as a passing member but sometimes as the sole focus of the video, despite the fact that she wasn’t included in the song at all and had previously left the group before the group disbanded. The visuals remain equally depressing throughout as Dara sits on a staircase full of candles, and passing shadows of Bom eventually materialize into her appearance in the second chorus.
Every depiction of group activity, from bowing at concerts to smiling for pictures, is a painful and evocative shot for fans watching. It grows even more painful when one tries to interpret the video’s abstract stylings such as Dara’s veil, the shiny curtains, etc. as having some sort of deep meaning about the group’s disbandment or future.
The most striking moment of the video, however, is the last second, when the three of them lay together on a bed, Bom and Dara cuddled around leader CL in the group’s final shot together. As a Blackjack, I’m thankful that, despite all the scandals and confusion leading up to disbandment, at least 2NE1 dropped a high-quality, gut-wrenching final video for fans to reflect on before the members went their separate ways.
—Kushal
“Hands Up” by B.A.P
What comes to mind when you hear the phrase “hands up”? For some, it could mean to have fun, like when the DJ at the club or event tells everyone to put their hands up. For others, this phrase can make them tremble in fear, like being held up. Fortunately, unlike the negative perception that surrounds this phrase, B.A.P’s recent comeback with title track “Hands Up” off of their 8th single album Ego, is about shooting for the stars and living out that dream you’ve been dreaming about. The music video starts off with the camera pointed at the blue skies up above, panning down at member Himchan as he raises his hand. To have him be the face we all see at the beginning of the music video, with hand raised, actually makes a lot of sense considering the fact that he’s usually the first member at a B.A.P concert to tell the audience to put their hands up.
To help correlate the lyrics “Ayo, believe in yourself this moment, put your hands up to the sky toward your dream, hands up” it’s no wonder a lot of the choreography had various hands up movements for each verse. There’s a sense of empowerment everytime they lifted their hands up pointing towards the sky, to never back down and to strive towards whatever it is you want to achieve in life. B.A.P usually doesn’t have this many dancers in their music videos but it was a pleasant change, especially since it gave the video a “this is my squad and we’re going to live it up” type of arua. Aside from the 8 second (and very unnecessary) intro that TS Entertainment always puts at the beginning of every B.A.P music video, “Hands Up” is a reminder to everyone, no matter how old, to break free of whatever stigma that might be holding you back and to fight for your freedom. Let this be the new anthem to inspire.
—Tam
“Power” by EXO
While the song itself might leave something to be desired, the music video is anything but. Replete with self-deprecating humor and Easter eggs, it is a fresh tongue-in-cheek change of pace from the usual deadpan concepts we are used to seeing from EXO. The melodramatic opening is a jab at the phalanges-curling “Mama” introduction, which then flips to a scene of elves on a far-out planet, a beckon to a segment the boys have done before at their EXO’rdium concerts. The narrator leafs through more pages of the comic book of a video, skipping past references to their parallel universe teaser and “Love Me Right” era, until we arrive at the appropriate page, a strip that has the members wrestling against a robot with one of Dr. Octopus’s mechanical appendages. The rest is straight out of a sci-fi action film, with every cut as busy and entertaining as the last. Nothing must have came cheap. The modish 3D animations vibe well with the 2D Cartoon Network-esque artwork, while the random transitions amidst all this to toys, falling orbs, kittens, and Power Ranger sequences are imaginative and kitschy. The editing and production value is by far one of the best K-pop’s ever seen. It’s really nice to know that at least all that EXO money is being put to a good use.
And then there’s the ending. Following the members’ show of superpowers (yes, one final nod to the pre-debut EXO lore we all hate to love), the convivial tone takes an abrupt turn for the dark and mysterious. Baekhyun falls out of the sky and into a body of water, looking suffocated and dazed. It seem like it could be a preview to something for “Sweet Lies” off of the same THE WAR: The Power of Music album, but until this cliffhanger is explained, the music video does not really have any closure. In the meantime, we can only settle on the fan theories.
—Shelley
“Lip & Hip” by HyunA
HyunA isn’t afraid to be herself and come out with a funny concept while remaining true to her aesthetics that she’s been showing us in her solo career. The music video for “Lip & Hip” is full of sexual innuendos and double meanings that had some viewers laughing out loud and other ones gasping and thinking to themselves, “Is this video going to get banned in Korean TV?”. HyunA owns her sensuality in a very sexy and smart way on this music video. Even if she flashes her cleavage or her derriere it doesn’t seem vulgar. “Lip & Hip” is one of those videos that if you pause it you can literally find really cool references and little well thought details that were created by amazing art direction. One really good example of this is when HyunA is sitting in the toilet, if you pause it and take a look around you’ll see how with every little detail they are defying what society thinks of femininity and how a woman should look. Once again HyunA slays us with one her funniest music videos and gives us a little to think about without really putting it on our face. Yes that was pun intended.
—Alejandro
“Limitless” (Rough ver.) by NCT 127
As K-pop seemed to take a break from story driven music videos this year, it was a great time for groups to have some fun with the more cliched video styles. Nobody did this better than NCT 127 with the rough version of “Limitless.” It’s a grand song about connecting across the entire world, becoming a limitless version of yourself. Instead of supplementing this idea, the music video completely undermines it. It’s contained in one derelict setting, the members wear tracksuits and other odd clothes as they mess about with basically no point to anything. They start lip syncing in a shot and then stop to chew gum, they pose like gorillas, and stare blankly at the camera. Adding to that, it’s partially shot with an actual low quality camera and seemingly edited by a child who just learned how to use a computer. That’s not to say it’s all a big mess though. It is in fact so deliberate to border on genius. It feels like they’re making fun of the grandiose and silly videos of the other boy groups of the day namely BTS, Infinite, and EXO. As if they had to make an epic video with no budget and somehow ended up with the best postmodern K-pop video in history.
The song on its own would have been emotional enough, but this beautiful music video greatly enhanced it. Sungjin truly impressed with his acting in this video, especially since he could only do it with his expressions. He was shocked at first when he saw his ex listening to him perform, then showed through his expression that he was accepting how she had moved on and was with another guy, and finally a painful smile to show that he was happy for her. He embodied the song perfectly. I loved the way the music video built up to a climax along with the song, where at the final chorus the female lead smiles for the first time in the whole video, and the video brightens up along with the instrumentals. It was heartbreaking and uplifting at the same time, which was perfect for this bittersweet song.
—Anna
“Lonely” by SISTAR
Sometimes it’s not so much about the music video itself, it’s about the context that provides meaning to it. The disbandment of SISTAR caught everyone off guard, since they definitely weren’t lacking vitality to survive between the newer acts. “Lonely” was their goodbye, and the music video for this mellow pop ballad was a touching metaphor of their trajectory not only as SISTAR, the successful group, but as Hyolyn, Soyou, Bora and Dasom, the human beings. Even in spite of SISTAR being one of the biggest chart-topping girl groups in K-pop, what was emphasized in the visuals for “Lonely” was the ladies’ success in staying friends and being there for each other. After all, just like becoming relevant in a competitive scene is an impressive achievement, keeping good friendships for so many years in this environment is not easy either.
With a trip to Macau as a background, the music video shows a series of cute moments of the four ladies having fun together, but also being introspective and sometimes reflecting on their own. There were punctual little moments that allude to significant aspects of their history, like a scene of Hyolyn and Soyou taking a picture together, with Bora and Dasom in the background trying to make an appearance (a probable metaphor for the fact that Hyolyn and Soyou, the outstanding vocalists, received more praise than the other ladies). But what’s sweeter about those moments is that they were always followed by others when the group is complete and happy. Even when Bora is swimming alone in a pool, she afterwards found out that the other girls are behind her, watching her all the time. Even when Hyolyn, Soyou and Bora are driving and Dasom is left behind (a probable metaphor for the fact that Dasom was the least popular member), Dasom doesn’t seem rejected; she is laughing and having fun with it; and later we see them all together again. It’s for little things like this that “Lonely” is the type of music video that can make you smile and cry at the same time.
If you were a fan of SISTAR, it will bring you beautiful memories and warm your heart with all those details of the group’s dynamic. If you weren’t a fan, it will certainly touch you too, as you will be reminded that everything comes to an end, and when it happens, what’s worth remembering is the impressions you left on those you love, and vice-versa. And, for both, it’s safe to say “Lonely” is always going to be remembered as one of the most significant disbandment music videos ever.
—Ana
“Dream In A Dream” by Ten
While most K-pop songs are created with a music video as an afterthought, the relationship between Ten‘s “Dream In a Dream” and the video is different: the song serves as a dedicated soundtrack to the glorious performance-focused video. There’s something innately magical about the brightly-hued aesthetics of this music video, with a vibrant, ambient colorscape that emulates an animated dreamstate. Blending traditional and modern choreography styles together, the video focuses on Ten’s expressive physicality, highlighting his delivery of the dance moves and his facial expressions. There are three different dance scenes primarily featured throughout the video: one featuring Ten in all white surrounded by backup dancers, a second where he is performing a highly-stylized courtship dance, and a third where he is on his own, as if the other two segments are part of his solo dreams. There’s surely some deeper meaning in “Dream In A Dream” than is obvious to my unartistic eye, but even at its most basic understanding it is a magnificent piece of K-pop visual artwork that is worthy of praise.
—Tamar
“Peek-A-Boo” by Red Velvet
In a time when the cool girl concept for K-pop girl groups is nothing but a memory, Red Velvet pulled through with their last comeback of the year and cemented their position as that b*tch. “Peek-A-Boo” is a cutesy, boppy song, but the music video told a grimmer story. Decked out in amazing outfits, the girls lured a pizza delivery boy into their house with their charms and looks and pretty much killed him for sport — and implied they had been doing it to more than a few. Music video plots are rare in K-pop, especially with SM Entertainment, making “Peek-A-Boo” stand out even more so. The girls all looked sickening and completely owned the roles they were playing. Red Velvet has proven they’re not above a bit of wickedness in their music videos (I mean they did all try to kill each other on “Russian Roulette”). With “Peek-A-Boo” though, they’re taking the infantilized imagery that both audiences and, initially, their company projected onto them and pretty much destroying them. Whether the group pursues less cute concepts moving forward is still up in the air, we’ll always have Yeri hunting down the boy with an bow gun.
—Alexis
“L O O K” by DIA BCHCS
Like NCT, DIA BCHCS (a sub-unit of DIA containing Yebin, Chaeyeon, Huihyun, Somyi, and Eunice) took a classic music video formula and made it weird. “L O O K” is half Friends-inspired sitcom half 80s music video. Directing team OGG Visual uses tropes from both, and adds modern takes to each, adding vapour wave and a Twitter style confessional shot, to tell the meta story of how all the members hate Chaeyeon because she’s beautiful and popular. In a cruel turn however, Chaeyeon is still the main character and she plays it with relish. Her blank angelic face is a wonderful palette for all kinds of expressions. The best of which comes at the beginning as she smiles alongside the first synth wail. It’s a catalogue of great Chaeyeon expressions. Newest member Somyi is the other standout as she hams it up at every chance. Her face at the opening couch shot is the best mix of awkwardness and cuteness I’ve ever seen. Her excessive blinking is just right.
—Joe
“Move” by Taemin
One of the best songs of 2017 wouldn’t deserve less than one of the best music videos as well. The photography of “Move” is beautiful, the urban scenarios are amazing; everything is incredibly well designed to lay emphasis on the alluring presence of Taemin as he seduces us with a mature, sophisticated, brave, sexy performance that defies gender stereotypes. The main vehicle for it is the choreography, beautifully and intelligently created to draw attention to Taemin’s thin body line, that elegantly moves as if it’s guided by a strong yet subtle energy that does not present any signs of commitment to neither a masculine or feminine concept. Taemin and choreographer Koharu Sugawara have said that it really was their intention to make something mysterious and appealing by blending both masculine or feminine movements, and dear Lord, they made it.
It’s impossible to blink when Taemin moves his hips in the chorus; it’s so slow but so intense. It takes a lot of confidence to use body language with so much control; and his firm, mesmerizing gaze during the whole time in “Move” shows that he knows what he’s doing, he’s absolutely aware of his sex appeal and of the amount of energy that is being carefully discharged through the alternation of languid and powerful moves. Let’s make it clear, though, that when we say he’s in control, it’s not because there is something to be manipulated or hidden; instead, it seems that Taemin is exploring all the possibilities of himself, completely unafraid of being labelled in regards to his sexuality or gender. And again, we say: you have to be really, really confident to do such thing.
—Ana
“Lilili Yabbay (The 13th Month’s Dance)” by Seventeen (Performance Unit)
For any true New Yorker, there’s no mistaking the first few seconds of audio at the start of “Lilili Yabbay (The 13th Month’s Dance).” From the chattering to the honking horns to the squealing of the traffic, this is is New York City at its finest. (Or not, depending on how you feel about Brooklyn.) And laying there, on a gross, disgusting, New York City sidewalk that nobody should ever lay down on, are the four members of Seventeen‘s performance team in white outfits straight out of a contemporary dance class. But, New Yorker-bias aside, this music video in its aqua-filtered hues is one of the most glorious dance performance videos that K-pop’s ever seen. The videography follows the fluid motions of the dancers, zooming in and out in rocky motions to emphasize each key point of the dance as the quartet moves in ways that make the viewer question both the abilities of the human body and the limitations of gravity. It’s sensual and passionate while all at once overflowing on screen with a sense of classical grace; crotchgrabs and grinding are countered by smooth motions, as the four move as one and as individual entities. Seventeen’s choreography is always impressive, but it is hard not to be awestruck by the presentation of “Lilili Yabbay.”
—Tamar
“All Night (Clean Ver.)” by Girls’ Generation
“All Night” captures Girls’ Generation at their 10th anniversary prime, enjoying a girls’ night out together as girls who have been friends for longer than ten years would do. From the video’s first shot, the girls’ sequined outfits and the hazy, colored disco lights set the song in a retro dance-party, matched by the song’s retro-influenced instrumentals. Like any great GG MV, the video flashes between shots of choreography (which, for this song, is surprisingly unique and complex). But unlike “The Boys” or “Lion Heart,” the camera at times takes the role of another guest at the party, quickly panning around the setting as a tipsy party goer might. This effect is even utilized in the dance shots, focusing only on one or two members at a time and making full group shots elusive throughout the four-minute video.
This video is one of 2017’s standouts for the simple reason it shows the Nation’s Girl Group do what it does best — dance, sing, laugh, and wear beautiful, shiny outfits. With unique choreography and styling, “All Night” is simultaneously the quintessential Girls’ Generation video and an innovation on their previous work. But most importantly, it makes me want to meet up with them for a night on the town.
“Teenager” showcases GOT7’s youth and playful side with laid back choreography as they dance with relaxed smiles on their faces. The simplicity of the set and mellow choreography made it all the more fun to watch. There’s no noisy background or flashy props to take away from the members just having some good ole fun, to which you can see they truly enjoyed themselves. When member Youngjae sang this line “I don’t know why I’m like this when I’m with you. I’m so excited, everything seems fresh to me,” with that big ole grin and joy oozing out of his eyes, you could tell that he (and the other members) could relate to those words. Whether the feelings came from previous dating experiences or even with a family member or friend who truly makes you feel like you’re on the top of the world. Just like anyone else out there, idol or not, one of the best feelings you could ever ask for and receive is pure bliss, and that’s what “Teenager” showed.
GOT7’s ability to go from back and mid air flips “Girls Girls Girls” to an intense choreo full of angst and emotion “If You Do” to something so chill as “Teenager” shows their versatility and development through the last four years. Of course it wouldn’t be a GOT7 video if there wasn’t any dabbing involved, although minor usage compared to their live performances but I’ll let this one slide though, considering the rest of the music video was delightful and charming.
—Tam
“Spring Day” by BTS
I was first enthralled by BTS’s live performance of this song, but the music video ended up leaving such a strong impression on me. It wasn’t just aesthetically pleasing, it was beautifully shot and well thought out, with some subtle (and others not so subtle) references made to movies and books, like Snowpiercer and Omelas, which added layers to the video. These gave rise to a lot of fan theories about the meaning behind the music video, which were interesting to consider and made the viewing experience more enjoyable to watch (or examine). There were many scenes that resonated with me in particular, such as Jungkook joining the crowd running around him (3:23) or Jimin holding a pair of shoes in front of a tree (5:08). These scenes spoke to me about conforming to society, about being left alone, about loss. And whether or not this video was meant to be this symbolic or not doesn’t matter because of the emotions it evokes, accompanied by this very meaningful song.
—Anna
“Will You Go Out With Me” by DIA
The best kinds of music videos do not need high production, big budgets, or fancy effects, and “Will You Go Out With Me” by DIA proves exactly that. Taken from the streets of Tokyo, it follows Chaeyeon — the group’s natural main character succeeding her appearance on Produce 101 and participation in the now disbanded I.O.I — as she roams the city and coyly messages “oppa.” Fortunately, the rather trite plot views less like an accompaniment to a song than it does a tourism campaign for the busy capital, which plays into a strength considering how the romantic, scenic backdrops of nighttime metropolis can translate to love in a strange city. The deliberate shots of ramen, cherry blossoms, railroad crossings, and claw games are all definitely attempts at capturing Japanese culture for their exotic value, but since they are also done so in a way that makes them picturesque, this furthers giving the music video depth while giving the country its free promo. The dreamy purplish filter might have something to do with this, and so might the gloomy aesthetics of the world still wet after a refreshing rainfall. It’s altogether the kind of moody and wistful that will have viewers longing for a place they have never been to on the basis of how the colors interact or on the potential of an intertextual reading alone.
—Shelley
“Dinosaur” by AKMU
Starting with their teasers that were full of mystery and reminded us of posters from Netflix series “Stranger Things,” AKMU let everyone know their inspiration for their music video. When the MV for “Dinosaur” was released we were able to confirm their inspirations but we also got to see other references from cult movies like Spirited Away and vintage mythical legends like the Loch Ness monster. The track itself already made us feel like we were listening to a score from a movie, but accompanied with the music video everything fitted perfectly. The MV is a little short film that depicts a dream that Chan Hyuk said he had and when onto create this track and music video. But if you instigate closer and knowing AKMU’s brothers past family financial difficulties, the meaning of the video turns a lot darker, with many fan theories out there about what the “Dinosaur” music video really means. The video is accompanied by a beautiful cinematography, a beautiful color correction, CGI creatures, and amazing drone shots that follow the brothers in their cute little story that created one of AKMU’s most memorable videos to date.
—Alejandro
“Don’t Know You” by Heize
Part of Heize’s allure is her overall aesthetic. From her music, to her fashion, she just screams dope girl. And now, her music videos are following suit, namely “Don’t Know You.” The concept centered around 14 ways to, mind the misspelling, “loose your teddy bear,” which is really just how to get back at your former flame. The ex-boyfriend in question is a huge teddy bear, which Heize beats, throws tennis balls at, kidnaps, shoots, and pretty much anything abusive you can think about. Though the actual execution of the plot is a bit wonky, it doesn’t take away from the fashion, the photography, and the originality. Plus, it doesn’t hurt that it turns out this jerk teddy bear is played by SHINee’s Onew. Heize is an up and coming artist, and with songs and music videos as amazing as “Don’t Know You,” we can bet she’ll be a household name in no time.
—Alexis
What was your K-pop music video of 2017? Let us know what you think of this list 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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In the 26th episode of KultScene’s K-pop Unmuted, Stephen Knight, Joe Palmer, Tamar Herman, and Gabriel Wilder reflect on the best moments and songs out of Korea in 2017, handing out the awards that they personally deem fit and conversing about some of the hottest topics in K-pop over the 12-month span. This is Part 1 of two year-end episodes.
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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Throughout this past year, K-pop as a genre, industry, and community reached taller heights and deeper lows than ever before. From BTS’s astronomical success in the international market to Kim Jonghyun’s tragic and untimely passing, 2017 has been a year of both exciting and depressing extremes for fans everywhere. The erratic up-then-down rhythm of this year has made teasing out the bigger trends a bit more difficult than usual, especially in the world of female K-pop, which has been been plagued by an increasing pace of both disbandments and debuts since the year’s outset. In the effort to parse out this year’s happenings into valuable conclusions, I’ve noticed that 2017 is severely lacking in girl group bops. Girl groups have always been known, above all, to produce exciting songs that captivate public attention. And while there are a few singles that have done just that — Red Velvet’s “Red Flavor” and TWICE’s “Knock Knock,” among others — the numbers pale in comparison to years past, when the charts were stacked with a list of iconic hits from top-tier girl groups.
What has made a significant forward charge in 2017, however, is the collective presence of female soloists, who’ve made huge strides in public popularity and digital sales this year. From Ailee and IU to Heize and Sunmi and many more, solo women have made their voices heard in a way that K-pop hasn’t seen in years. A comparison of 2017’s highlights for female soloists and girl groups indicates an interesting trend in the female K-pop market: the rise of female solos, possibly at the expense of or in the absence of successful girl groups.
Any discussion of 2017’s Korean music cannot begin without first mentioning Ailee, as her Goblin OST song “I Will Go To You Like the First Snow” is probably this year’s biggest hit, dominating charts and public consciousness throughout January and February. While not the song doesn’t stem from a traditional promotion cycle or album release, it is likely one of the most memorable songs of this year for domestic listeners in Korea, as it encapsulated not only the sentiments of one of the decade’s most popular dramas, but also capitalized on its seasonal appeal during winter months.
Ailee’s success on its own is not an uncommon finding — a female soloist definitely does achieve a major hit every year, especially when it’s an OST ballad for a hit drama. The key to what makes this year different, however, is the fact that this kept happening throughout the narrative of Korean music in 2017. Within January and February alone, former miss A member Suzy’s solo debut also made waves, along with Girls’ Generation’s Seohyun, who herself scored a number-one album. The next major hit to come from a female solo was Taeyeon’s “Fine,” which was released at the end of February but maintained its hold on the charts deep into March.
All of these releases, from January to March, each from major names and achieving anywhere from moderate to explosive success, exist in the backdrop of a number of relevant girl groups’ promotion cycles: AOA, Cosmic Girls, CLC, Red Velvet, TWICE, Gugudan, GFriend, PRISTIN, and Girl’s Day. While a few of these groups (Red Velvet, TWICE, and GFriend, most notably) were definitely successful, some of the bigger-name girl groups on this list (AOA, Girls’ Day, and a highly-anticipated debut from PRISTIN) had little impact relative to concurrently promoting female soloists.
This trend reaches further into the year: in April, Taeyeon repackaged her album, A Pink member Eunji made a successful comeback, and former 2NE1 member Minzy debuted solo. The real force of 2017’s second quarter, however, was IU, whose album Palette and accompanying title track featuring G-Dragon took over the charts from April into May. Other female soloists promoting at this time include Kisum, Davichi’s Lee Haeri, and Baek A-yeon.
While IU, Taeyeon, and Eunji made significant headway as solo acts between April and May, female girl groups Oh My Girl, DIA, and Lovelyz did not see the same success on their releases. The only girl groups who managed to distinguish themselves were EXID, with moderate success “Night Rather Than Day,” TWICE, with chart-topper “Signal,” and SISTAR, with disbandment single “Lonely.”
Girl groups made a significant recovery in the summer, though, with comebacks from the likes of T-ara, 9M– USES, Cosmic Girls, A Pink, MAMAMOO, and BlackPink in June. The latter three made waves with “FIVE,” “Yes I Am,” and “As If It’s Your Last,” respectively, and were followed by Red Velvet’s “Red Flavor” in July, which became the year’s definitive summer hit.
Unlike previous years, during which female solos like Lee Hi or Baek A-yeon sporadically topped charts here and there while girl groups would released hit after hit, female solos went on to dominate digital charts and public popularity throughout the summer. Suran’s single “Wine,” notably produced by BTS member Suga, was an early summer hit, while Kim Chungha’s solo debut “Why Don’t You Know” is considered the most promising of former I.O.I members, remaining within the top 20 of Melon charts throughout the most of the summer.
Female solo Heize then had two equally huge hits, “Don’t Know You” and “You, Clouds, Rain,” which effectively became some of the most popular songs of the year (the latter of which can thank the rainy weather at some points during this year’s Korean summer for seasonal relevance). Hot off the disbandment of Wonder Girls, Sunmi’s return with “Gashina” was a major commercial success in August, alongside summer releases from Lee Hyori, Jessi, Jessica, and HyunA.
After Red Velvet, the only summer comebacks with any impact were those of GFriend, whose most recent comebacks have had much less impact than their earlier 2017 release, and Girls’ Generation. While the latter obviously created commotion with 10th anniversary album Holiday Night, a shortage of album stock and remarkably quick promotion cycle diminished their ability to make as big of a splash as they have in the past. GFriend then repackaged their album and saw even less success, meaning the only female release in September with lasting impact was IU’s remake album A Flower Bookmark 2. Again, solos maintained the wave of success, while girl groups faltered.
As we get to the year’s end, girl groups have recovered some losses in the form of larger-name acts TWICE, EXID, and Red Velvet making comebacks. As we look at the year-in-review, however, the bigger trend still remains — female soloists have grown more forceful this year as figures of popularity and digital success, more than they were in the past.
What was so special about 2017 that made this happen? One factor is the constant disbandments of major girl groups. Astoundingly, the number of disbanding girl groups in 2017 is almost double the number of girl groups with a number-one song on weekly charts, according to Gaon. While five popular girl groups disbanded this year — I.O.I, Wonder Girls, SPICA, SISTAR, and miss A,— only three groups had a number-one song — TWICE, Red Velvet, and SISTAR (who disbanded soon after, anyway). Such a metric does discount the success of singles that weren’t number-one, including popular tracks from GFriend, BLACKPINK, and MAMAMOO, but the comparison is still striking. With the past generation of girl groups now almost entirely unraveled, a power vacuum has opened in the world of female K-pop, quickly being filled by already established female solos IU, Ailee, Heize, and others still at career peaks.
But disbandments do more than just leave room for other acts — they directly expand the female solo market. Fewer group activities for Girls’ Generation (and the current uncertainty surrounding future activity) gives Taeyeon more room for solo work, and will likely expand opportunities for members Yuri and Hyoyeon as well. I.O.I’s disbandment was the precursor to Chungha’s solo debut, as did Wonder Girls’ disbandment prompt Sunmi’s solo return, and the same can be said about the debuts of Suzy, Minzy, Soyou, and other standout female solos of this year. The end of the previous generation’s girl groups have actually fueled the growth of the female solo market at an unprecedented rate. Newer artists now have to compete with names like those of female solos already famous from past groups, with fandoms and public interest built into their name and brand value.
This opinion may be somewhat controversial, but it seems newer girl groups have failed to capture market share the way older girl groups had. After the first season of Produce 101, the girl group market became remarkably more competitive. Following in the footsteps of successful large girl groups Girls’ Generation, TWICE, and I.O.I, companies sought to create their own large girl groups with members who attained relevance from the show. Post-I.O.I, this trend has manifested itself as eight-member Weki Meki, nine-member DIA, nine-member Gugudan, ten-member PRISTIN, and thirteen-member Cosmic Girls. With a few older girl groups like EXID and Girl’s Day still in the mix, this influx of large girl groups surging into the market alongside already established groups like TWICE, Red Velvet, MAMAMOO, GFriend, and BlackPink has largely diluted the girl group fandom, creating too many rookie groups that should be relevant, but can’t all share the spotlight at the same time.
While Post-I.O.I groups are by no means TWICE copies, they have definitely made attempts to emulate TWICE’s success by employing similarly lighthearted concepts with songs from some of TWICE’s music producers. These groups’ songs, like Gugudan’s “Chococo,” Cosmic Girls’ “Happy,” and Weki Meki’s “I Don’t Like Your Girlfriend,” have appealed to fandoms who have supported the girls since their I.O.I days, but failed to captive widespread public interest that girl groups have traditionally thrived off of. While all of these girl groups have popular members, none have emerged with objectively popular music. It is not a surprise, then, that the highest-charting post-I.O.I members are solo artists — Chungha’s “Why Don’t You Know” peaked within the Top 15 of Melon and Gaon charts, while Gugudan member Sejeong’s solo single “Flower Way” has outshined and out-charted all of her group’s collective and subunit releases.
While the past generation saw popular singles from a whole list of girl groups, including Girls’ Generation, 2NE1, Wonder Girls, SISTAR, miss A, 4minute, KARA, Secret, After School, AOA, T-ara, and more, only four or five are able to produce similar results now. The rest of today’s “popular” girl groups are instead producing results like those of past lower-tier girl groups like Dal Shabet and Stellar, who are amazing in their own right, but demonstrate that the girl group market as a whole doesn’t perform as well as it used to.
Is K-pop experiencing a permanent change? Is the traditional girl group model going obsolete? The answer to these questions is entirely uncertain, especially with incoming debuts. LOONA, an upcoming girl group, seems to be following recent trends with a total of 12 members, but their twist on the traditional model is that each of them will have released a solo album before the group’s full debut. Perhaps LOONA is one step ahead, already cognizant of the power of a solo debut despite their ultimate goal of finding success as 12 members. We have yet to see how these pre-debut projects will materialize in LOONA’s presence as a full group, but their solo works have definitely found footing among groups of international fans — a sign of hopefully good things to come.
Among the many ups and downs of 2017, solo women have become more powerful in Korean music than ever before, and the rest of the industry is quickly realizing that. How exactly this affects girl groups going forward will become more clear as time goes on. We can be sure that, in the meantime, female soloists like Taeyeon, Chungha, IU, Heize, Sunmi, and others will bring us more hits to come.
Which female soloist was your favorite this year? 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.
