Kevin Kim talks ZE:A disbandment & new beginnings with radio show ‘SBS PopAsia Live’ [interview]

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Kevin Kim, SBS PopAsia, SBS PopAsia with Kevin Kim, ZE:A

Courtesy of SBS PopAsia

As K-pop fans who know the bare minimum of the Korean language, it’s always a struggle to try to tune into a radio show whenever our faves are on. Unlike K-dramas or other TV shows, live radio shows don’t have subtitles — unless a merciful fan translates and uploads a bootleg version (#Blessed). But like the dramas and TV shows, these subtitled versions always come days or even weeks later. Moreover, what’s usually even more difficult as a foreign fan is living in a country that doesn’t necessarily accommodate your daily K-pop fix. However, that’s about to change — or at least for Australia, and therefore English speaking fans all over the world — thanks to ZE:A’s former member Kevin Kim. With his new radio show, SBS PopAsia Live with Kevin Kim, the K-pop star will answer all your Hallyu questions and fulfill your all your fangirl and fanboy needs.

Kevin has been in the entertainment industry for well over a decade in both Korea and Australia, where he spent most of his adolescent and teenage years. He’s always carried an enamoured passion for music, since his early days in Australia when he took part in an array of musicals and a choir that went onto doing international tours. He carried his love for everything entertainment with him back to Korea, where he joined idol group ZE:A as the lead singer. Fans were gifted with Kevin’s talent time and time again, even if the Korean music industry failed to recognize his skill during his time there.

It’s unfortunate that things didn’t pan out the way they perhaps should have, but everything happens for a reason, right? They say opportunity doesn’t come knocking on your door twice, but in Kevin’s case, it did. We recently caught up the K-pop star over the phone from Australia as he makes his big move from Korea. He talked about his most missed Australian foods, life after ZE:A, new solo music, and what we can expect from the radio show.

Hi Kevin! Thank you for setting aside time to do this interview KultScene Congratulations on hosting SBS PopAsia! How do you feel about becoming a daily host?

Kevin Kim: Hello! Well, I’m very honored to be with SBS and doing PopAsia Live starting on the 29th. I’m very excited about it and I’m looking forward to it!

Can you tell us a little bit about SBS PopAsia Live with Kevin Kim?

KK: I’m going to play a lot of K-pop songs and also V-pop, C-pop [on the show]. I’ll also be sharing all my thoughts with the fans and try to give [them] more information about K-pop. [The show will] mainly [be about] Asian pop, fans, and stars.

You were the host of Hotbeat on Arirang for over four years. How and do you think your previous experience hosting has helped you prepare for this new MC gig?

KK: As you said, I’ve been doing radio for four years now with Arirang radio station. [Going into this,] I’m very confident because I’ve been sharing a lot of thoughts and messages with our fans, [receiving their feedback], and I think it will be great to see what the outcome will be like. I just want to feel the vibe here in Australia. You know, the K-pop fans here, they’re also very excited about Korea, the stars, all things Hallyu as well, so I would love to share [my knowledge with them] and see how everything will turn out.

Also on KultScene: Artist Spotlight: Kevin Kim (ZE:A)

What prompted your decision to leave Korea and to go back to Australia and start MC-ing?

KK: The main thing was I wanted to just, you know, after [ZE:A’s] disbandment, I wanted to come back to take a rest because I’ve been away [in Korea] for about 10 years. I wanted to restart myself with something special, which is SBS and the radio show that I’m hosting. I’m going to be doing more of my music and I’m working on my solo album as well, so hopefully I can turn that out sometime this year.

How’s it like being back in Australia as an adult after pursuing your career in Korea?

KK: Oh, good question! You know, a lot of things have changed. I was surprised by all these shops and restaurants. There’s been a lot of changes [from 10 years ago]. It’s been a month now since my arrival [back in Australia] and I’m still adjusting [laughs], but also having fun.

What’s your favorite or least favorite thing(s) about being back?

KK: Well first of all, I missed the food; Meat pies, sausage rolls! You just cannot find — well, they did have Australian food there in Korea as well, but not as good as here in Australia, so food was my thing! And also, my friends. I haven’t seen them for years. I never had the chance to come to Australia to perform as ZE:A, so [now that I’m back], I want to see what it’ll be like.

What will you miss most about living in Korea? The fast internet connection? Just kidding, but really…

KK: Well, obviously that [fast internet] [laughs]. I miss basically everything, [like the] members. It’s only been a month but still… I don’t know, it kind of feels weird, I guess. Just leaving everything there and being here by myself. I’m used to sharing everything with the members and all, but now that I’m here by myself, it’s a bit lonely. But I’m A-okay! You get used to it [laughs].

You’ve been apart of ZE:A for seven years, so how is it like to transition back to daily life in Australia?

KK: It’s not hard, actually, because I was born in Korea but I was raised here [in Australia], so I’m basically used to the culture and the people here. Except for all the changes, you know? So I’m trying to [figure out the changes and] all that. Aside from that, everything is like a daily thing to me.

How did the members react/feel when you told them you were moving back home? Do you have any plans to go back and visit any time soon?

KK: Well, they are doing their own thing now, so, I guess — We still keep in contact through a messenger app, so every time we come up with the motion [idea/concept] for movies, albums, we just share it all in our chat. We don’t really feel sad about being solo and doing [our own] promos; we’re always happy for each other [and seeing each member] do their own thing. That’s how we feel right now; we’ll always support each other.

It’s not a definite goodbye to Korea, I mean, [moving back to Australia] is just another challenge for me. I’m also trying to expand. I had a great opportunity that came through to me, which was SBS. Also, my old agent, Martin Bedford, I knew him from when I was in high school, he contacted me about a year ago when I was in Korea and I was surprised that he still remembered me, so maybe it’s all destiny [for me] to be here again. To tell you a little detail about Martin Bedford, [he runs] the agency that Russell Crowe was in and Olivia Newton John [is currently under], and now I’m here with Martin and SBS PopAsia. Like I said, I’m going to expand my career as Kevin from now on.

Also on KultScene: Top 5 English Covers By Korean Male Singers

How does it feel seeing all the outpouring amount of support from your fans on your new endeavor?

KK: I’m so excited to see [what’s to come] and like I told you, I haven’t been here as a solo artist or as ZE:A, so I think the radio show that I’ll be doing will be a great gateway [for me] to be connected with the K-pop fans here in Australia. I think I’m going to show more of me and share everything that I’ve been doing and [have] experienced in Korea as well. It’s very exciting!

It’s been over a year since you released Collection.” Can we expect any future music projects?

KK: Well first of all, I’m so looking forward to making a single or maybe a full album here in Australia. I’ve worked on a lot of songs throughout my career as [a member] of ZE:A when I was in Korea, so I have a lot of things to share and a lot of things to show. There’s a lot of exciting things that I am getting ready for ,so I hope I can show our fans my style of music. With the Collection album, I really wanted to show [listeners] what I was capable of. That song was inspired from a fashion show that I went to; I just had the idea of this word,“collection,” and that’s how it lead me to creating the song.

Just for fun, what’s your most played song right now and who are some of your current favorite artists?

KK: My number one is Michael Jackson. He’s always been my favorite artist and biggest inspiration. There are tons and tons of artists I’d like to recommend, but right now my favorite artist is Chris Brown. I’ve been listening to his latest song “Privacy” [a lot]. I also like Justin Bieber too.

Any final words for KultScene’s readers?

KK: Thank you for having me! I hope you guys are ready to hear my show on SBS PopAsia Live, which starts on the 29th, Monday through Friday, every day at 6 p.m. AEST. I am also working on my songs and I’ll be releasing my singles and album here in Australia and also in Korea in the near future. Hope you guys will be ready for that!

* Interview was edited for clarity.

SBS PopAsia Live with Kevin Kim will be a one-stop show to stay tuned for all things Asian pop, featuring the latest music, news and interviews from Korea, Japan, China, Hong Kong, Taiwan, Vietnam, and Thailand. It will air Monday to Friday at 6 p.m. AEST on SBS PopAsia starting May 29. Listeners can also tune into SBS PopAsia Digital Radio by downloading the SBS PopAsia mobile app or by streaming live on their website.

Kevin Kim, SBS PopAsia, SBS PopAsia with Kevin Kim, ZE:A

Courtesy of SBS PopAsia

Do you have a favorite K-pop radio show or podcast you listen to? Share your experiences 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.

12 visually appealing K-pop music videos

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aesthetically visually pleasing kpop k-pop music videos mv mvs

K-pop is often too hastily branded as being overwhelmingly bright and obnoxiously over the top as far as music videos go. While some videos certainly do still fit this stereotype, K-pop has evolved into so much more. Creating music videos has now become an art form in its own right. Whether it’s boy groups or girl groups, rappers or solo vocalists, badass or cutesy concepts, all of these videos have one commonality: they’re all gorgeous to look at and therefore visually appealing.

1. “Star” by Heize

While slightly less successful than her collaborations have been, Heize’s “Star” is truly a visual masterpiece. Set in a childlike bedroom floating through space, the video has a very ethereal glow to it. Everything from the singer/rapper’s wavy hair to her bedroom sparkling with nightlights of all kinds, is covered in a pastel haze and highlighted by glitter. It expresses the concept of solitude as well as the space theme in a subtle way without taking either aspect too far over the top. This gives the video a peaceful and simple feeling, which stands out even more through its contrast to the dark night sky in the background.

2. “Don’t Believe” by Berry Good

Berry Good’s “Don’t Believe” marks the point where the group (finally!) took a step away from the overly cutesy concepts that they had done in the past with releases like “Love Letter” and “Angel.” Even though this video certainly doesn’t break any boundaries, it does give viewers something a little more interesting to look at other than girls dancing around in pretty white dresses. This includes the girls solemnly eating a meal of laceleaf flowers, rubber duckies floating in mysterious pink drinks, and watering cans raining pink paint. Very few of these elements make any sense regarding the meaning of the song, but that’s the beauty of an aesthetic based music video, they don’t have to.

3. “Home” by Ailee

Even the Queen of K-pop Vocalists herself has fallen victim to the neon overload side of the genre with videos like “Don’t Touch Me” and “U&I.” As fun as these videos are, it’s always nice to see a more sleek and subdued side of Ailee like she presents in “Home.” From her luxe velvet outfits to the gilded mirrors to the marble statue heads, this video is nothing if not beautiful. Whether she’s dancing with her crew or writhing around in the water, Ailee gives off a distinctly vampiric vibe. The video is dark and sophisticated and lush, what’s not to love?

Also on KultScene: The sonic identity of K-pop girl groups: the birth of a new generation

4. “Chained Up” by VIXX

Vixx has many interestingly filmed music videos, but “Chained Up” is one of the most well done. The rooftop shots as well as the close-ups of the members’ eyes bring a sophisticated beauty to the video that is often missing from boy group music videos. Lead vocal Ken’s setting stands out in particular. Surrounded by exotic flowers, this gives the video, otherwise draped in chains and metallic tones, a softer and more colorful side. Director GDW’s (Great Director Watanabe) devotion to the aesthetic of this video is clear to see by the amount of detail put into each scene.

5. “Love Me Right” by EXO

While the athletic football uniforms may be the most memorable part of EXO’s “Love Me Right,” it has so many other beautiful aspects to it that are often overlooked. Neon lit rooms, colored smoke, and snippets of grayscale filming just to name a few. The members show a sensitive and tender side to themselves in this video, that is while they’re not stalking around in football pads. The smoke and the nature shots give it an almost otherworldly feeling that makes viewers want to step right into it.

6. “Sweet Girl” by B1A4

B1A4’s “Sweet Girl” starts off in a retro club with the members prepared to start performing on the stage. It’s clear from that moment that this is going to be a much more aesthetically pleasing music video than some of their others. Each member has their own theme:, maknae Gongchan’s Prince Charming theme and lead dancer CNU’s magician theme, for example. While all of the settings are beautiful and very detailed in their own ways, leader Jinyoung and lead vocalist Sandeul’s themes stand out the most. Jinyoung’s gauzy and tropical Peter Pan-esque fort and Sandeul’s cotton candy wonderland truly shine in this video.

7. “Wee Woo” by Pristin

Formerly known as Pledis Girlz, the full 10 member group recently debuted under their new name Pristin with the bubbly single “Wee Woo.” In this video, the girls take the classic school girl concept and elevate it with unique aspects, like poster plastered walls, flashing police lights, and exploding milkshakes. What it lacks in cohesiveness, it makes up for with bright colors and pure playfulness. Scenes such as leader Nayoung’s indoor rain shower, vocalist Yuha’s neon exercise room, and sub vocalist Xiyeon’s ghostly visitor are what set this video apart from others sharing the same concept.

Also on KultScene: 8 misheard K-pop lyrics pt. 7

8. “She’s A Baby” by Zico

Occasionally with his solo music, the leader and main rapper for Block B chooses to show fans a softer side of himself. Aesthetically similar to his video for “I Am You, You Are Me,” Zico’s newest release is a pastel dreamland that does not disappoint. The video has a minimalist design to it but the bright pastel color palette keeps it from coming off as stark and cold. The filming is what adds the most, aesthetically speaking, to the video. Birdseye views, profile shots, and even Zico filmed as if looking through binoculars all keep the video fresh and exciting as it frequently switches perspectives. Zico’s love interest is the focus for some of the most interesting scenes, from her being pelted with multi-colored ping pong balls to her knitting a sweater with oversized yarn. This video definitely takes more than one viewing to catch all of the beautiful little details.

9. “Navillera” by GFRIEND

While most of their prior music videos followed the typical sweet schoolgirl concept, GFRIEND’s “Navillera” finally gives viewers a chance to see the girls in a new and unique setting. Being set in a retro roller rink gives it a vintage feeling without losing its freshness and youth. The video has a warm coffee colored tint to it, offset by the group’s soft pastel outfits. The filming focuses in on little details, such as the plaits in vocalist Yuju’s braids or the pleats in their skirts, which enhances the beauty of the video and shows how much focus was put into the aesthetic of it. Everything, from main dancer Sinbi polishing her trophies to the group sitting by the poolside to even the choreographed scenes, is arranged so that it’ll be the most visually pleasing to viewers.

10. “Sugar and Me” by San E & Raina

Korean rapper San E and Orange Caramel’s Raina released this junk food overload of a video a little less than a year ago. The main focus, however, isn’t so much on the two artists but rather on IOI’s Doyeon, who plays the main character. Aside from the hazy pinkness of the video, the most aesthetically pleasing aspect are the incredibly well shot scenes of all the delicious food Doyeon is devouring. Chocolate cake, cherries and whipped cream, sprinkle covered donuts; it all looks like you could reach through the screen and take a bite. The standout scene would have to be when Doyeon is shown eating food in reverse, a fun effect that is both a little unnerving and addicting to watch. As far as visually appealing videos go, this is not one to miss. Be careful though, multiple viewings of it may give you a cavity.

11. “You & Me” by Kisum & Jooyoung

Unpretty Rapstar Season 1 alum Kisum and soloist Jooyoung teamed up to make this irresistibly catchy song and the spring-like music video to go with it. The prettiest scenes in this video focus on rapper Kisum and her soft, ethereal beauty that’s accentuated by scenery filled with pastel colors. Whether she’s playing with bubbles on a private rooftop or listening to music on a set of school bleachers, normal and rather boring settings are given new life through fun colors and quirky props like bright yellow umbrellas and ice cream-shaped cellophane balloons. One scene in particular stands out near the end of the video, in which Kisum sits with a small flower held in her mouth while several water pistols are pointed at her head. Backed by any other song or displayed with any other color scheme, this would have come off as rather morbid but in this video it seems to fit perfectly.

12. “Shooting Love” by Laboum

Up until “Shooting Love,” Laboum’s music videos had been low budget and rather low quality despite the potential they had. This was the video that finally allowed Laboum to shine to their full potential and used its unique visuals to catch and hold viewers’ attention. Everything from the settings to the members’ outfits and even their hair was colored in bright blues, vivid reds, and neon pinks. Bejeweled guns and flower-covered spyware turned these girls into deadly assassins with a cute, Kawaii flair. This design choice not only put a fun spin on the typical femme fatale concept, but it also added the visual appeal that their previous videos had so greatly lacked.

What’s your favorite aesthetically pleasing K-pop music video? Let us know your picks and thoughts 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.

Weekly K-pop faves: May 8-14

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Each week, some of our KultScene contributors pick songs that excited them over the past seven days. In the second week of May, we enjoyed songs by Day6, Moon Myung Jin, and Hitchhiker’s new song with NCT’s Taeyong.

“Dance Dance” by DAY6 (Released May 8)

Five months and ten songs into their monthly 2017 release project, DAY6 is still going strong in terms of coming up with extraordinarily catchy tracks that match perfectly with their identity as a band yet are unique enough to show their growing musicality with each release. Adorable music video aside, I think that I may have just found my favourite DAY6 release of the year. “Dance Dance” is a perfect musical representation of how much this band truly loves making music as well as how good they actually are at doing so. Their burning passion and enjoyment is evident right from the onset with maknae drummer Dowoon’s memorable first lines (he’s never had lines in other DAY6 songs before) and Jae’s playful pause toward the end of the song. The music video also shows scenes of the members creating songs or jamming in their natural habitat (the practice room) which gives off a much more comfortable vibe than any of their previous videos and really showcases the brotherly relationship this group shares. We still have seven months and 14 more releases to look forward to, so here’s hoping that DAY6 will continue to outdo themselves and reach the height of popularity they deserve.

–Anna

Also on KultScene: Day6’s ‘I’m Serious’ song & music video review

“Around” by Hitchhiker (Released May 12)

Hitchhiker is a difficult producer to work with in terms of sound for any vocalist, since he takes centre. His latest track “Around” is a frenetic mix of sitar-like sounds and Major Lazer-esque dancehall. It pulses with unstoppable energy leaving a lot of work for NCT member Taeyong to not fall behind. The idol does not falter for a second though as his trademark deep drawl drags the song into his own. He rasps and bites as the song takes off around the halfway mark. It’s a clear sign that Taeyong is as good a rapper as people say, even for an SM idol.

–Joe

Also on KultScene: Jonghyun’s The Collection ‘Story Op.2’ album review

“Lie Down (feat. Reddy)” by Moon Myung Jin (Released May 13)

Sometimes when K-pop is slow and unamusing, I have to go on YouTube to find cool releases on my own. This was precisely the case this week, which brought me to singer Moon Myung Jin’s “Lie Down” featuring Reddy. And while I don’t know the first, I certainly know the latter, leading me to click on the song without a second guess. “Lie Down” has that The Weeknd dreamy, baby-making soundscape, although it weaves in iconic East Asian sounds and chants that give the song a fresh take. Moreover, Reddy’s signature laid-back rap was meant to feature on “Lie Down” given that it’s a pretty chill song.

— Alexis

What do you think of our takes on these songs? Let us know what your favorite song of the week was 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.

Jonghyun’s The Collection ‘Story Op.2’ album review

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I want to be clear when I say that I expected nothing less from Jonghyun’s newest release than what I received. Because in all honesty, the SHINee member’s captivating music composition and ethos are consistent in their individual brilliance, from the soul and funk of She Is to the effortless groove of Base.

And although The Collection: “Story Op.2” serves as a follow up to Jonghyun’s The Collection: “Story Op.1,” this newest release doesn’t prove strictly synonymous. Instead, it serves as a reminder that love, in all its glory does present pain and that such misery can either present itself as inescapable devastation or beautiful chaos that’s worth fighting for.

The Collection: “Story Op.2” presents itself as somewhat of a departure from albums past. Here, Jonghyun poses himself as more than just a vocalist; he’s the maestro, the composer, the lyricist, and the producer. The album presents itself with a bit of everything from sorrowful ballads and steady R&B beats to hopeful odes of what’s to come, similar to Jonghyun’s first installment, The Collection: “Story Op.1.”

The album begins with its title track, “Lonely,” which features a bit of star power and combines vocals from both Jonghyun and Girls’ Generation’s Taeyeon. It’s also the only song on the album that has a music video The single showcases an honest and strikingly desolate depiction of what it means to be alone. It also delivers dark undertones of the detrimental pain and suffocation that arises while in isolation, especially the experience of feeling sequestered and detached from someone even within a seemingly “happy” relationship.

The album’s second track “1000” introduces light guitar strums and highlights how even after an extended time, intimate love in its truest form can still remain intact.

Also on KultScene: Inside KCON 2017 Mexico [photos]

What comes next is “Just Chill,” which discusses taking a moment to disconnect from the world and love entirely by taking solace in silence, while its companion, “Love Is So Nice,” drops into a two step of sorts and revels in the carousel of casual and comfortable romance, such as lying in bed together or taking a devil-may-care attitude when making plans.

Track number five, “Blinking Game,” is instead a more playful jazz track. Here, the tone is more lighthearted as the artist frolics in the beauty that love provides, posing a tongue-in-cheek staring contest with his lover to see who breaks first. And when she begins to feel shy he politely requests she not look away, for her bare beauty is what he truly desires. And “Elevator” takes a departure in tone entirely, serving as an aching ballad that seemingly presents Jonghyun as his own bystander struggling to reconcile his demons.

The track that packs the most powerful punch arrives toward the end of the album titled, “Let Me Out.” This is a track that gives a potent delivery of what it means to be paralyzed by the past, specifically concerning matters of nostalgia and being unable to forgive oneself from past transgressions. The beat is methodical, beginning with piano tricklings that instantly capture the ear and induce a focused series of vocals centered on introspection as the song intensifies then decrescendos to a solemn conclusion. And it’s that resistance and the pleas of wanting to let a loved one go that keeps the listener locked from start to finish.

“Fireplace” then provides a powerful follow up, except this time the lyrics provide a more hardened approach to forgotten memories of what was. Here, the love that was present is no longer and in place of the plea of “Let Me Out” is a blatant understanding and indifference to wanting things as they were. The forlorn vocals are smooth and mesmerize the senses, leaving the ear tantalized with whispers of lost expectations.

Also on KultScene: Album Review: SHINee’s ‘Odd’

Jonghyun’s album concludes with “Our Season,” a brighter ballad that relaxes the previous instances of melancholy and ventures into hopeful declarations of reuniting with love only after constructive dissection of how to positively move forward and learn from one’s mistakes.

Really, this an album centered on introspection, pain, reciprocity and unapologetic honesty when it comes to matters of the heart, which makes this record a must listen for any and all.

Jonghyun's The Collection 'Story Op.2'
4.5

What did you think of Jonghyun’s latest album? Leave a comment 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.

Jambinai on blending Korean & western music styles to create unique post-rock

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Courtesy of Nah Seung Yull

You may not know them yet, but Jambinai is a post-rock Korean indie band to take note of. The five-member group blends traditional Korean instruments with western rock to create hauntingly dramatic music. Inspired by the world around them, they’ve created a unique, experiential sound that sets them apart.

Though they’ve had countless acclaim in the past for their releases, Jambinai has never performed in New York City before. But on May 17, the quintet will head to NYC’s Le Poisson Rouge for their first ever Big Apple show.

Ahead of their NYC debut, Jambinai’s Lee Ilwoo and Kim Bomi did a Q&A with KultScene:

Thanks for taking the time to talk to KultScene. How’s everything going lately?
Lee Ilwoo: We are touring in Europe for a month and have a show everyday. It’s tough but really exciting.

You’re making your NYC debut next month. I know you’ve toured quite a bit, but how does it feel to be playing in New York?
Kim Bomi: I’m very happy. Because New York is the center of all culture, as everyone knows. So I’m looking forward to our first show in NYC.
LI: We have toured Europe several times, but this is our first time in NYC. So [I think that] just a few people are going to come our show. But we are going to do our best!

Any things you want to/do see while you’re here?
KB: I want to visit Blue Note [Jazz Club] again, personally. Actually, I went there seven years ago. I spent a lovely time there and I’ve never forgotten those memories. So I want to try again of possible. But I’m not sure because we don’t have much time. We have to move to Chicago the day after.
LI: After the show in NYC, we are going to have to head to Chicago immediately. So it’s so sad not to have some time in NYC.

You have a unique approach to post-rock that looks different from just about everything else coming out of Korea nowadays. How did Jambinai get started?
KB: When we first met, we just wanted to try make some new sounds. Because nowadays, Korea has so many bands who make some new blend [of] local music with western styles. But it’s not a good match for Korean traditional instruments. For example, in that music, Korean traditional instruments just follow or copy western [styles]. We thought about that, [and it’s] not good. So we talked about how can we find different way and better sound.
LI: I like post-rock music and I’ve [been] inspired from [it]. Some bands blend post-rock sound with violin, cello or other western classical instruments. It was so nice and fresh to me. Actually, I tried to blend Korean traditional instruments with rock sound so people listen to Korean traditional sounds, but I didn’t know how. But the bands who blend classical instruments with rock sounds gave me some ideas.

What’s your creative process like?
KB: In my case, playing the haegeum, I’m influenced by Ilwoo. Because he composes all [of our] songs first and then I have to arrange my part; [I] can blend good on songs [sic]. And sometimes I’m influenced by a movie or novel or other genres [of] music. Recently, I’ve read a novel. The name is “EXPANSE.” It’s [a] sci-fi novel. It was very interesting and I can use the feeling[s I felt from reading it] when I play.
LI: I’m inspired by many bands and Korean traditional music. Korean traditional instrumentation is really unique. By Western standards, some Korean traditional sounds are just noise or [have a] weird pitch. But that gives [me] many ideas to make us unique. And issues around me also inspired me.

“They Keep Silence” was one of NPR’s top songs of 2016, which the writer said it was because of the “righteous anger” the song evoked in relation to the Sewol Ferry, which was a national tragedy. Why do you think such a locally aimed song resonated with one of the US’s most prominent media outlets?
KB: Because the song’s story is just about humanity and justice. Even if you don’t know what that lyrics mean, the song has some powerful emotions. Because when we play that song, we pray for the [deceased]. I think that emotion has been passed on to people.
LI: There are a lot of English pop music fans in Korea. They don’t understand what that means, but they feel the image of the song. “They Keep Silence” has Korean lyrics, but I think it can give the image of the tragedy or make people feel sadness and anger, even if they don’t know Korean.

Why do you think now, almost a decade since you began, your sound resonates with people across the globe?
LI: I don’t know. Maybe [because] we use traditional instruments for post-rock and it looks unique. Many people are used to western instruments like guitar, piano, keyboard, etc. So, I guess people feel our instruments are fresh.

Can you tell us a bit about how you came up with the idea for the “They Keep Silence” video? It begins with a quote by Martin Luther King Jr., and then shows Jambinai playing, first calm and then eventually descending into more of a metal sound. What sort of feelings did you hope the video would evoke?
KB: We want to never again [feel] like this tragedy[sic]. So we want people remember the tragedy and think about justice, at least [the people] who listen to that song.

Though that song was extremely popular, are there any other songs of yours that you think new listeners would, or should, listen to?
KB: Recently we’ve [re]arranged our old song called “Paramita” from our first album. But you can only listen to this song at our show. So please come to our show!

Jambinai’s music is so tied to Korean sounds and history, so how will the recent political shakeup influence your music now?
KB: Actually I’m not sure. But we’ll always sing about justice [while] the world goes wrong. This is a basic duty of human beings.
LI: If something is going to happen, it’s going to inspire me to make music or lyrics.

Korean indie music is gaining in popularity, but what are some difficulties that you guys have faced as performers?
KB: It’s very hard to survive as performers only. I hope it gets better.
LI: The fandom of the indie scene in Korea is really weak and small. And many Korean people think that using acoustic guitars and singing a love song is indie. So if someone tries to make their own sound, it’s obviously very hard to live and play in Korea.

What do you think of the Korean music scene in general?
KB: Korea has many music genres in the indie scene, but most people don’t know about that, because media broadcasts only play K-pop. So I hope that [indie] will be broadcasted more widely.
LI: K-pop and K-hip hop are the best popular music in the Korea.

What do you guys draw inspiration from?
KB: All of this world!

Are there any artists you’d like to work with if you get the chance?
KB: In my case, personally, Thom Yorke. I love him.

What’s next for Jambinai? Are you guys working on any new music?
KB: Nowadays, we are talking about some new album casually.

The artist’s written responses have been lightly edited for clarity. Interview facilitated by 7000Miles.

Jambiani make their NYC debut at Le Poisson Rouge on May 17, at 7PM. Buy tickets here, and let us know what you think about the band 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.

The sonic identity of K-pop girl groups: the birth of a new generation

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sonic sound kpop k pop k-pop girl groups gfriend

This is the second part of a series in which we discuss the changes in the music of K-pop girl groups throughout the last decade and what these changes say about the environment within which they thrive.

In the last article, we talked about the things that define the K-pop sound and described some sonic features on K-pop songs of the previous generation girl groups, such as T-ara.

Nowadays, the songs that made T-ara so famous probably wouldn’t have the same impact – although that shouldn’t mean they have to disband! Anyway, songs that still carry some of their peculiar characteristics are barely released these days, and when they are, they don’t go too well on charts.

The distinctive traits of the catchy dance songs of the golden days of T-ara can be heard, for example, in “Doo Doom Chit” by Crayon Pop, the most recent single of the group. Its tempo, EDM production, and singing style makes it a typical song that could have been a hit in 2012 or 2013, but had a weak performance in the charts of the year 2016.

The dramatic trait, in its turn, hasn’t been forgotten. In OST ballads and songs released by groups like Gavy NJ and Davichi (both specialized in ballads), you’ll still hear lots of trot-influenced melodies. But in K-pop, it has gotten a new colour. Although the traces of “ppong” are rarely heard nowadays; the dramatic melody, the high note that makes you feel like the singer is crying or begging for something hasn’t died, but today, it has notably less melismas and variations than before. How many vibratos have you ever heard on a single released by Twice or WJSN? Not many.

Also on KultScene: 8 misheard K-pop lyrics pt. 7

How Do K-pop Girl Groups Sound Today?

twice kcon la 2016 16 usa los angeles

by Yasamine Entesari

It’s funny to think about how in 2014 people were buzzing about “the end of K-pop” due to the amount of scandals and weak music releases because from that point on, we can say that the shaping of girl groups began to change. In that year, we saw debuts of groups vocally distinctive such as Mamamoo, Kiss & Cry, Wings, Purfles, and Red Velvet. From these, only the first and last remain successful in their own concepts.

From 2015 on, all the new and successful girl groups are going the cute girl route. The only exception would be Blackpink (who fit a more conventionally feminine concept than we’d expect from a YG Entertainment girl group, but still maintain an edge to its contemporaries). Others had their moments, like IOI (“Whatta Man”) and CLC (“Hobgoblin”), but we can’t even take these into consideration since IOI’s music video strangely alternated scenes of the girls dancing in a sexy way while dressed in leather with scenes of them acting all aegyo (cute) and doing cute friendship stuff (plus disbanding). “Hobgoblin,” for its part, was… well… essentially a rejected 4Minute song.

In general, the new generation of K-pop girl groups gravitate around the same ideas. The sound of these groups consists in overloaded production, full of strong and fast beats balanced by synths and keyboards that bring the stereotyped dreamy girly vibe to their songs.

The most relevant girl groups that debuted in the last three years are:

2014 – Laboum, Berrygood, Lovelyz, Mamamoo, Red Velvet, and Sonamoo
2015 – Twice, CLC, GFRIEND, Oh My Girl, April, and DIA
2016 – Cosmic Girls (WJSN), IOI, Gugudan, and Blackpink
2017 – Pristin (so far)

It is interesting to observe that while Mamamoo, Red Velvet, and Blackpink have their own sound (as much as it is possible), most of the other groups listed make the same kind of music. When you listen to their songs or when you make comparisons like this, it might seem like an easy formula, but you’ll never really know how many ingredients a K-pop song has until you dissect one (or try to compose one).

Nowadays, K-pop girl group music is heavily influenced by synthpop and retro music, especially ‘80s new wave; examples: GFRIEND’s “Fingertip” and April’s “Muah.” However, these traits are combined with 808 beats, strong basses, and EDM or trap elements, as heard in Twice’s “Like Ooh Ahh” and IOI’s “Dream Girls.” Moreover, the music is very accelerated; very high-tempo (listen to Twice’s “Cheer Up,” IOI’s “Very Very Very”). The listener has no time to wait; they want the most amount of fun in the less amount of time.

Entertaining the listener the most in the less amount of time possible includes not making their ears get used to a single melody so easily. Just because it’s a 4-bar verse doesn’t mean all lines must have the same melody. A few examples are WJSN’s “Secret” and Twice’s “TT.” Both have pretty much one melodic pattern every two lines before the chorus, and sometimes even more. It’s okay if there are some pauses in the drumbeat to be funny or weird in a cute way. The members are fragile little princesses and they show it not only by singing, but also talking in a very aegyo way in the middle of the song, like we saw in Pristin’s “We Woo” (“You’re my superhero!”). The line between just talking and rapping is very thin and you can have as many raps as you want in a song and at any time, like in Berrygood’s “Love Letter,” where the rap works as the verse before the chorus, and there’s also another “rap” after the second chorus.

Also on KultScene: EXID’s ‘Eclipse’ album review

Another way of bringing the feminine cutesy to the song is by adding parts where the singers intone verses that make them sound like cheerleaders. Examples: Sonamoo’s “I Think I Love You” (“Love you!”) and Oh My Girl’s “Cupid” (“Hey, cupid has shot my heart”). This cheerful feeling is also transmitted by a harmony that is mostly formed by major chords, which also gives a pure and innocent vibe to the songs, as heard in GFRIEND’s “Me Gustas Tu” (chorus’ chord progression: G C D G Em C Am D G – post-chorus: C D B Em C D G) and Oh My Girl’s “Liar Liar” (chorus: Ab – C# – Ab – C#).

Interestingly, intros can’t be too long. Remember, you can’t keep your listener waiting for too long, they’re in a rush! Examples: Laboum’s “Shooting Love” and Gugudan’s “A Girl Like Me.” Pretty much five seconds into the song, you’re already in the first verse of the song. Also, the less distinctive the singer’s voice sounds amongst the voices of their group mates, the better. Singers must sound like an homogeneous entity, a choir that sings in really high tones like in Lovelyz’ “Wow” and April’s “Tinker Bell.”

To be fair, GFRIEND is a great exception to the homogenous entity fad. They’re one of the few groups we hear nowadays that explore more of their vocal potential through less linear singing, more vibratos, and more space for their tones to differ from each other. To be fair, Mamamoo and Sistar (mostly due to Hyoryn’s outstanding position) do it too, but they don’t fit the standard we’re analyzing now.

mamamoo wheein hwasa solar kcon ny 2016 new york

by Katrina Lobaton

Above, we purposely chose only songs with a music video in order to show that this is the standard that sells, since it’s chosen to promote an artist or album. Also, it is also important to keep in mind that we’re talking about the new generation of K-pop girl groups, with focus on those who debuted since 2014. The members of these groups are very young, just like their target. “Adult” girl groups are still around, though, and they still make music suited for their concept, like Girls Day and EXID recently showed. However, trends in culture are often mostly focused on youth. Therefore, with the generation shift, more established groups gradually began to shy away from the spotlight and younger groups who brought back the focus on the cute concept, as discussed above, took center stage. In the next article, we will discuss what those trends might tells us about culture today.

What’s your favorite K-pop girl group that debuted in the last couple of years? Let us know 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.

8 misheard K-pop lyrics pt. 7

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misheard kpop lyrics changmin tvxq boa youngjae got7 jungshin cnblue cn blue k-pop k pop

As international fans, messing up the lyrics to our favorite K-pop songs comes with the welcome package when you join the fandom. And only if you learn Korean and get pretty good at it, it’s probably a permanent malady. Because not only are we hearing English lyrics when it’s actually Korean and vice versa, but sometimes we even mess up words that are in our native language. That’s why it’s key to read up on the lyrics. But in the meantime, here’s another round of lyrics we misheard.

1. “In Your Eyes” by Onew

What we heard: “Your money”
What it says: “Yongwhonhi”

misheard kpop lyrics confused gif idk i don't know

via scoopwhoop

2. “I’ll Eat You Up” by BoA

What we heard: “Konnichiwa, konnichiwa, konnichiwa”
What it says: “I’ll eat you up, I’ll eat you up, I’ll eat you up”

confused seventeen kpop gif misheard lyrics

via bizfly

Also on KultScene: The sonic identity of K-pop girl groups: intro

3. “I’m Good” by SE7EN

What we heard: “Simple, so simple, so”
What it says: “Seulpeosseo, seulpeosseo”

confused lay gif exo misheard kpop lyrics

via giphy

4. “Humanoids” by TVXQ

What we heard: “Cause we are human noise”
What it says: “Cause we are humanoids”

confused disgusted taeyeon gif misheard kpop lyrics

via popkey

5. “Hit Song” by SEVENTEEN

What we heard: “You ain’t got”
What it says: “Yuhaengga”

confused wtf what the fuck dafuq suga bts gif misheard kpop lyrics

via tenor

6. “I Still Love You” by CNBLUE

What we heard: “Stab stab stab stab stab stab”
What is says: “Stabirabi rapststabira”

confused jonghyun wtf gif misheard kpop lyrics

via Pinterest

Also on KultScene: Inside KCON 2017 Mexico [photos]

7. “Prism” by SHINee

What we heard: “Threesome, threesome”
What it says: “Prism, prism”

shocked surprised doojoon beast highlight gif misheard kpop lyrics

via tumblr

8. “Hard Carry” by GOT7

What we heard: “Let’s fuck and fuck and fuck again”
What it says: “Let’s fly again, fly again, fly again”

shocked surprised hyuna gif misheard kpop lyrics

via onehallyu

[Renders: hyukhee05, by-AsemA, Marysabel507, nastyalovekorea]

What K-pop songs are you mishearing? Let us know your picks 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.

Weekly K-pop faves: April 17-23

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kpop songs playlist april 2017 dia minzy sf9

At last, K-pop’s starting to pick up, with more and more artists dropping new music. This week, we’ll tackle our fave up and coming rookie groups, as well as a much anticipated solo debut from a renowned artist.

“Will You Go Out With Me” by DIA (Released Apr. 18)

I am a huge fan DIA’s unique brand of aegyo. Theirs is brash, not innocent, and slightly deranged. While new single “Will You Go Out With Me?” is not as chaotic as “Mr. Potter” or “My Friend’s Boyfriend,” DIA do not lose their trademark edge. Apparently produced by the girls themselves alongside member of Brave Sound Park Hyun Joong, “Will You Go Out With Me” sounds like a little sister companion to another Brave Sound belter Stellar’s “Crying.” Squealing synths drive the girls to confront their crush rather than wait. This is best encapsulated by rapers Huihyun and Eunjin’s conversational style. They swap between straight rapping and inquisitive confrontation. It goes well with the best vocals of their career so far as well, abely helped especially by new member Jueun. To top it all off, the video has a Terence Malick-esque intro with whispered voiceover and backwards walking.

— Joe

Also on KultScene: Inside KCON 2017 Mexico [photos]

“Easy Love” by SF9 (Released Apr. 18)

I haven’t really been a fan of a lot of the music rookie boy bands have been putting out so I was pleasantly surprised when I listened to SF9’s “Easy Love” for the first time. The song is more melodic than their previous releases, and I’m here for it. It reminds me a lot of BTOB’s early songs (“Insane,” “Irresistible Lips”) because it both shows off the group’s evocative vocal capabilities while still providing space for the rapper’s to do their thing. The song’s pre-chorus build is pretty unique, at least recently, leading into the song’s hook. I honestly enjoyed “Easy Love” because it sounds a lot like the K-pop boy band releases of a few years ago rather than the EDM-focused music we’ve been seeing lately. It’s a good sound for SF9, and I honestly think it works much better than their other songs (I’m looking at you, “Fanfare.”) SF9 were just announced for KCON NY and I was kind of unimpressed, but now that I heard “Easy Love” I’m looking forward to their performance.

–Tamar

Also on KultScene: K-Beauty Review: Son & Park Beauty Water

“Flashlight feat. Jay Park” by Minzy (Released Apr. 17)

After giving up every hope of CL’s solo (I like to think “Lifted” never happened), I put up all my expectations on another ex-2NE1 member, Minzy. My faith in her was tested when she released an OST ballad, but it was all cool, cause that wasn’t it. “Ninano” was everything I expected from her, but “Flashlight” was what I wanted. From various 2NE1 songs we knew homegirl could sing and rival even Bom, but I didn’t know she had a bit of soul in there. “Flashlight” is more pop than actual R&B, but I’d go as far as to say that Minzy is probably one of two female idols able to tackle the genre successfully (the other one is Hyorin). If Jay Park would’ve sang instead of raped in a “My Boo” kind of way, it would’ve taken the song to a whole other level. Alas, this didn’t happen, but his Drake-esque sing-rap verse worked and gave the song another dimension. Minzy should further develop an R&B sound rather than try to go the CL in “Mental Breakdown” route.

— Alexis

What was your favorite release this week? Let us know your picks and thoughts in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.

The sonic identity of K-pop girl groups: intro

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twice knock knock sound kpop girl group

This is the first part of a series in which we’ll discuss the changes in the music of K-pop girl groups throughout the last decade and what these changes say about the environment within which they thrive.

A common notion about Seoul and South Korea is that everything changes very fast. That’s not surprising for a country that turned a weak economy in less than 30 years into a great one, producing high quality education, technology, and entertainment; K-pop unarguably is one of the country’s biggest exports today. However, global attention attention towards South Korea has increased over the past few months exponentially, both due to President Park Geun Hye’s impeachment and the risks of potential nuclear conflicts involving North Korea. But while Korea and most of the world keep an eye on the political turmoil, the promotion of K-pop abroad isn’t showing any sign of slowing down.

For a country that has always been relatively closed off to the rest of the world, Korea seems to be starting to take more seriously the idea of exploring other countries besides China and Japan to promote their cultural and entertainment exports. Female vocalists Hyuna, CL, and Hyolyn had American tours within the last year and a half; BTS’ Wings tour wasn’t only restricted to the US, but also had a Latin American leg; SHINee held their first solo concerts in Canada and the US; rookie group K.A.R.D. will tour in the US and Brazil in the upcoming months; Hyolyn just signed to Spinnin Records, and Rap Monster recently dropped a collaboration with American rapper Wale. K-pop is indeed going head-on.

With so many changes going on, it undoubtedly affects how K-pop sounds as of late. But firstly, a question that intrigues many researchers and music critics: What is K-pop even supposed to sound like?

The K-pop Sound

Even if we claim a certain song sounds or doesn’t sound like K-pop, when it comes to a specific sound, there really is no definite concept of what the K-pop style is. Other than the fact that is largely sung in Korean and the instrumentals are mostly electronic (and even this might have exceptions), there is not a specific sound that can be considered K-pop. It can be anything: electropop, reggae, hip-hop… As a matter of fact, even the fact that it mixes lots of styles has become a very singular thing about K-pop. For example, Twice’s “Cheer Up” mixes electropop and drum’n’bass with touches of dubstep, and even Brazilian tecnobrega.

From a song structure point of view, K-pop is described by songwriters and critics as a style that pretty much has no rules. If Girls Generation’s “I Got a Boy” (considered the Korean “Bohemian Rhapsody”) doesn’t crack your head hard enough, a few moments of active listening to some K-pop songs will have you finding the most diverse song structures. Raps can come in any part of the song. Verse and pre-chorus might have so many variations that you’ll only know what they are when you finally get to the chorus.

Also on KultScene: The K-Pop Phoenix: The New Generation of Girl Groups

As for the melodies and lyrics, the more “full” the lines seem, the better. The pause between lines are often really small; moments where you hear no one talking or singing are very rare in many songs. Harmonies are also something that differentiates K-pop, since there is no specific commitment to stick to a harmonic field during the entire song. As a matter of fact, having a major change in the pre-chorus or chorus might even be a winning thing.

As you might have noticed, listening to a K-pop song is pretty much like a rollercoaster experience: it’s intense, it’s loud, it has up and downs, and you’ll only know it’s over once you’re suddenly assaulted with silence. One expression to describe K-pop would be: too much information. That’s pretty obvious if you judge K-pop by watching the music videos (that’s how many K-pop fans got into this world), since they’re so full of visuals, colours, and energetic dancing. The instrumentals are earworms as well, but you’ll never really understand how obsessed with overage K-pop is until you fully analyze the way songs are made.

However, it hasn’t always been that way. Before the Hallyu fever, and even in its beginning, K-pop songs tended to be more easy listenable (compared to what they are today) while preserving very peculiar attributes, like melodies that resembled to Korean trot music, as we hear on the chorus of songs like Brown Eyed Girl’s “Love.” The structures and harmonies of the songs were simpler, rarely escaping from the verse-chorus-verse-chorus-bridge-chorus formula, and sticking to the same chord progression through the whole song, like we hear on Wonder Girls’ “Irony” or “Tell Me.” Put these against the amount of melodic and harmonic changes heard in a contemporary song like Oh My Girl’s “Coloring Book,” which also has more beats per minute and higher notes than the previous songs, and you’ll surely spot how K-pop has changed in the last decade or so.

Take, for example, the case of the iconic group T-ara. Taking a general listen at their discography, there is a sense of homogeneity and consistent audible identity in their work, especially their biggest hits, which combined American pop trends with other elements that resembled traditional Asian roots.

The unmistakable I–V–vi–IV chord progression and its variations appeared often, such as we hear, for example, in “Why Are You Being Like This” and “Roly Poly”, which chord progressions are the same you hear on Lady GaGa’s “Poker Face” and Jennifer Lopez’ “On The Floor,” two huge American pop hits contemporary of T-ara’s.

As for the singing, as the ladies blended their voices in a homogeneous and almost linear way, with little variations in the notes, it reinforced the feeling of unity and cohesion in the group. Homogeneity, harmony and unity are very strong values in Korea, and this is frequently observed in K-pop through lots of aspects, such as the strictly synchronized choreographies, and of course, the vocals.

On the other hand, for songs with a more melancholic mood, like “Time to Love” and “Day by Day,” the cultural roots appeared through melodies that had what researchers describe as “ppong.” This a peculiar melodic trait that recalls a bit of europop — like you hear in the choruses of songs like Modern Talking’s “You’re My Heart, You’re My Soul” or Alphaville’s “Sounds Like a Melody.” But also, it echoes the sadness found in Japanese school songs, which in its turn resembles the Japanese colonialism of Korea, according to Michael Fuhr in the book Globalization and Popular Music in South Korea: Sounding Out K-Pop.

Also on KultScene: T-ara & the China Influence

This Japanese sound also highly influenced trot music, Korea’s oldest popular music genre. Said trait can be also heard in T-ara’s “Number Nine,” which is the epitome of blending modernity and tradition, with the girls singing a dramatic melody over EDM beats and with a chord progression that smartly combines tension and relief in the pre-chorus and chorus but stays neutral at the raps and breaks.

The homogeneous mix of those catchy chord progressions with sonic touches that resemble traditional roots played over electronic dancing beats helped making the sound of Korean girl groups a great representation not only of K-pop, but of Asian pop as a whole. Songs like Kara’s “Step”, Girls Generation’s “Oh” and all the aforementioned T-ara songs, were a masterful synthesis of a continent that was rising to modernity while remaining proud of their traditions. It was perfect. No wonder they all achieved so much success in China and Japan, as well as in Korea.

Contemporary K-pop girl groups’ songs rarely follow the same patterns. However, at that time, it was more than enough to win the hearts of the listeners. As the formula got worn out, and K-pop simultaneously reached larger audiences to the point of having lots of new acts fighting for the attention of the public, there was the need to reinvent their sound.

K-pop girl group music has been through more substantial changes in the last years than the music of their male counterparts, and these changes offer interesting insights on the shifts happened in global culture and society as well. K-pop did not cease to be a creative combination of tradition and modernity; however, these two factors are currently arranged through different elements in a way that says a lot about what’s going on in the world. In the next article, we will discuss the song traits of the new generation of K-pop girl groups.

What’s your favorite K-pop girl group song of yesteryear? Let us know 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.

Day6’s ‘I’m Serious’ song & music video review

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day6 i'm serious mv music video song review

Since debuting in 2015, Day6 has flown under the radar as JYP Entertainment’s underrated rock band. But with their newest project, Every Day6, they’re sure to gain success and recognition. Through this project, they’ll be debuting two new singles on the 6th of every month this year. So far, the releases for the last three months have been fairly typical for what listeners have come to expect from the band since they debuted with “Congratulations.” All of them are angsty and filmed in shadowy locations and while well-made, they’re all very much the same. Steering away from this trend their newest release “I’m Serious” is a sunny, summer-ready pop rock song perfect for a day at the beach.

Song

“I’m Serious” is a simple, sweet, feel-good song, which is a nice change for Day6. While their songs are often upbeat, their lyrics are filled with heartbreak. Finally, Young K (the band’s bassist and primary lyricist) is showing us a side of his lyrics that involve falling in love, albeit unrequited. They’re quite playful lyrics that describe the frustrations of flirting with a seemingly oblivious crush. and vocalist Wonpil, in particular, sings them with just the right amount of lilting charisma. Along with being an overall happier song, “I’m Serious” is also a lot catchier than their previous releases. With some of their earlier songs, it takes a couple of listens before you want to start singing along, but this one gets stuck in your head right away.

day6 i'm serious mv music video gif song

via akarli @ Tumblr

Also on KultScene: Monsta X’s ‘Beautiful’ song & music video review

Both K-pop and otherwise, it’s rare for a to have all of the vocalists so evenly matched in their abilities. And while all of their voices sounded as amazing as they usually do, lead singer Jae’s in particular seemed to fit this song’s style really well. All of the members also got equal line distribution, though hopefully through Every Day6, we’ll get to hear the band’s drummer Dowoon get a chance to sing. No member shines more than the others,, though, and their voices all have their own unique colors to them. Leader Sungjin’s voice is husky and deep, which balances out Wonpil’s falsetto., Mmeanwhile, Jae’s smooth sound and Young K’s powerful range ties all of them together. This was showcased nicely in the short acapella portion of the bridge. It showed that Day6 is not a band that uses their instruments as a crutch, but rather sound great with and without them.

Music Video

The music video for “I’m Serious” is quite different from what we normally see from Day6. Their previous videos were filmed in dark locations filled with shadows and artificial light. The members were broody, and even the clothes they wore were dark and heavy. This was fitting, of course, because the songs were about heartbreak. Now, it is nice to see the boys running around on the beach, smiling, and having fun with each other for a change. They genuinely seem like friends instead of a group of strangers who formed a band together.

day6 i'm serious mv music video gif song

via wonplis @ Tumblr

Similar to the line distribution, all of the members got fair amounts of screentime. It was especially nice to see Dowoon step out from behind his drumset and into the limelight. Because the group’s music videos always go the typical band format rather than a more active one, Dowoon is too often stuck in the background. The only complaint might be that the concept for this video is a lot less unique than some of their others. It certainly isn’t the first time the “day at the beach” concept has been done, but it’s unique for Day6 because this is not typical the side of them we get to see.

Also on KultScene: EXID’s ‘Eclipse’ album review

Overview

With Every Day6, the band is making huge strides towards achieving the fame they deserve and seem to only get better with each new release. The band is vocally very strong, but they also have great command over their instruments. This combination makes a song heavy in acoustic instruments just as lively and audibly interesting as any other song with computerized beats and electric guitars. Hopefully as 2017 continues, we get to see the many sides of Day6 in more depth. What this band can do with their talent has no boundaries and their future releases surely won’t disappoint.

Day6 'I'm Serious'
5

What do you think of Day6’s “I’m Serious?” Share your thoughts 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.