What’s Killing ‘Moon Lovers: Scarlet Heart Ryeo’?

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Moon Lovers Scarlet Heart Ryeo

Time travel, betrayals, sibling rivalry, star-crossed lovers… SBS’s latest pre-produced drama Moon Lovers: Scarlet Heart Ryeo has it all. Except the South Korean viewers. Those all went to KBS2’s Moonlight Drawn By the Clouds, which managed to garner more than double the amount of viewers of its rival historical K-drama before ending earlier this week. International fans are clearly watching, but Moon Lovers is not really as popular as expected based on the fact that NBC Universal and YG Entertainment co-produced the show. But it’s more than just one show is better than another; Moon Lovers is struggling from immense flaws and the cute, safer (aka banal) drama is winning over Korean television audiences, with Moonlight dominating with more than double the amount of viewers that Moon Lovers retains in the same time slot.

So what’s going on with Moon Lovers exactly that’s making it bomb at home and causing international fans to stop watching?

Lacking Proper Direction and Editing

It’s not uncommon to get frustrated with a fantastic drama, but Moon Lovers took things to another level and truly well-done episode or scene is paired with a dozen less exciting alternatives. Because the show is spanning such a long time, it seems that the plot has been edited to speed things up rather than actually, you know, develop. Notably, we’re more than 15 episodes in and I doubt the titular lovers (played by IU and Lee Joonki) have had an hour of on-screen time together. There’s also a lot of focus on certain things, such as taking too long with determining Kang Haneul’s relationship with IU, and then rushing key moments of IU and Lee Joonki’s relationship. Some subplots, like a marriage of a prince, gets too much of a focus in order to highlight a key moment of the plot… Four episodes later. Can someone please fire the production team and replace the show so that we get the full story in a timely manner, please and thank you?

Also on KultScene: 5 Sentimental K-Drama OSTs Which Give Us Autumn Feels   

It’s Too Short

The development is completely hindered by the length of the show. Most historical dramas are typically at least 50 episodes long, or don’t really address major lengths of time. But attempting to gloss over time… It doesn’t really work. Moonlight took place over a few months, but Moon Lovers has skipped years at a time and left characters in just about the same spot they were or, even worse, with major changes that the audience is supposed to simply… guess? There have been some lovely scenes to portray the passing of time and some just gave the characters new clothes.

Idol Stigma

Aside from the production issues, the show was hurt early on because of IU and EXO’s Baekhyun. Both singers were announced as key roles and many people, particularly the Korean media and audience, appear to have shunned the show initially because of it. And, to be honest, neither of them are solid enough actors to take lead characters in a drama produced in part by NBC Universal. A pre-produced, well-funded show should have great actors. IU and Baekhyun have each shown their potential, but they’re relative amateurs and often rely on other actors to pick up the emotional brunt of the moment. With that said, the stigma is ridiculous since the show still manages to have some of the most intriguing plots of the year despite its flaws.  Moon Lovers has such a great story with so much potential, it seems kind of silly at the end of the day that there are this many blatant flaws with it.

(And shout out to singer Z.Hera for doing a phenomenal role as the cute, yet fierce, Soon Deok.)

Pandering to International (Female) Audiences

Lee Joonki, Kang Haneul, Baekhyun, Hong Jong Hyun, Nam Joo Hyuk, and Ji Soo each play a prince, and each of them are fairly well-known and attractive young actors. While the show doesn’t lack extraordinary female characters (Woo Hee Jin deserves an award for her final scene as Lady Oh), Moon Lovers appears to be nothing but eye candy at first glance. While Korean audiences enjoy a good love story, Moon Lovers looks like the historic, updated version of the juvenile romance Boys Over Flowers. Which is a good thing to some people but also a deterrent for others hoping for a more serious show. Moon Lovers is more of a tragedy than a comedy, but it’s certainly more lighthearted than other famous Korean historical dramas, like Queen Seondeok or Daejanggeum, but it truly looked off putting at first glance.

Also on KultScene: 8 K-pop girl power anthems

Improper Distribution

Hands down, the worst thing to happen to Moon Lovers is the fact that foreign fans aren’t getting the same version as the Korean ones are. If you are watching the show and don’t know what I’m talking about, you need to start googling “Moon Lovers Korean version eng sub” or something similar, because you’re going to understand so much more of the show right now. That terrifying assault of a kiss? Still horrific, but there was actually something leading up to that which put it in perspective. But because Korea edited the pre-produced show and shipped it overseas before the air date, when the production team decided to re-edit the plot (aka LIVE PRODUCE) they weren’t able to send the updated versions. I reached out to DramaFever to see why that was the case, but unfortunately, never heard back.

So essentially, instead of pre-production ensuring the quality of the drama, it led to fans around the globe getting different versions of the show. Obviously pre-production has its positives, but it seems like it hindered Moon Lovers’ international distribution.

It’s Not Necessarily A Romance

Thanks Anna and Leah for making me realize this one. As much as a lot of South Korean dramas do well locally that aren’t melodramas or romantic comedies, those are mostly relegated to cable television and never garner incredibly high ratings. Like saccharine ballads replacing K-pop on Korean music charts, romantic shows like Moonlight will always do better than more politically driven shows like Moon Lovers. (Kind of like how Signal is acknowledged as the best drama Korea’s put out this year but more mainstream-friendly ones with straightforward plots, like Descendants of the Sun and W, pick up all of the awards).

At the end of the day, most people in South Korea don’t appear to want to watch a show about a long ago dynasty’s struggles, and that’s what Moon Lovers is at the end of the day: a succession story. The romance comes secondary, to the degree that many viewers (myself included) want there to be more time spent on the lead couple’s romance. But this show isn’t necessarily about the titular lovers. Rather, Moon Lovers about the foundation of Korea’s Goryeo dynasty.

What are your thoughts on Moon Lovers: Scarlet Heart Ryeo? Share your opinions 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: October 10 – 16

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october playlist faves kpop 2016 songs

With two weeks into October, K-pop releases have slowed it down for the more solemn months of the year. This, of course, doesn’t mean it’s all ballads, but the overall mood has dropped a bit from the thrill of summer. Here are our most recent faves that have been on repeat all week.

“Better Day” by 100% (Released Oct. 12)

The charismatic guys of 100%, who always makes sure to highlight their uptempo choreographies for every comeback, are finally back! However, this time around, they’re experimenting with a more mellow and mature sound for title track “Better Day.” Unfortunately, another member, maknae (youngest member) and rapper Changbum departed from the group a few weeks ago, but they regained their leader back, Minwoo, who was on hiatus from the group due to his military service.

“Better Day” reminds me of something I would’ve listened to growing up in the ‘90s; a fusion of what pop and R&B was. Unlike some of the songs that are currently out, nothing about this song seemed forced or over the top. Everything from the smooth transitions to those exceptionally high notes, were all easy on the ears. And even though the song is about a breakup, I couldn’t help but feel entirely relaxed while listening to it. Although the beat for “Better Day” may not be as intense as previous songs, I’m sure they’ll kill it with their choreo anyway!

Top Media needs to do a better job at actually promoting 100% (they’ve been around since 2012 and are still heavily underrated) so that everyone can stop sleeping on them.

— Tam

Also on KultScene: Run River North Is Walking To The Beat of Their Own Drum, All the Way To The Top [Interview & Review]

“Love Is” by Davichi (Released Oct. 13)

Davichi came back recently with their latest album “50 X Half” and while all the tracks this time around are amazing, my personal favourite would have to be “Love Is”. This sorrowful song is perfectly suited to the vocal talents of this duo and my heart melts whenever I hear their emotional crooning. The track as a whole is a quiet one but it seems to reach the recesses of my soul and touches me deeply, something I haven’t felt from a song for a long while. The music video released is just a cherry on top, since Lee Jong Suk’s marvellous acting really matched the sadness of the song. The video is also beautifully directed and shot, with an obvious but still heartbreaking plot. This album is a great comeback for Davichi, who hasn’t been disappointing with their various releases this year.

— Anna

“Prove It” by GOT7 (Uploaded Oct. 15)

This is cheating, I’m aware. GOT7’s newest album has been out for a minute and the single and b-side they’re promoting are good, but as an IGOT7, I can’t help but want more. Sadly, when it comes to K-pop mini and full albums, we only get one single before they come up with the repackage. It’s frustrating because sometimes the original album has amazing songs you want a music video of, but nope; we get an entirely new song. So when GOT7 took to V app to deliver performances of the other b-sides on “Flight Log: TURBULENCE,” I was here for it. Especially when the live performance of “Prove It” came out. Written by JB, he recruited the crooner line (Youngjae and Jinyoung) plus the group’s best rapper Mark (yep, I said it). The combination of these specific members’ voices is the perfect formula for a heartfelt yet sexy rendition of a love song. Extra points for JB being in his feelings as per usual.

— Alexis

Also on KultScene: 5 Sentimental K-Drama OSTs Which Give Us Autumn Feels

“Pet” by Davichi (Released Oct. 13)

For year’s I’ve been a lowkey fan of Davichi. The pop-ballad duo wowed us all at KCON LA in August and now again with their new EP 50 X Half. Along with absolutely adoring the single “Beside Me,” I fell in love with the playful “Pet.” Davichi is pretty well known for their more serious songs, but they’re also phenomenal when making things a bit more upbeat. The bouncing melody and Davichi’s reassurances of being fine are just so heartwarming, and I really adore the beats and the guitar melodies that seem like something out of 10cm’s music.

— Tamar

What was your fave K-pop song this week? Share 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.

8 K-pop girl power anthems pt. 7

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kpop girl power songs playlist feminist feminism

As mentioned over and over in other installments of our girl power series, women empowerment songs in K-pop are rare, though they do exist. And as feminism (or a pop-packaged version of it) becomes more prevalent and “trendy,” we’re seeing more and more songs that put women in the forefront that don’t only revolve around boys or putting other women down to elevate themselves. For this new list, the anthems are all about elevating, loving, and catering oneself.

1. “Lazy Girl” by Girls’ Generation

To kick off this list, let’s start with a song relatable af: Girls’ Generation’s “Lazy Girl.” The song isn’t that deep and declares at onset, “I’m a lazy girl.” It’s crazy to think that the equivalence of grace and lady-like in K-pop is singing about not giving a damn about anything and just lounging all day. This goes to show that even the most empowered girls need time to themselves to just chill.

2. “Ms. Independent” by After School

But when it comes to returning to your #BOSS self, let After School’s “Ms. Independent” be your jam and parade your confidence around. “Liberty, just grasp it,” Jooyeon, Lizzy, and Kahi strongly declare. From economic freedom to the liberty to choose over your own body, the statement could mean lots of things women everywhere fight for each day. Preach, After School!

Also on KultScene: 5 rising female acts at Zandari Festa ’16

3. “We Don’t Stop” by Fiestar

Girl power is not a destination, it’s a journey. And with Fiestar’s “We Don’t Stop” we have the perfect road trip soundtrack. With encouraging lyrics, like “Enjoy your awesome self,” and reminding us that we’re all pretty with or without makeup, the song definitely delivers on the encouragement front.

4. “Girl Crush” by Mamamoo

Despite Mamamoo’s “Girl Crush” not being about having a crush on another girl, it’s a proclamation about having enough confidence to consider yourself girl crush material for others. And while, at the surface, it may seem conceited, it’s actually a bold statement of knowing just how much you’re worth — even if it’s just based on looks. Just saying “I love myself” is a revolutionary statement in itself in a world meant to keep women down, whether it’s by their looks or intelligence. It’s not shallow–it’s girl power.

5. “Dream Girls” by I.O.I

Echoing the sentiment, in “Dream Girls” I.O.I sing about liking yourself as you are and believing in yourself, even if no one else does. There’s nothing wrong with being your own biggest fan; if you don’t like yourself, why would others? I.O.I may be a project group, but this self-confidence boosting song has a message to last for ages.

6. “Girls on Top” by Boa

BoA is a staple on our girl power series. With such a long career and being as accomplished as she is, it’s no surprise she spreads the empowerment gospel. This time, we’re throwing it back with “Girls on Top.” The song’s pretty self explanatory: “Don’t you tell me what to, gonna make my decisions on my own.” Alright! BoA is such a role model to her fans and even other idols; it’s awesome she uses her concepts to spread empowerment.

Also on KultScene: Song Jieun’s “Bobby Doll” Music Video & Song Review

7. “Doin’ Good” by KittiB

But girl power is not always sunshine and rainbows; it often comes from a dark place. In “Doin’ Good,” KittiB sheds light on her emotionally abusive relationship and how she’s healing from it. The rapper candidly recounts specific examples of how her former flame used to put her down. Whether the song is her way of coming to terms with the relationship or just her way of calling her ex out, it takes guts to rap about something that personal, and it’s totally badass.

8. “Fly” by Jessica Jung

To close this installment, we have to go back to the cheesiness. We all know what Jessica Jung’s “Fly” is really about… But if we take it as it, it’s a pretty strong song. It’s all about finding yourself, following your dreams, and to keep it positive. The most telling part comes from featured Fabolous, who seems to have gotten the tea on the Jessica x SM Entertainment debacle. So if Jessica can survive being dropped from the biggest K-pop girl group, we all got this too.

What’s your fave K-pop girl power song? Share your picks and thoughts in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.

Reviewing the Korean Film Archive: Sweet Dream

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Sweet Dream
When Yang Ju Nam’s Sweet Dream was found in a Chinese cinema in 2006, it was thought to be the oldest surviving Korean film. This title was eventually taken by Cheongchun’s Sipjaro, a silent film released two years prior to 1936’s Sweet Dream. Sweet Dream does however, remain the oldest sound film in Korea that still exists in some format. It is special for this reason, as it represents a period of Korean cinema that is almost completely unknown to us today. The Korean Film Archive believes that between 1910 and 1940 approximately 140 films were produced, of which only five are available. Sweet Dream is then imperative for those of us who are trying to come to some understanding of Korean film history. It offers a snippet of what life might have been like under Japanese rule and technically shows us that film language still had a long way to come.

Director Yang Ju Nam worked for Kyeong Sung Studio, an apparently prolific studio of the time. He worked as an editor and assistant director before making his directorial debut with Sweet Dream. After his debut however, he would go straight back to editing and wouldn’t direct again for another twenty years when he made Exorcism of Bae Baeng Yi in 1957.

Also on KultScene: Reviewing the Korean Film Archive: The Day a Pig Fell Into the Well

Sweet Dream is about a woman called Ae Soon, a housewife who neglects her familial duties and is punished for it. It is a cautionary tale about the dangers of modernity and has a predictably regressive view of women. As soon as Ae Soon leaves her family nothing goes right for her, she embraces a bourgeois lifestyle of hotels and modern dance. Lessons are imparted onto her more like public service announcements than a traditional narrative film. It even goes as far as having a scene in a classroom where the lesson is about the importance of family and the dangers of the road. Views like this are to be expected from the 1930s but given Korea was under strict censorship from outside forces more hands are at play for a film like this to exist.

Korean culture under Japanese rule was heavily stunted. People were being forced to change their name to Japanese, modernity was being thrust upon them, and there were few ways to fight back. Cinema was not one of them, with most films being produced in Korea apparently being documentaries and adaptations of traditional stories. They, of course, would all have been subject to strict regulation which makes Sweet Dream an interesting case. It specifically warns of modernity while Japan wanted to push it on the Korean people. It’s view of women was one sided in the same year that Kenji Mizoguchi released Osaka Elegy, a biting critique of the oppression Japanese women face, to critical and commercial success in Japan.

In its traditional view on families then, Sweet Dream is somewhat of an affront to Japanese rule. The fear of modernity could be seen as Yang’s disapproval of his colonists. One step back to take two forward. Of course, Japanese traditional values wouldn’t have been too far from Korean ones at the time, making the strong familial themes at play would have seemed agreeable to Japanese censors. Or maybe the censors were too busy cutting out violence and whole unknown segments to notice.

Also on KultScene: 5 Sentimental K-Drama OSTs Which Give Us Autumn Feels

The film language, however, is mostly inspired by Japanese cinema. Koreans were seeing some western films like the work of D.W Griffith but the form of Sweet Dream shows traces of Japanese master Yasujiro Ozu. Very much traces though, as the film plays like a 50 minute condensed Ozu film, leaving no room for emotions to be slowly teased out. Here the melodrama is front and centre. In the very first scene, Ae Soon and her husband have a fight with anger seemingly coming from nowhere. It is shot with a plainness that recalls Ozu without the meticulous framing. Instead of being down on the ground with our characters the camera is positioned above looking down on them. Straight away we start judging them and their positions, something the film does with no mercy.

While mostly disappointing, the filmmaking is also where we find the brightest moments of this film. Yang particularly puts effort into his edits, no surprise given his background as an editor. In some scene transitions he uses match cuts to great effect. They transition with the laughter of a man or from two people drinking beer to another scene of a man drinking beer. It shows thought has gone into the form in some cases at least, as it’s absent almost everywhere else. Even the edits are weak in many cases with some shots going on too long or cutting to a scene that has no relevance to the story.

Sweet Dream is a confusing contradiction. Through incoherent character choices and messy filmmaking it puts forward regressive beliefs in the interest of possible subversity. Even if it can be seen as an attack on Japanese rule, the real losers here were Korean women. The importance stressed on family still hurts them to this day. As a piece of history it gives us glimpses into a growing Seoul yet portrays its people as one note. Culturally, it shows us how Korea would begin to love the melodrama. In the following years melodramas would be the most influential films, popular because they contained a multitude of emotions that were suppressed in Korean culture. The next time you watch one of your favourite dramas while emotions are flooding out of the screen, think of Sweet Dream and remember the role that history plays in everything.

Watch the full film here.

Have you seen Sweet Dream if so what do you think? Share your thoughts in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.

Run River North Is Walking To The Beat of Their Own Drum, All the Way To The Top [Interview & Review]

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run river north, monsters calling home

KultScene sat down with six member Korean-American indie folk-rock band, Run River North (previously known as Monsters Calling home), before their set at Brighton Music Hall, in Boston, last Wednesday. The group is no stranger to the city, having already been here several times and had actually performed at the very same venue earlier this year in April. We talked about the weather, to which they were totally digging, performing in Japan, touched base on being Asian-American, and some other insightful topics.

KultScene: Our audience might not know you, can you introduce yourselves?

RRN: This is Run River North, my is name John, I play drums.
I’m Daniel and I play guitar.
I’m Sally and I play keys.
I’m Alex and I sing and play guitar.
I’m Jennifer and I play the violin.
I’m Joe and I play bass.

KultScene: You’re about a fourth of a way into your tour with “Finish Ticket” and “IronTom.” What’s this tour been like? Are there any funny/weird habits your bandmates have that you never noticed before?

John: I think we know a lot about each other, it’s kind of hard to find new habits that you know people have picked up. Being in a band, with this band, for two or three years of touring, you kinda get each other pretty quick but yeah, I think by now we get most of it. The tour has been great so far. I think it’s like our first, kind of like full support run with a band that is great. I mean, we’ve toured with great bands before too but this is kinda something that we wanted for a while, to tour with some like minded friends.

KultScene: What’s your favorite song to perform live?

Alex: “Beetles” is always my favorite.
Sally: “29” is fun because we added this crowd participation part, so we all sing together. It’s unique so we try to involve [the audience] as much as possible.

KultScene: In a recent interview, you mentioned that your first album was about looking back at the immigrant story. And in your most recent album, you guys talk about looking forward and finding your identity. Are there any themes or concepts you wish to tackle next?

Alex: I haven’t really thought about that. I don’t think the concept came pre-planned, it just naturally happened. I mean, it could go back, if the songs are good. It could go back to immigrants, it could go back to ourselves.

Daniel: The common thread isn’t predetermined. It’s usually just consistent and it just shows up at the end of the songwriting process, you just kind of see “oh, there’s a general theme here” and I think that’s what it’s been for two albums.

John: That’s kind of the beauty of making albums; you see a snapshot of that period, that moment and that phase.

Also on KultScene: 5 Rising Female Acts At Zandari Festa ’16

KultScene: You recently performed at SXSW this past summer. How was that experience in comparison to when you performed on “Jimmy Kimmel Live!”?

Alex: SXSW is an interesting set. There’s hundreds of shows going on at the same time so it’s not really like it’s your time to shine, it’s barely your time to shine and you just gotta play in front of whoevers in front of you and hope that someone’s there, but you can’t expect anything out of that. You just gotta go in there with low expectations and hopefully you’ll get a nice showcase and hopefully someone comes through. And for us, we were lucky this time around where one of our showcases, we got this promoter who does festivals in Japan, and because he was there, we were able to go to Japan. Those things are never guaranteed. And with Jimmy Kimmel or Seth Meyers that we did this year, there’s this focus of everyone watching you; there’s one mission and one opportunity, so it’s a little different I guess. SXSW just feels like doing a tour but a little more focused. You can’t really compare the two too much. Both are pleasant in different ways.

John: Our agent, our managers really set us up; there’s a path, a goal for each showcase. We wanted to bring different people to these showcases, so if you’re just an indie band with no fame, it’d be very difficult to stand out, but because we have such an amazing team behind us, they’re setting up all these paths and opportunities for other people to interact with us and I think that’s the key with SXSW. With Seth Meyers, Jimmy Kimmel and stuff like that, that’s more for exposure. All of this is going towards a plan, it’s progressing towards a plan to be more successful, to be more exposed to different types of people. So all of it is working for us.

Alex: There’s really no negative side to it.

KultScene: You auditioned for Kollaboration in 2011, I’m actually apart of Kollaboration Boston. How have you turned any initial failures ultimately into success?

Alex: That’s how we got started, actually. Kollaboration is a great way to play on stage, but it should only be a platform. And if you want to be an artist and want to perform, then you should keep singing. You should never let Kollaboration be your judge, unless you like being judged for your work like that in a competition sense, at least for our band, that’s not what we want to be doing. It was a great way to get started, it was a great push for us to say “okay, if we’re going to perform on a stage, what do we need to do so that..” you know, regardless if we get the money, it’s fine, but would people want more of us after that?

I think that if it’s your job and it’s your life career and to go around doing Kollaboration. That’s just not for us. I don’t really encourage that for people. If they want to better themselves in their art and use that then yeah; it’s another platform, and if it’s a cool stage, if it’s going to expose you to more people, especially in the Asian-American community where you can inspire people that way, then yeah, do what you can and be good at it. But I think the goal is to get the people that do the Kollaboration shows, to come out to actual venues, to actual shows that people do for a living and see what it’s like and that includes the audience as well, as the artist. Everybody, if we’re talking about empowering Asians, go to wherever everyone is doing shows, go to where there are galleries, where there are people who have been doing this forever I think that’s the main thing about Kollaboration, to be the gateway for those audiences or artists to go out there to support those who make music or make art.

Daniel: I think Kollaboration is a great service to the community; a great opportunity.

KultScene: What are you hoping your Boston audience will be like tonight? Is there a message(s) you want them to leave with tonight?

John: Personally for me, like any show, we want to create fans where people will see us 15 years later and say, “oh man, I remember seeing them in high school and I still love them” or the ones who will follow us no matter what, keep up with everything that we do, fans that will, you know, follow us on Instagram or Twitter, fans who just love everything about us. That’s our goal, to be loved; to be loved by hardcore fans who love our music, not just one song.

Daniel: I hope people leave the show inspired to pursue their craft, to just be good at what they do in life. Seeing six Koreans or Asians on a stage in a world that, you know — [some people think] it’s not our place to be here, I think, but I hope people feel encouraged to push through. For 45 minutes or whatever the show length is, they’ll get to enjoy our music for what it is.

*Interview was edited for clarity.

Also on KultScene: Rock Bottom On Top In London [Interview]

run river north, monsters calling home

And they did just that. Run River North gave an awe-inspiring show, performing what felt like a greatest hits/ repackaged masterlist set, with a total of eight songs. The sextet opened with bright lights and “Excuses,” (if this festive folky beat alone doesn’t get you hooked, then check out the music video, you won’t be disappointed). They hit the ground running! There was really no easing into it; RRN accelerated at high speed. This band meant business. RRN quickly shifted gears, transitioning from folk to rock and got the crowd bopping away with “Run or Hide,” which is off of their second album “Drinking From a Salt Pond” — definitely a crowd favorite.

Now, my personal favorite, “Monsters Calling Home.” Their debut/self titled debut album, “Run River North.” is about the “immigrant story.” Well, what does that actually mean, you ask? In case you read this far and still haven’t looked them up, the members of Run River North, Alex, Daniel, Jennifer, Joe, John and Sally, are all second generation Asian-American; it wasn’t planned, it kind of just happened that way. They drew inspiration for that album from their parents; parents who had to start over, “digging for worth, in land under a foreign sun” when they left their homeland. RRN has become a voice for a generation that’s kept quiet. They’ve become this light, for a community that thought certain instances were only happening to them and no one else. No one should ever feel like they’re the only ones experiencing some sort of turmoil, let “Monsters Calling Home” be your outlet.

One of my favorite things about live concerts is when the band performs not only their hits but also their b-sides. Sometimes, the b-sides are the best songs on an album, like “Superstition” and “Seven.” Run River North showcased such captivating harmonizations in “Seven” that it left the crowd breathless. Maybe it’s the countless years they’ve been together and all the shows they’ve performed, but the chemistry and dynamics between these six could make anyone envious!

Their last three songs, “Pretender,” “29” (as mentioned by Sally earlier) and “Anthony” were very interactive for the audience and for the band; RRN had the crowd singing and clapping along to the beat. Even had us with our hands up in the air at one point. There was a part towards the end of “29” where Alex and Joe were facing one another duking it out on their string instruments, then Alex leaned his forehead into Joe’s T-shirt and wiped all his face sweat on Joe. That’s how you know you’ve got a friend for life. They pulled out all the stops for their last song “Anthony.” Jennifer traded in her violin for guitar and, well, she absolutely slayed. I’ve seen a few photos floating around the internet of Alex’s hair, but since he had it tied up during our interview and throughout 90 percent of their set, when he finally released his luscious locks (I’m pretty sure this guy had better hair than most of the females in the audience), it was the final icing on the cake. Concerts can’t be entirely serious, right?

Even if you think folk, rock or that combination in general isn’t your thing, go and give Run River North a listen. Even if their style isn’t what you’re used to, their story telling through their lyrics should be more than enough to lure you in forever. And don’t forget to check out Run River North, as they tour a city near you!

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5 Sentimental K-Drama OSTs Which Give Us Autumn Feels

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Sentimental OSTs

The season marked by the fall of colourful leaves and the creeping of the chill in the air, Autumn is a good time for recollection and reflection of the past year. To celebrate the arrival of this wonderful season, here are five sentimental K-Drama OSTs (soundtracks) from the year so far that will definitely evoke them feels (and possibly get you hooked on some of these dramas).

1. Sunhae Im- “Will Be Back” (Moon Lovers: Scarlet Heart Ryeo)

Currently airing sageuk (historical drama) Moon Lovers: Scarlet Heart Ryeo may have been receiving a lot of criticism at the moment for its awkward directing and editing but there is one thing that the drama nailed perfectly: its OST. To pick one out of the amazing collection available was a near impossible feat but Sunhae Im’s “Will Be Back” is a song that brought me to tears every time I heard it. Maybe it’s because the song was played during two extremely heart-wrenching events in the show, or maybe it’s because Im’s operatic voice blends perfectly with the wonderful instrumentals of the track.Either way, this addition to the OST is by far one of the most moving I’ve ever heard in a K-drama. The song evokes emotion in a way that Moon Lovers sometimes fails to do and is a great asset to the drama (as with the other songs included on the show’s soundtrack).

2. Insooni- “Gift” (Memory)

“Memory” is an underrated gem of 2016, one which never garnered much public attention but satisfied the viewers who stayed with it to the end. Much like the drama Memory, the OSTs were mostly understated and quiet but extremely touching and memorable. “Gift” is a beautiful track from one of Korea’s most celebrated female vocalists, Insooni, and it perfectly translates the deep emotions evident in this well-written drama. The bittersweet and reflective song speaks of the sadness, loss, and regret we are bound to feel as we grow older and experience change. More than that however, the song also describes the peaceful contentment we can feel when we remember the kinship, friendships, and small miracles that made up our past. It’s a song that’s definitely worth listening to this season.

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3. Beige- “I Miss You” (Moonlight Drawn By Clouds)

For the most part, youth sageuk “Moonlight Drawn By Clouds” is lighthearted and adorable, if a little cliche at times. However, the drama also does manage to carry some pretty emotional beats , especially in the moving portrayal of Lee Yeong’s relationship with his deceased mother as well as the unexpectedly sweet romance between a eunuch and a court lady. Beige’s “I Miss You” was stuck in my head as soon as I saw Ra-On’s dance scene and the song did not disappoint. Soft but dripping with emotion, Beige’s voice flowed as one with the gentle string instrumentals backing up the track, creating a sentimental OST for the drama.

4. Roy Kim – “Maybe I” (Oh Haeyoung Again)

Roy Kim’s warm and melodious voice works well with the simple background instrumentals to create this relaxing OST which is at once subtle but also very comforting. It’s worth a listen, especially if you are feeling nostalgic or melancholic due to the weather. The track also suits well with the overall theme and mood of Oh Haeyoung Again, which turned out to be an unexpected hit due to its meaningful storyline and uplifting message.

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5. 2NB – “Fall’s Winds” (Fantastic)

Fantastic is a melodrama through and through what with one of the drama’s main characters having a terminal illness and having only six months left to live. There is thus no shortage of heart-wrenching and tragic scenes in the drama which is why I was quite surprised to chance upon 2NB’s “Fall’s Winds”. The song is cheerful but also has a pensive feel to it, made clear through the beautiful and emotional voices of the two singers. I could really go on listening to their harmonies for days.

What songs are on your own Autumn playlist? 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.

Weekly K-pop faves: October 3- 9

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K-pop Playlist Sunday: October 3-9

One week into the whirlwind of October, we’ve seen just a hint of the oncoming storm that we’ll see later this month. For this beginning of the month playlist, we have a list for you featuring a few of our writers recent faves. Jersey girl Ailee returned with her new “Home,” and K-pop legends SechsKies returned the promise of their “Three Words” to both old and new fans. And, of course, fans of the drama Moon Lovers: Scarlet Heart Ryo should check out Jung Seung Hwan‘s addition to the soundtrack.

“Three Words” by SechsKies (Released Oct. 7)

If you talk about the early beginnings of K-pop, there are a few names that come up. SechsKies, the six member group from the company now known as DSP Media highlighted for their intense popularity in the late ‘90s and their sudden breakup in 2000. So when they released their first single in over a decade earlier this week, it was something I definitely had to check out. Up until this point, my knowledge of SechsKies was primarily thanks to the drama Answer Me 1997 (sorry!) and the individual members, particularly Eun Ji Won. But then I was floored by how heartfelt ”Three Words” felt to me, a brand new fan. Combining the melodic ballad-rock sound we’ve been seeing from YG Entertainment — SechsKies’ new company– lately (particularly with WINNER) with an old school rap would have been enough for me, but I absolutely love how the song and music video begin with the group’s final farewell from more than a decade ago since the song is the fulfillment of their three-word promise: Here, Now, Us that they reassured fans with, promising that SechsKies would have a second wind. This little splice of K-pop history resonates with me, so I definitely suggest everyone should check it out even if they’re not necessarily a big fan of ballads.

–Tamar

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“Home” by Ailee feat. Yoon Mirae (Released Oct. 5)

What’s fall without an Ailee comeback? This song is much different than the rest of her music — it’s not as slow as the ballad singles she frequently drops, but certainly slower than her usual power-packed (Beyoncé-esque) sound. And it works brilliantly. The delivery of her vocals is especially fantastic on this song, mixing her lower and higher registers to make the track both powerful and emotionally evocative. I totally applaud Ailee for managing to both maintain and differentiate her sound with this release.

”

–Kushal

”Wind” by Jung Seung Hwan (Released Oct. 4)

I’ve been in love with Jung Seung Hwan’s voice ever since I heard it on K-pop Star 4 and I’m more than happy to hear the numerous releases he’s had over the years, mostly consisting of OSTs for various successful dramas. His latest OST, for the currently airing Moon Lovers: Scarlet Heart Ryeo is one that I’m extremely addicted to this week. His strong vocals flow perfectly with the rich instrumentals in this track and perfectly expresses the sadness of this drama as a whole. Among the numerous stunning OSTs released for this drama, “Wind” stands out because of Jung’s emotional and distinctive voice, especially when the OST is used effectively in scenes featuring our tragic fourth prince Wang So.

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

Weekly K-pop faves: September 26- October 2

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kpop faves playlist songs releases september october 2016

As previously warned, this month will be the month where everyone and their mommas make a comeback. It’s only been two days since September ended and the K-pop gods have already unleashed a plethora of new releases. This also meant that some groups rushed their comebacks to the last week of September before it got crazy. For two of our writers, however, it was the week one of their fave groups came back, so anticipate the bias. With that out of the way, here’s our faves of the week.

“Dreamin’” by GOT7 (Released Sep. 26)

All JB has to do on a track is breathe and I’m here for it. Add the fact that he not only delivers the perfect chorus and verse complete with a falsetto, but also co-wrote the lyrics for “Dreamin’” and it’s my favorite song on GOT7’s new album Flight Log: TURBULENCE. Bias aside, like the title suggests, this song is so dreamy thanks to the vocalists’ tones and beat, but it also has a bit of duality going on with the rap line’s sometimes hard-hitting sometimes deep verses. Hands down, it’s one of my all time favorite GOT7 songs. There’s just no pretense about it; they’re not trying to be all swagged out nor cheese balls. They’re just real and showing off their talent, which has grown immensely since the last release. I love it!

— Alexis

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“Sugar Rush” by Gemma (Released Sep. 26)

As K-pop fans, we see plenty of our favourites go overseas in search of international glory. Korea has been a great feeder state for pop all over the world yet has had few established stars from outside come in and do well. Taking up that challenge is Gemma aka Gui Gui aka Emma We aka Wu Ying Chieh, Taiwanese Mandopop star, actress, and former member of Taiwanese girl group Hey Girl!, but you probably recognize her as Taecyeon’s virtual wife from their season on We Got Married. She is now expanding her pop career into Korea with “Sugar Rush.” It was recorded in both Korean and Mandarin, and I might actually prefer the Mandarin version. It offers wildly complex tones to a song, going from a soft hush to a quite sharp harshness. The song is a fairly fun bit of bubblegum pop with great guitars and chorus. Although it does transition with seemingly no clue as to what came before or what will come, the best part is by far the tiny bit before the chorus where it sounds like it might go full on rock out mode.

— Joe

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“Sick” by GOT7 (Released Sep. 26)

When a relationship is over, are both parties left with lingering pain or is it just one of the two? Ballad track “Sick” off of GOT7’s full length album, “Turbulence” will flood your mind with any past heartaches and painful farewells. Sure, most of GOT7’s members might’ve never even had a chance to fully experience a relationship or what love might be, but their voices says otherwise in this song.

Vocalists, JB, Jinyoung, Youngjae, and Yugyeom, all carry such diverse characters when singing, but it was Youngjae’s emotive voice that shone the most in “Sick.” His voice did a remarkable job of conveying the aftermath of an unfortunate break up; his every word made me want to cry (maybe I did). Unfortunately the rap line, Mark, Jackson, and BamBam, plays a small role in this song, but their one liners in conjunction with the other members had impactful messages, leaving you with a major sense of loneliness and bitterness. Is it weird that I want GOT7 to sing this to me, even though it’s such a heartbreaking song? Yeah, I guess it’s that GOT7 fever.

— Tam

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

Reviewing the Korean Film Archive: The Day a Pig Fell Into the Well

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the day a pig fell into the well
Hello readers and welcome to a new KultScene column dedicated to exposing the annals of Korean cinema. The Korean Film Archive is one of the great resources for Korean cinema fans on the web, and their Youtube channel is filled with touchstones, idiosyncrasies, and modern greats. Best of all, it’s free and subtitled. The quality of the films is not great but it’s hard to complain about that when everything else is so accessible. The aim of this column is to bring such an impressive asset to light while also learning about and critiquing Korean cinema history. Films to come include the oldest known Korean film still in print, work by kidnapped director Shin Sang Ok, and 80s erotica.

We’re starting with someone who is continuing the great trend of international acclaim for Korean cinema, Hong Sang Soo and his 1996 debut The Day a Pig Fell Into the Well. Hong is one of the many Korean filmmakers who went to study film in the US in the 1990s. It was there where the most recent wave of Korean films developed their styles, similar to K-pop in that they collide eastern and western sensibilities to make something uniquely Korean. Hong is known for his on the surface simple but deeply thoughtful films that tackle adult problems. You may also know him for his alleged affair with actress Kim Min Hee, whom he worked with on his most recent film Right Now, Wrong Then. Take note, as this piece of information is not as irrelevant as it may seem now.

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The Day a Pig Fell Into the Well is split into four different segments with characters overlapping in each. The first is about author Hyo Sup (Kim Eui Sung), a deeply pathetic man who is having two simultaneous affairs. The second is about Tong Yoo (Park Jin Sung), a businessman who struggles with his own desires to have an affair and the fear that his wife is seeing someone else. The third is about cinema ticket seller Min Jae (Jo Eun Sook) who is one of Hyo Sup’s girlfriends and how she finds out about his other affair. The last is about Bo Kyung (Lee Eung Kyung), wife of Tong Yoo and the other mistress to Hyo Sup. While not quite as complicated as it might sound, Hong does not stop to explain things in great detail.

Each character was developed by a different writer but when filming came Hong went with an improvisational style. The unique scripting hardly shows as each actor seems perfectly balanced within the film. Due to Hong’s style they have to use their bodies more than their faces as close ups are rare. Kim Eui Song gets the most to do but still excels in his quieter moments, displaying a pitiful man like no other. Lee Eung Kyung also stands out with her constant unaffected but painful performance. Her character, Bo Kyung, is the most tragic of the piece due to her inability to act. Her segment involves a lot of walking around doing nothing yet we can feel her disposition changing as the film crawls to an end.

This world where seemingly everyone is having an affair seems like a complex and unbelievable one (although reality may be just as strange given a report that says half of Korean men cheat). Hong however, fills it with tiny details and minor characters who breathe life into it at every opportunity. Shot with a masterful straightforward eye, there’s rarely more than three shots for each scene with most of the action taking place in wide shots This way the secretive characters can’t hide from the viewer. When Hong does cut within a scene it’s nearly always to go in close on small details like a hand picking up a cigarette or playing with a bug. Through these gestures we get insights into the characters that their words don’t tell us. Each one has other things on their mind than what’s happening in front of them.

Taking cues from Italian neorealism, Hong also likes to linger on shots even after the main character has left the frame. It positions us in a world that is alive. A delivery boy getting on his scooter, a couple arguing in a hotel corridor, life outside the main characters exists and maybe they should take note to realise their selfishness. Minor characters with lines are also given personalities that come across well, particularly a waitress who fights back without hesitation and a girl who coughs a lot in one scene simply because she happens to have a cough not as some warning of her impending doom.

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Through this supremely crafted world our view of the characters can be laser focused. Hong’s opinion of these tangled people is obviously bleak. Each one possess a trait that prevents them from being honest with anyone around. Hyo Sup especially is seen as a destructive force to all. Despite his two girlfriends he seems a profoundly lonely man; he asks one publisher out for drinks but is rejected. He is offended when some of his friends didn’t invite him out but wriggles his way in anyway. This scene, where he goes out with some old college friends is one of the best. Hong makes great use of the Korean dinner table as they all sit around sizzling meat drinking soju. There’s a great tension to having the meat right in the centre of the frame, Hyo Sup’s own feelings bubble along with it. He is even framed to the right so we don’t have a full view of his face.It’s no surprise then that these feelings eventually pop dramatically.

Tong Yoo and Min Jae are the most ignorant of the lot. Tong Yoo’s segment shows him trying to make some sort of deal but continually being pushed back. His lack of reaction is telling in why Bo Kyung started having an affair. His part is the weakest as it slows things down too much after Hyo Sup’s dramatic start. There is one great moment where, as he is debating whether or not to have sex with a prostitute, he starts to fidget in bed. His body convulses wildly showing a man who is clearly troubled despite his seeming indifference. Min Jae’s naievty proves to be her downfall not with more than one toxic male.

As a whole it comes together devastatingly in the final segment. Despite being a bit too long and having some misplaced motivations for smaller characters, it’s a debut that sets out a great director’s career. It’s interesting that Hong’s affair scandal only came out recently as this film feels apologetic. Hyo Sup seems like a stand in for Hong, a portrayal of self-hatred that didn’t hold back. A man dealing with his flaws out in the open is immediately powerful but also a possible turn off. The way Hong does it however, is precise and powerful. His filmography is singular in this era of Korean cinema for being small in scale but deeper than any of his peers can attest to.

Full movie here.

What do you of think of The Day a Pig Fell Into the Well? 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.