Page 32 – KultScene

The I.O.I Debacle: K-Pop’s Newest Conundrum

July 6, 2016/in Features, OPINION /by Kushal Dev

2016 has been a year of many changes for K-pop fans everywhere, particularly in the increasing size of groups. 12-member Cosmic Girls (WSJN), 42 quadrillion-member NCT, and most notably in the Korean spotlight, 11-member I.O.I from popular idol survival show “Produce 101,” which aired from January to April of this year.

For those of you who never watched the show, I’ll give you a quick summary [Spoiler alert!]. Mnet, one of the biggest entertainment networks in Korea, assembled a lineup of 101 female trainees from over 45 different companies to create the ultimate idol survival show. The girls were first ranked by skill level into levels A, B, C, D, or F classes. From there and on, the girls were organized into different units and tasked with performing with different songs, all while being subject to public vote.

In the end, the eleven trainees with the highest number of votes would debut as members of a temporary girl group under YMC Entertainment that would disband after one year of promotions. And this group was eventually called I.O.I, with members Somi (JYP), Nayoung (Pledis), Mina (Jellyfish), Sejeong (Jellyfish), Doyeon (Fantagio), Yoojung (Fantagio), Yeonjung (Starship), Chungha (M&H), Sohye (Redline), Chaeyeon (MBK), and Jieqiong (Pledis). Mnet made a few of the results very notable through editing and show structure — specifically, Somi placing first and being awarded the “center” position (as maknae, or youngest member, of the show’s entire 101-girl lineup), Sohye’s rise to fourth despite originally being an F trainee, and Yeonjung just making it by snagging 11^th place.

As a result, I.O.I started with incredible popularity, as all of the group’s members got tons of exposure from the show. Their first mini album “Chrysalis” sold approximately 60,000 copies and counting, demonstrating their fandom power only a month or two into their existence. And they’re not only notable in their number of fans — the group has also snagged many CFs and endorsement deals as well, showing that their popularity permeates the public itself. And while all of this is sweet and dandy, the group has also become incredibly controversial, opening up many ethical/philosophical/“is this even possible?”/“WTF?” K-pop questions for fans to ponder.

Also on KultScene: The Best K-Pop Girls of June

To begin, the group itself is entirely an experiment, because it was crafted exclusively by public vote. And considering how visual-oriented entertainment culture can be, this group has weaknesses when it comes to raw talent. Among the entire 11-member lineup, the only strong vocals are Sejeong and Yeonjung, forcing the group to pursue more rap-friendly, easy-singing songs instead of those that use stronger vocals to captivate the listener. And while all members definitely have their talents and charms as amazing and talented performers (some examples: Somi is a visual-singing-dance triple threat, Yoojung brings incredible stage presence, and Chungha is a truly gifted dancer), the group has essentially become about visuals and “pretty likeable qualities” instead of any sort of musical accomplishment. The question must be asked: is this the best way to form a girl group? Does opening up member selection to vote dilute the talent, and/or place excessive limits on the way the members use (or don’t use) their talents?

With the way I.O.I looks, I would argue that it does. The group’s image boasts talented performers, but doesn’t let them show off raw singing or dancing talent for the members that do possess those abilities. It puts incredible limits on the group’s musical abilities, and, depending on who you are, it can make the performance less exciting to watch. I don’t know about you, but I watched Yeonjung’s high notes in her “Into the New World” performance literally one hundred times before I.O.I’s debut. I was hoping for more of that in I.O.I’s repertoire, but Yeonjung’s high note in “Dream Girls” is much less impactful. With the vocal caliber, song quality, and immense size of the group, that kind of stuff seems to be less of a priority for the producers.

Going off of that, the next larger K-pop question comes to mind — does a group as big as 11 members really work? In the case of groups like Super Junior, EXO, Seventeen, and more, the answer seems to be yes. But for a girl group like I.O.I, it isn’t. This group isn’t an innovative performance-oriented group like Super Junior; they’re not a dance-heavy pop group like EXO; they aren’t a unit-centric, talent-based group like Seventeen. Instead, they’re just a girl group with likeable and talented members that should all get a sizable amount of the spotlight. But instead, each member is left only one or two lines in the entire song, and barely anyone gets to shine at all. While I.O.I might be popularizing a larger group model for girl groups, they’re demonstrating that it doesn’t work well in terms of music and performance.

Music quality is another area where I.O.I suffers incredibly. And this is the fault of none other than their label, YMC Entertainment. The first song they released as a group, “Crush,” wasn’t entirely bad in the eyes of netizens and fans alike. The music video, however, created a lot of noise — why were they all in mismatched outfits, singing and dancing without coordination in a room that resembles the worst of K-pop’s “box music video” era? Obviously, it seems that the “Crush” music video was a quick production for fans to enjoy. But the enjoyment was limited, especially when editing and/or other management problems led to Yeonjung’s criticism for allegedly trying too hard to steal the spotlight from other members. The deletion and re-release of the video, consequently with less Yeonjung, demonstrated that the whole affair was sloppy and unprofessional from the start.

Their actual debut song “Dream Girls” was just as messy and controversial. The song combined many different styles, tempos, and rhythms, and in my honest opinion, not very well. While it is catchy, the song was very sloppy and fragmented, with main vocals getting very few lines, raps coming out of nowhere, and the center member’s mysterious absence from the front-and-center region of the stage during important parts of the song. While the song was very different in sound, the music video showed many similarities to that of Girls’ Generation’s debut song “Into the New World.” While a plagiarism suit never precipitated from the scandal, fans were left very angry. Why couldn’t a better and more unique music video have been made to complement such unique girls? Many fans were also angry about Somi’s position in the song, which, essentially wasn’t center like she was voted to be. While many argue that Somi doesn’t have to be center the whole time (and that is a legitimate argument), she was barely in the center at all. It seems like, in order for her to be the center, Chaeyeon’s “We are the Dream Girls” line at the beginning of the chorus should have gone to Somi, and some other lines could have been switched around to find a place for Chaeyeon. After all, Chaeyeon’s place at the front-and-center of the song’s tagline is essentially what the center position is for. Fan’s argued that Somi was voted to be center, so she should have been there and Chaeyeon should not have. This point actually kills two birds with one stone: demonstration of the group being mismanaged, and further evidence to show that groups probably shouldn’t be decided by vote.

To be completely honest, hearing that the group would be promoting under YMC was very surprising when it was first announced. The label doesn’t exactly have brand value, since their only real sustained claim-to-fame is Ailee. And while Ailee is very successful and incredibly talented, putting the group under YMC was bound to create problems. There have been several reports of mismanagement, whether it be scary managers or arriving late to events, and the label is essentially the only one to blame for these dilemmas. Trusting this slightly unknown label with some of K-pop’s future stars might have been the wrong decision.

Putting all of these scandals and problems aside, the biggest controversies remain. First of all, as far as I know, there has never before been a group of girls signed to one label with each girl simultaneously being signed to a completely different label. The only other remotely similar example of this anomaly is Gain of Brown Eyed Girls, who was signed to Nega Network for group promotions, while signing with LOEN and other labels for solo promotions (this was before the entire group, including Gain’s solo brand, switched over to Mystic Entertainment’s APOP sub label, of course). I.O.I’s label conflict creates a lot of problems, some of which most likely led to I.O.I’s unfortunate inability to perform on any music shows other than “M! Countdown” and “Music Bank (they were even edited out of the SBS Dream Concert 2016 broadcast).”

The dual label problem gets even larger (and even ethically confusing) when members are withdrawn from one group to be part of another. All of this begins with Chaeyeon, Heehyun, and Ng Sze Kai, who were all members of groups during their participation in “Produce 101.” Chaeyeon and Heehyun were members of MBK Entertainment’s DIA, but “temporarily withdrew” in order to participate in the show as trainees, while Ng Sze Kai (more commonly known as Shin) did the same as a member of Hong Kong girl group As One. While Heehyun and Shin didn’t make the I.O.I. lineup, Chaeyeon was voted in to join the group. It was expected by fans and netizens that Chaeyeon would remain “temporarily withdrawn” from DIA until I.O.I’s disbandment next year. It’s become pretty obvious, however, that this isn’t happening. Once “Dream Girls” promotions began to wind down, Chaeyeon was pulled from the lineup of I.O.I’s upcoming subunit lineup to promote with DIA. While she isn’t an actively promoting member of I.O.I at the moment, she’s still a member of both groups at the same time, under completely different labels. It goes even further with Jellyfish girls Sejeong and Mina, who were pulled from the subunit lineup to join their home label’s first girl group Gu9udan. Even Yeonjung was pulled from the lineup to go back to Starship Entertainment. While Starship originally said she was being pulled “to work on skills other than singing,” it’s probable that she’s coming out with her own project sometime soon, considering the label just opened a new Instagram account for a project called “Y Teen” set for release this month.

The dual group membership concept creates many problems in this setting. To bring back another K-pop example, an instance that resembles the current I.O.I situation is Yeonkyung of MBK Entertainment, who was at one point a member of both The SeeYa and F-ve Dolls. We didn’t get to see many of the consequences of this arrangement, however, because both groups went inactive not too long after that announcement. Besides, both groups were under the same label, so the conflict is much less prevalent and plans can be made in accordance with both groups. Japanese record labels do this all the time — the main dancers of BABYMETAL were actually simultaneously part of another girl group under the same label (although they’ve recently withdrawn from the other group), and AKB48 constantly has concurrent members between itself and its many sister groups. The major difference is that, once again, they are all under the same management.

In Chaeyeon’s case, she finished “Dream Girls” promotions with only a few weeks before diving into DIA promotions, leaving her practically no time to rest. According to recent reports, she is even being considered for a drama, which is just astounding, if you ask me. She debuted only months ago and she is already a member of not one, but two girl groups, on top of acting in a drama?! Too much in too little time — her health must be seriously suffering. The same can be said of Sejeong and Mina, who joined Gu9udan promotions very soon after I.O.I took a break.

And there’s another conflict: neither of these groups’ releases has been successful. DIA’s “On the Road” barely managed to chart in the top fifty, and while Gu9udan’s physical sales are good (the Jellyfish trio from “Produce 101” has a pretty formidable fanbase), their track “Wonderland” keeps on falling only days after release, with negative reactions from many fans and netizens alike. The rushed nature of these releases is most likely in part responsible for their lackluster quality, crammed to coincide exactly with the time during which I.O.I goes into subunit mode.

Also on KultScene: Inside KCON 16 NY

So the questions must be asked: should one girl be in two groups at the same time? Does this become even more concerning when the girl is under two different record labels simultaneously? Not to mention the consequences — I.O.I’s subunit is missing both of its main vocals. While these positions are likely to be filled by Somi and Chungha, neither of these two has the vocal prowess and technical skill possessed by Sejeong and Yeonjung. And what about health? Not only are Chaeyeon, Sejeong, Mina, and Yeonjung being thrown between labels and groups, but the I.O.I members won’t get that much time to rest before subunit promotions begin, as it is.

And there’s also probably the biggest, most frustrating conflict of all for many Korean fans — if they voted and supported their fave through “Produce 101,” isn’t it only fair that their home label not pull them out of the group while they’re still claiming their year-long prize? Is that unfair to the fans who voted for them, or should fans simply remain supportive as their idol moves between groups and promotion cycles? In theory, I personally think there’s nothing wrong with one person being part of two groups. But when the concept is carried out the way it is in this situation, I disapprove, simply because of how music releases, promotion cycles, and most of all, the members themselves are being treated.

The dilemmas are endless; I.O.I truly is a K-pop conundrum. Despite my intense criticism, I am a huge I.O.I fan in all honesty. My critique is not for the group members themselves. It’s instead for whoever thought a publicly voted girl group would reach some sort of perfect “Ideal of Idol” (what the actual I.O.I acronym stands for). It’s for whoever is managing them, whether it be YMC or the home label they’re debuting under. It’s for whoever put these eleven talented, beautiful, and amazing girls in the crossfire of a label jurisdiction war. With only three more releases from I.O.I coming our way, and whether they’re in units or not, my only hope is that some of our many K-pop dilemmas are resolved before their untimely disbandment.

What do you think of I.O.I’s controversies? 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.

KCON 2016 NY’s M! Countdown Day 2 Concert Recap

July 5, 2016/in Events /by Alexis Hodoyan-Gastelum

Courtesy of CJ E&M

If KCON 2016 NY presented by Toyota’s day one concert was a blast, the follow up M! Countdown show closed the event off with a bang. Held at Newark’s Prudential Center on June 25, the night prior was visibly not sold out, with whole sections of the nose-bleeds empty. That changed the second night, though, and it was all thanks to a certain K-pop boy group with a massive American fandom…

Mamamoo Shows K-Pop Girl Group’s Aren’t Just Sexy Or Cute

But KCON is not just about the boys, and Mamamoo proved it. It’s a rare sight when a girl group draws screams from men and women alike, and this K-pop quartet is one of those that appeal to everyone. Singing their hits “You’re the Best,” “Mr. Ambiguous,” “Taller than You,” “Piano Man,” and “Um Oh Ah Yeh,” the girls sang mostly (with exception to the last one) without a back up track, slaying the stellar vocals they are known for.

Courtesy of CJ E&M

Also on KultScene: Inside KCON 16 NY [PHOTOS]

Eric Nam Tries to be a Stud. Fails

A KCON LA regular for fan engagements and MCing, Eric Nam was finally part of the concert lineup. And how could he not, given that he’s a fan favorite in the States and he’s dominating the charts in Korea with his latest releases? Eric kicked off his set by cheesily giving out roses to fans before jumping right into “Good For You.” Unlike the playful and dorky personality he showed in “After School Club” and everything else he appears in or talks on, Eric turned the male soloist grease on. It might have worked for him if fans had not known his true colors, but he did take the opportunity to show off his improved vocal range with “I’m Okay” and “Heaven’s Door.” Plus, once the music was off, it was regular Eric who made fun of fans for screaming when he drank water. Moreover, even if he gets teased a lot for it, fans in the US love “Ohh Ohh,” which Eric said he was unaware of. And after apologizing for not including it in the set and promising to perform it in the future, he closed his set with his newest release that has been gaining non-K-pop American attention, “Into You.”

Courtesy of CJ E&M

Day6: Korean Alt-Rock Band. Period

Another highly anticipated act of the two-day concert was Day6, which was reflected by the screams and squeals from fans once the screen lifted and five shadows behind their instruments appeared. When the arena was booming with the melancholic sound of “Letting Go,” it was all coming out of the guys’ instruments; no backing track necessary. Day6 made it a point to show that they’re a legit band, jamming through “Congratulations” and “Freely,” off of their first album.

But one of the night’s highlights was the special stage prepared by Day6. After a very awkward introduction by the returning MC’s Rap Monster and Ailee that included the former briefly imitating BIGBANG T.O.P’s rap, the JYP Entertainment band performed what they called “Day6-style” covers of CNBLUE’s “I’m a Loner,” Big Bang’s “Lies,” and Wonder Girls’ “Nobody.” For the last one, Mamamoo ascended to the stage to help the guys out with the chorus, making it a truly memorable performance for the books.

Courtesy of CJ E&M

Also on KultScene: KCON 2016 NY’s M! Countdown Day 1 Concert Recap

Kids Watch Their Parents Kiss Thanks to Ailee & Eric Nam

Also delivering a special collaboration stage were BFF’s Ailee and Eric Nam. Who knows who made the executive decision to have these two friends perform Soyou and Junggigo’s “Some,” but they did. And it was awkward. So awkward that, after Eric opened a car door for Ailee, holding hands, and telling each other “you’re mine,” they burst out laughing as soon as the song ended and declared it was “weird.” Their friendship is well-known, but still, it was a funny experience, and fans got to see their playful and natural interactions as they introduced the night’s headliners.

BTS was KCON’s Main Attraction & They Knew It

bts kcon new york ny 2016 16 concert review pictures

Courtesy of CJ E&M

To say the Prudential Center went in uproar once BTS came on stage is an understatement. Fans and non-fans alike went insane once the first beat of “Fire” blasted through the speakers. It was lit. Bangtan killed their choreography throughout the whole set, especially with their latest release “Save Me.” Not to mention that, with no backup track, they delivered fierce raps and outstanding vocals, all while not missing a step. That night was the BTS show and they guys knew it. KCON sets are generally comprised of the latest release plus the greatest hits, but Bangtan knew their fans made up the majority of the audience so instead of going with the singles, they performed their b-sides “Boys With Fun” and “Cypher pt. 3.” Once again, the crowd went berserk. And to close the whole event on the highest note possible, their last song was “Dope,” which embodies what their whole set and the last night of KCON was.

Did you attend KCON NY? Share your experience and favorite moments with us 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 Best K-Pop Girls of June

July 4, 2016/in Entertainment, MUSIC /by Joe Palmer

The last week in June was kind to us girl group lovers. A string of releases from old and new groups brought K-pop back to life after a slow month. They also brought with them a number of familiar sounds with two groups showing influences from recent times, and Brave Brothers doing what he does best with his favourite girls. The rookies also show us that if a company has a member in I.O.I or participated in “Produce 101” then expect them to debut very soon.

“This Place” by Subin

First is probably the most well-known of this group yet has had the least promotion for her music. Dal Shabet’s vocal goddess Subin released her first mini album “This Place” alongside a digital single of the same title. She previously dropped her debut single, the underrated “Flower,” in May of this year to little fanfare as well. Whatever Happy Face’s strategy is, it does not involve actually promoting Subin. Nevertheless, they are fitting her with music that sounds like it’s coming from every inch of her body.

The lyrics certainly do, anyway. They have an ephemeral beauty to them just like her voice, which tails off as she breathes out each syllable. “Swept away to the wind, The leaves that walk, Something sweeps away my spirit,” she slowly lulls us into the song. Subin croons alongside a crisp piano, reminiscent of Joe Hisaishi’s work on the films of Studio Ghibli. Each note is pronounced and reverberates beside Subin’s voice. It hits the ballad sweet spot of being simple but not boring, emotional but not maudlin.

Also on KultScene: KCON 2016 NY’s M! Countdown Day 1 Concert Recapc

“High Heels” by Brave Girls

Brave Girls’ new incarnation is proving to better than the original. They’ve been together for five years now and still have little to show for it. Under the tutelage of Brave Brothers though, we can count on them for quality pop tracks. “Deepened” from earlier in the year is one of the songs of the year and they stay on form with “High Heels.”

It’s a classic of his, using an object as a title and as a means of expressing a young girl’s love. Also present are the catchy chants and simple structure. Doubling down on the Brave Brothers formula of total functionality, “High Heels” has a two choruses. The first is almost identical to the verse but with bigger vocals (which mark it as a chorus alongside the mention of the title) and some guitar. Layered vocals bring this first chorus to a strong climax before the second one starts immediately with the chant of “high, high, high heel.” A mix of horns add the last bit of flair. It’s such an effective way of making a song constantly exciting. This is all added to by having the rap come straight after the first double chorus as well. Hyeran is fast becoming one of my favourite idol rappers. Her delivery is strong and confident, and has an odd nasally quality I really like.

“We” by Pledis Girlz

Pledis Entertainment’s girl groups are probably my favourite of the companies outside of the top two (SM and JYP, I don’t know a YG), given their groups are consistently innovative in sound and style. That‘s probably why their latest group, the ingeniously named Pledis Girlz, have got off to a disappointing start.

Their debut (if it even is a full debut given their name) “We” is another indicator of the GFriend reign. From the opening pianos, strings, and chimes, it’s clear the direction they were going in. This brand of schoolgirl pop is GFriend’s impact on the K-pop industry. None of these songs have been particularly bad, each one hits the mark in terms of the formula. It’s getting tired though, and with little to show in ways of upgrading, Pledis Girlz look like imitators. However, two things are quite satisfying. When the beat kicks and the strings really start to move, that feeling of joy pop music gives me is brought straight back. It sounds like the opening to a delightfully wholesome kids TV show. Also, the rap is something GFriend lack, and here it’s especially good thanks to the playful delivery and the music taking a back seat.

Also on KultScene: Battle of the “Why:” Wanna.B vs Taeyeonc

“Wonderland” by Gugudan

A problem for Pledis Girlz might be their rushed nature thanks to the desperation of companies trying to debut girls from Produce 101. Gugudan are another one of these, coming from Jellyfish Entertainment with Sejong and Mina being fully fledged members of I.O.I.

Gugudan take a similarly safe route as Pledis Girlz, but with a little bit more kick. “Wonderland’s” glossy electro pop is has an energy that eclipses the other rookies of the week. It mixes a cavalcade of sounds to create something that never stops moving forward. The guitar and bass rhythm section is a funky delight that is heard in and out between verses. The vocal rhythm of the chorus bounces along with it and the twinkles and blasts of synths. It has an unpredictable exuberance that carries it the whole way through.

“I Like U Too Much” by Sonamoo

TS Entertainment’s Sonamoo took on the much harder task of copying Red Velvet. After failing with their hip-hop concept at debut, Sonamoo switched to a chaotic style of pop for “Cushion.” Calling this a copy does a disservice to these girls, though.

“I Like U Too Much” opens with supreme harmonies of the chorus. It sets out where they can go from there on in as it moves into a sweeter verse that recalls Girls’ Generation more than their younger label mates. It has another double chorus with the first being an exciting bubblegum pop of synths and the second those aforementioned harmonies. Each part is more addictive than the last all leading up to a blistering bridge of more harmonies and duelling speed vocals. The lyrics perfectly match this unstoppable force by telling the story of a girl in a love that is out of control. “Oh Baby I want to bite you, Can’t leave you alone,” they shout at an unsuspecting boy. I feel the same way about this song.

Despite increased reliance on using sounds from groups who are still a big part of the environment, Korean girl groups are in a seriously good place right now. Even if they are imitating, the youthful joy is still palpable in every note they produce. Sonamoo especially look like they can grow to be an incredible group given continued support. Which should be easy since TS has seemingly completely forgotten about Secret. All of these girls have potential to do great things in the future.

What’s your favorite of these five songs? Let us know 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: June 27 – July 3

July 4, 2016/in Fans, Playlist Sunday /by KultScene

With summer in full swing, K-pop acts have started to bring their A game with all their releases. It’s currently the time of year where the market is oversaturated with songs from everyone and their mommas. And while artists have more competition for sales and music shows, the fans enjoy every second of it. Here are our faves from the week:

“Shut Up” by Unnies (Uploaded June 30)

When I saw Girls’ Generation’s Tiffany share a video on Instagram featuring Min Hyo Rin and at JYP Entertainment’s building, I knew this was going to be amazing. Add in Ra Mi Ran, Kim Sook, Jessi, and Hong Jin Kyung, the other cast members of the show “Unnies Slam Dunk,” and I had a feeling this would be a big summer hit. The Unnies, or older sisters, appear together on the variety show and the girl group was formed to fulfill Min Hyo Rin’s dream of being in a girl group. Bringing in grade A producers like Park Jin Young and Yoo Hee Yeol, the song shows us just how fierce these maturer entertainers are and why they have survived the cutthroat Korean entertainment world. The Jazzy hip-pop number “Shut Up” is topping charts in South Korea, so maybe we’ll see even more collaborations between industry insiders… Plus, I feel like it’s been awhile since Park Jin Young has graced us with his “JYP… Introducing XYZ” intro.

— Tamar

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

“Night” by Taeyeon (Released June 27)

Taeyeon has proven herself a solo artist to be reckoned with in the future. She’s been improving with every release, and latest album “Why” is a smash. Album closer “Night” offers something different to SM’s love of house music these. A groovy slice of R&B, it smooths over your ears with Hammond organs. Taeyeon’s vocals — which I at first thought were generic — are bending around a number of styles and none better than here. She speaks softly in the verses, wails in the choruses, and whistles her ad libs with gusto.

— Joe

Also on KultScene: The Unreality of Reality TV Reaches K-Dramas

“NICE (VERY NICE)” by SEVENTEEN (Released July 3)

After “Mansae” and “Adore U,” I was keeping an eye out for SEVENTEEN. But then their latest releases rolled in and were complete lackluster. I lost a bit of hope. The boys had come out strong with their debut, but “Pretty U” wasn’t up to what I thought they were about. So you can imagine my delight this morning when I woke up to “NICE (VERY NICE),” which embodies everything they displayed with their first two singles: a familiar yet fresh perspective backed by the combination of the members’ individual talents. Matching outfits aside, “NICE (VERY NICE)” is flawless; from the funny music video involving a creepy/stalkery crush, to the rollercoaster of sounds in the song. “NICE (VERY NICE)” does well what EXO’s “Wolf” and Girls’ Generation “I Got a Boy” made a mess out of (#SorryNotSorry). SEVENTEEN’s song, while chaotic, is cohesive because, even at Woozi’s slow verse, is still fun and playful. I’m officially back on the bandwagon again.

— Alexis

What’s your favorite song of the week? Share your picks and thoughts with us 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.

Inside KCON 16 NY [PHOTOS]

July 3, 2016/in Events /by KultScene

After braving uncharted waters on the east coast, KCON 16 NY presented by Toyota proved it’s only getting bigger and better. Growing from its freshmen installment, KCON New York (held in New Jersey due to proximity) hosted two days of convention and concerts, allowing fans to meet more artists, vendors, panelists, and more, than they did last year. Held in what is becoming the hub of K-pop concerts in New York’s metro area, Newark’s Prudential Center, on June 24 and 25, KCON proved that they mean to make the east coast event as grand as the LA one has grown into over the years.

Throughout the weekend, fans practically littered the streets; partaking in all of the events and festivities while waiting for the evening concerts or fan engagements that occurred throughout the day. Even if con-goers didn’t plan on attending the concerts, KCON was a great place to experience not only K-pop, but also everything that comes with the Hallyu wave; such as dramas, food, and other products. KCON 2016 in New York was definitely a step up and in the right direction from last year while still keeping to its roots in providing “All Things Hallyu.”

by Katherine Villalon

Expo

One very noticeable difference was the amount and the variety of booths available this year. Seeing the great turn-out from the past year, many vendors and groups set up not only to sell fan-made good and band merchandise but also expanded into Korean goods and cosmetics. Each booth offered something a little different; from fun games and karaoke sessions to free food samples, raffles, and prizes. The Toyota tent was the largest and housed a DJ that provided music for all of the convention goers to listen and dance along to. Groups of fans were able to come together and danced in-sync to all of the latest K-pop hits.

by Katherine Villalon

New to this year’s KCON was an outdoor convention stage which hosted performances and games throughout the weekend. Not to mention there was a makeshift food court where festival goers could indulge on Korean street snacks and other random food-truck fare.

Also on KultScene: KCON 2016 NY’s M! Countdown Day 1 Concert Recap

Panels & Workshops

by Katherine Villalon

The marketplace was not the only thing in the convention to double in size, there were also larger panel and workshop tents to accommodate the growing crowd. This year’s panels offered opportunities to hear industry insiders (including Kultscene’s very own co-founders Alexis and Tamar who made their debuts as KCON panelists at “Evolution of K-Pop Music,” “Cross Cultural Clashes In Hallyu,” and “From K-Pop Fan to K-Pop Professional”), popular YouTubers (such as Nutty Nomads), and producers (like SM Entertainment’s iDR) talk about the latest K-pop and Drama trends, as well as address social issues within the community. The workshops held by Soko Glam and Glow Recipe gave fans a chance at hands on experience with Korean beauty products and routines, as well as making popular Korean snacks.

by Alexis Hodoyan-Gastelum

Fan Engagements

If the free convention or the concert didn’t coax fans into attending KCON NY, then it’s the fan engagements. Available to the right ticket and scratch card holders, the fan engagements usually consists of a Q&A session followed by a hi-touch event, offering a wonderful opportunity for fans to interact with their faves.

But be warned! More time will be spent waiting in line than at the actual fan engagement. While one artist is holding their fan engagement session, a line is already snaking around the side of the Prudential Center’s Barnabas Health Hockey House for the next. Attendees with hi touch passes were let in first, followed by those with audience passes, who tragically were only able to participate in the Q&A session but not the hi fiving with their idols.

With Day6, as one of the group’s native English speakers, Jae naturally did the most talking. The boys spoke about how they wanted to visit the Statue of Liberty and Empire State Building during their stay in the New York metropolitan area (“I know it sounds super tourist-y but we haven’t seen it so…” says Jae) and how they were looking forward to their first U.S. performance at KCON before moving onto the main event — the hi-touches. It was over as soon as it started, but they didn’t leave without huddling together with fans in the background for a few selca (self camera) shots on their selfie sticks to commemorate the event.

Right after Day6’s fan engagement was conveniently Mamamoo’s and, while it was delayed due to the girls being stuck at rehearsals, that didn’t deter audiences from welcoming the members as boisterously as they did. Ardent fans waved their official lightsticks shaped like radishes, while one innovative individual twirled theirs constructed out of a cardboard box and giant cutouts of the girl’s faces, when the group decked out in their stage outfits finally made their appearance. In order to make up for lost time, the Q&A was abruptly cut short to allow hi-touches to go underway.

Red Carpet

Last year, KCON NY didn’t host a red carpet, so fans were more than pleased to learn that, like LA, they would have a chance to watch the artists performing that night, as well as special guests like actors Im Si Wan (also known as a member of the boy band ZE:A) and Park Bo Young. Danny Im, from the “Danny from LA” Mnet show and ‘90s group 1TYM, hosted the event.

by Katrina Lobaton

The first group up was SEVENTEEN, whose size forced Danny had to move around quite a bit to talk to all the 13 members. Next up, BTOB talked about… their shorts… and expressed their excitement to perform in New York for the first time. With this group, Danny struggled a bit with the translation, but not with Im Si Wan who shined for his effort and clarity speaking English.

by Katrina Lobaton

Looking dapper, Crush rolled on the red carpet wearing a crisp suit and shared his nervousness over performing on stage by himself. Last year he had Zion. T to accompany him in LA, but this year he was riding solo. Same thing with Dynamic Duo, who also wore suits that made them look very classy and enhanced their charisma. They even said that they were excited about trying the chicken and rice halal truck.

by Katrina Lobaton

But one of the night’s highlights was Ailee, given this was the first time the Jersey native was performing in her hometown. As per usual, the singer was all smiles when greeting everyone in attendance. She hinted at a possible collaboration with her friend and fellow performer Eric Nam, which fans got to witness the next night at the concert. Lastly, the “Oh My Ghostess” actress Park Bo Young received DramaFever’s Best Actress Award on stage and expressed her gratitude to the fans for watching the drama.

by Katrina Lobaton

Also on KultScene: Let’s Discuss: Park Yoochun & The Changing Perception Of Leading Men in K-Dramas

The next night, the red carpet hosted less attendees. Despite the fact that the guys of BTS and Day6 would be attending, it seemed fans were more interested in getting a good spot in the venue. First up were the lovely ladies of Mamamoo. Decked in amazingly cute outfits, they talked about this being their first time in New York and raved about Shake Shack. Then, the KCON LA regular but first time performer Eric Nam strolled down the red carpet looking as cheerful as ever, cracking jokes, also talked about Shake Shack, and overall expressed his excitement to perform by jumping around.

by Katrina Lobaton

Looking enthusiastic but slightly tired, the next act up was Day6. Being the jokesters that they are, the members challenged each other to speak English, making fans laugh. However, things got crazy once BTS came out. Emulating Crush and Dynamic Duo, Bangtan also came out in suits. While Suga showed lots of love to the US Army, V looked a little out of it, and Rap Monster obviously did most of the talking.

by Katrina Lobaton

Check out the rest of the pictures from KCON 16 NY, including more from the red carpet, here:

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Did you attend KCON NY? Share your experience with us 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.

Katrina Lobaton, Alexis Hodoyan-Gastelum, Katherine Villalon, Shelley Foo, and Tamar Herman contributed to the reporting and writing of this article.

KCON 2016 NY’s M! Countdown Day 1 Concert Recap

July 2, 2016/in Events /by Shelley Foo

Courtesy of CJ E&M

It hasn’t even been a year yet but it’s already that time when all things Hallyu are celebrated in one convenient location here in the States. After its first installment last August, KCON returned back again to the East Coast, bringing its M! Countdown concerts to the famous Prudential Center in the NY’s metropolitan area. This time, not only did the convention grow from being a one day event to a two day event, spanning from June 24 to June 25, but KCON 2016 also saw a lot of new faces and talents. KCON 2015 NY felt like a pilot episode in comparison.

On Day 1 of KCON 2016 NY alone, popular rookie group Seventeen met senior boy group BTOB at both their first KCON experience. Soloist Ailee drew both female and male Korean pop fans in throngs, while Amoeba Culture’s Crush and Dynamic Duo made their second KCON appearance and welcomed Korean hip-hop philes to the 18,000+ seat venue. The roster this year was a significant upgrade from last year, which haphazardly seemed to throw together a bunch of repeated acts from previous cons. What’s more, the lineup for KCON 2016 offered more diversity, reflecting the careful planning that went into maximizing concert turnout (as of now, the attendance is still TBA).

But the music is just one aspect of Hallyu, with K-Drama as another. A new addition to KCON 2016 NY was the special guests, which included idol actor Yim Siwan (“Triangle,” “Misaeng”) and actress Park Bo Young (“A Werewolf Boy,” “Oh My Ghostess”). Together, the two stopped by the South Korean entertainment network tvN booth during the convention and acted as special MC’s for a segment of the night, giving the regular hosts a break.

Courtesy of CJ E&M

As per usual, the MC’s were selected from the pool of performers. Ailee, a native English speaker slated to perform during the first night, was an obvious pick. As the she ascended from the stage lift, however, the fans cheered doubly for not only her but also for co-host, Rap Monster from BTS, who made an early appearance ahead of his scheduled Day 2 performance (in hindsight, the two also served as MC’s for KCON Abu Dhabi back in March so perhaps it was my bad for not seeing it coming). While introducing the event in both Korean and English, the bilingual duo quickly became half the attraction with their charming chemistry. And with their rallying cry “Let’s KCON! Let’s M! Countdown,” the other half was shortly set in motion as well

Rookie King Seventeen Makes Their KCON Debut

Emerging out of 2015 as one of the hottest rookie groups, Seventeen didn’t fail to deliver a remarkable performance. Under the dim lights, a VCR of the members dancing to the intro song “Shining Diamond” segued into the real deal. A chorus of screams at the appearance of 12 (rapper Wonwoo is sitting out of promotional activities at the moment due to health problems) half clothed in black, the other in white, indicated that the show was finally underway. They wasted no time as they dove right into their latest hit “Pretty U,” blithely working a couch into their choreography in front of a color pop of city streets backdrop. They really set the standard for the following track, the EDM-trap mix “Chuck,” which varied stylistically from the musical-esque number from before, but still sustained the same austerity of in-sync choreography.

Also on Kultscene: KCON 2015 NY’s M! Countdown Concert Recap

To finish off their half-hour set, the boys threw it back to the classics that shot them to where they are now (though would it be much of a throwback if it was only to last year?). Starting with “Mansae,” the audience transformed into a sea of arms swaying to the beat of the “mansae,” the point choreo that the members took time out to teach beforehand. It’s always a welcome sight to see the union of fans and artist, even if it’s just in such a simple gesture as waving an arm. Even in “Adore U,” which marked the end of their set, there’s that familiar point dance – a literal point dance – during the hook that’s easy enough for even the average caveman to follow. When they are on stage, Seventeen just exuberates overflowing youth and spryness. The only drawback to this, however, is because they are still maturing as a group, they are still stuck playing by the books, which means they couldn’t make full use of the stage that was given to them. A forgiving qualm, though, for the group with the insane vocals and an entertaining live show to boot.

Crush Gives New Meaning to One Man Show

Being a soloist on a stage of such a grand scale is always going to be nerve wracking. Projection becomes all the more important, and hyping the audience up requires extra effort. Fortunately for Crush, he’s got that covered, and all in just a-less-than-usual three songs too. No introductions were needed here for the R&B singer who went straight into his 2014 slow jam “Sometimes” as soon as the music cued him to the stage. From start to finish, he single-handedly turned the M! Countdown concert into a lounge party, belting out a string of long notes and ad libs to a round of cheers in the process. Besides his interesting Canadian Tuxedo x French beret collaboration that he donned – which must be a fashion faux pas in at least ten different cultures – the guy really did no wrong.

Courtesy of CJ E&M

“Sometimes” was only warm-up for what’s to come. The palm leaves that decorated the LCD displays behind him were very appropriate for the summer vibe-y single “Oasis.” Crush even revealed his knack for rap when covering for an absent Zico in his “It G-Ma”-styled verse, during which he doused crowds with bottled water while jumping around on the extended stage. By this time, the crowd was already so amped up that his request for the audience to put their hands up seemed superfluous. This revelry continued well into “Hug Me,” which featured help this time from Dynamic Duo’s Gaeko, and even more of a water show. Things were only now just getting heated.

Queen Ailee Makes Her Return Home

Ailee’s just one of those artists where even if you are not a fan, you are a fan. Her vocal prowess cannot be denied, and she was able to demonstrate it once again during an incident that happened while she was performing her routine to “Mind Your Own Business.” About halfway through the song, a technical malfunction caused the backing track to stop, leaving a visibly rattled Ailee to finish her verse acapella. Audiences applauded her diplomacy, even when she stepped backstage to resolve the issue (one concert go-er in my section made the snide remark that someone was getting fired that night) and when she came back for her second take.

Courtesy of CJ E&M

“This has never happened to me before,” the New Jersey native says before making light of the situation and viewing the glitch as a welcome home gift. One thing remains certain, and it’s that we can at least count on Ailee to provide fans with honest stages, which is something that cannot be said about all idols in the K-pop industry.

After going through both break-up power anthems “Don’t Touch Me” and “I Will Show You,” the diva also disclosed how nervous she was to perform that night (“I’ve never been nervous before, not even my debut performance, not even my first solo concert”) in front of all her friends and family for the first time, all the while holding back tears. The sincerity of her words compounded by the overall pathos of her homecoming were probably what compelled audiences to stand for her closing song “U & I.” Fans could not even be pressed that she did not perform “Q&A” with Seventeen like some thought she would. Cute as it may have been, this was all about her.

BTOB Did That!

Ever since their first music show win with “It’s Okay,” BTOB has swapped out their charismatic boy band image for something more softcore, which has still been working out in their favor. Presented by an enchanted forest visual display and a LCD light show that signaled the coming in of the members clad in rose quartz suits, they opened with the ballad “Remember That,” riding on the same success the aforementioned “It’s Okay” amassed for them. Rappers Minhyuk and Ilhoon still served with their subdued raps, while the vocalists never once faltered in their department.

Courtesy of CJ E&M

The group also filled their slots with their lesser known singles, such as “All Wolves Except Me” and “Beep Beep,” the former a jazzy swing track bursting with all kinds of brassy sounds and the latter a similar funky saxophone-centric piece that seem more in line with their personalities. The youngest member Sungjae even worked in some aegyo (a cute display of affection), sneaking a quick “bbyu” before the lights lowered, causing fans to giggle.

Personally, the main highlight of their stage wasn’t even their live performances off of their own discography, but their impromptu rendition of One Direction’s “History.” As if he was not already savvy in the art of rap, main rapper Ilhoon wowed the audience with his overwhelming high notes. Sometimes it is actually stressful how underrated this group is, but hopefully KCON bringing them out for the first time will lead to future invites and more recognition.

If You Didn’t Stan Seventeen Already…

…Then you probably did after seeing their special stage. Part of the appeal of KCON’s “M! Countdown” concerts are their exclusive performances in which the acts cover the hits of others or collaborate together to produce something greater than the sum of their parts. This year, in a phenomenal medley Seventeen returned back to the stage with a cover of After School’s “Bang,” the bop that made being in a marching band cool again. They even looked the part in their ornamental navy military jackets topped with epaulettes, cheering “S-V-T” with Pledis pride. This transitioned smoothly into a modern, more synth-y (if that’s even possible) version of Super Junior’s “Sorry Sorry.” It may not be the first time the group has shown us their spin on the iconic dance (check out their “Weekly Idol” appearances), but it’s exciting nevertheless seeing it done on American soil. To wrap it all up, Seventeen paid homage to the reigning kings of K-pop TXVQ with their bubbly render of the 2006 song “Balloons,” which is, like, oh my god, the last time they did this was when they were still trainees shooting for their mini series “Seventeen TV.” Not tied down by any choreography, the twelve were finally able to make full use of the extended stage, merrily greeting their U.S. fans for the first time.

Also on Kultscene: Tips on How to Maximize Your KCON 2016 Experience

Dynamic Duo Brings the Club Over to KCON

Debuting in 2003, Dynamic Duo made the most sense as headliners. But more than just seniority, they also possess the attitudes and the finesse of a headliner. Before they even stepped foot on stage, their digital selves were already initiating a call and response tactic, asking “Who Are We?” followed by concert attendees hollering out their names. When they did make their noble entrance, they came in full-force from the get-go with “BAAAM,” employing more call and response approaches. Jiving freely to the upbeat tempo that the DJ on stage was mixing, they had genuine fun on stage and the audiences reciprocated that.

Courtesy of CJ E&M

By the time they were performing the EDM infused hip-hop jam “Shoot – Goal In” the crowd were already on their feet, dancing in place. Again, who knows how many folks actually knew the song, never mind the lyrics, but the manner in which members Choiza and Gaeko were able to hype each other up (e.g. – rapping to each other as opposed to with each other, echoing each other’s words, etc.) was entertaining to watch and exhibited real artistry.

The rest were an honest blur. The duo picked up enough momentum and was not about to break it as they went straight into Gaeko’s own percussion based “Rhythm is Life.” When the time came to conclude the night already, they were bouncing around to their dance party anthem “Friday Night,” which could it be any more fitting? In the midst of the smoke and light sticks, the place was a full fledge rave, and everyone was high.

And with the customary shower of confetti, Day 1 of KCON 16 NY was over. A vast improvement from last year’s KCON NY, it really set the bar high for future ones. One day of KCON NY fun still remains, however, who knows what will happen then?

Did you attend KCON 16 NY? What’s your favorite KCON artist? Let us know 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 Unreality of Reality TV Reaches K-Dramas

July 2, 2016/in Entertainment, Television /by Joan Vos MacDonald

What’s real and what’s not is a big question, but one thing we know for sure is that reality shows are not real. Much of the action is staged, and many of the conflicts are hyper-exaggerated to provoke laughter or tears and generate ratings. Despite this obvious artifice being general knowledge, reality/variety shows continue to be very popular both in the U.S. and Korea.

Reality shows are so popular that they are moving into K-drama. Lately, these shows have even inspired a trend of fictional TV about the making of reality shows.

In the U.S. “Unreal,” a show about the Machiavellian schemes maneuvering a reality show styled on “The Bachelor,” scored big at several award ceremonies, winning honors that included Critic’s Choice Awards and a Peabody. K-dramas have taken the bait too. From the hilarious to the chill-invoking, several K-dramas have tackled the topic of the unreality of reality shows, using the topic to explore the bigger question of how one’s sense of reality is vulnerable. “Wanted” is the latest of these dramas.

Also on KultScene: Kim Tae Woo Talks His Upcoming NYC Show, Career, and More [Interview]

In “Wanted,” an actress is planning to retire and leave her unhappy marriage when her son is kidnapped. The only way she can ensure his survival is to film a reality show with missions doled out by her captors. The husband she is about to leave is the producer of the show.

The plot premise raises plenty of questions about the role of the media in tailoring what viewers think of as reality. Who kidnapped the child? Is the kidnapping real or a publicity stunt? Did her soon-to-be ex kidnap the child to make money? Who can you trust? Should TV shows give criminals the wrong idea by publicizing crime?

The drama, which stars Kim Ah Joong, Uhm Tae Woong and Ji Hyun Woo, has only been on for a few episodes but already plot developments have demonstrated that reality is all a matter of perception and that perception can be manipulated.

It’s not the first time that K-dramas have tackled reality shows from a dark perspective. “The Liar Game,” starring Kim So Eun, Shin Sung Rok, and Lee Sang Yoon, focused on the filming of a psychological survival game wherein participants trick and lie to each other. To win, you had to be a really good and confident liar. What’s real and not real? What’s the truth and what’s a lie? The contestants and reality show participants were often not sure what the truth was and which goals to pursue. If they were honest when they began the game, they lied to survive. The sinister game show drama kept viewers guessing until the very end.

Other K-dramas have tackled the reality show format on a lighter note. In “Eccentric Daughter-In-Law,” a fading K-pop star attempts to revive her image by appearing on a “We Got Married” style reality show. Only the singer, played by Kim Da Som, is paired with more than a prospective husband, played by Ryu Soo Young. She also acquires a prospective mother-in-law, played by Go Doo Shim. It’s a very traditional family and the fading K-pop idol Kim Da Som is not the daughter-in-law that Go Doo Shim’s very critical character was expecting.

“Producers” focused on the variety type of reality show, but there was plenty of staging going on in that drama too. While it mainly focused on the characters who made the program, it provided plenty of glimpses of the off-screen manipulation that goes on when producers film reality/variety shows. The producers, played by Cha Tae Hyun, Gong Hyo Jin, and Kim Soo Hyun, knew that their show needed ratings to survive and they worked hard to make it dramatic, placing characters in difficult situations and pitting them against each other. Called a “variety drama,” it was actually filmed by the variety department at SBS, rather than the drama department.

Also on KultScene: Tips on How to Maximize Your KCON 2016 Experience

“The Greatest Love,” starring Gong Hyo Jin, Cha Seung Won, Yoon Kye Sang, and Yoo In Na, was one of the first to parody a reality show. Also based on the real matchmaking reality show, “We Got Married,” the drama shows that true love can even happen in the unreal world of staged entertainment. That has not been the case with the real “We Got Married,” which has featured real-life couples but has not resulted in matchmaking a lasting relationship.

The reality show is here to stay. Part of the appeal may be seeing people react in real time to unexpected situations. Whether it brings out the worst or the best in participants, it has become a staple in prime time entertainment. Does it work in K-dramas? The viewers will have to decide.

What are your thoughts about the reality TV concept within K-Drama? Let us know 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.

Battle of the “Why:” Wanna.B vs Taeyeon

July 1, 2016/in Entertainment, MUSIC /by Joe Palmer

Why were there two songs called “Why” released on the same day, 28^th June? What links these tracks, one by titan of K-pop Taeyeon and the other by flop girl group Wanna.B? Nothing really, but the coincidence of their titles is an excuse to compare both the songs. In most cases it is probably irrelevant, but I think it might be interesting to see directly side by side the gap between the biggest and smallest of what K-pop can give us.

“Why” by Wanna.B

Watching Wanna.B’s “Why” for the first time we get an air of familiarity before anything else. The video and sound is almost a direct jack from Mamamoo, particularly “Um Oh Ah Yeah” for the video. Their sound continues the jazzy horns but tones them down considerably with more emphasis played on an overall mix. More pop oriented than Mamamoo, but the hallmarks are there. Even the whiny raps come off distinct like Hwasa’s own peculiar drawl. This proves that they are really starting to have an impact. The GFriend clones were coming all over the place, but only have the Mama-mimes shown themselves. It does represent some sort of a step up for Wanna.B though, who last year put out an After School inspired track “Attention;” Everyone knows After School are so 2013 (I don’t mean this please let them come back Pledis).

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

Why Mamamoo? The pop comedy angle is an interesting one that can garner a lot of fans if done well but be embarrassing done wrong. I don’t think Wanna.B will pursue it quite like Mamamoo, but it is present here with the gurning actors and cosplay settings in their video. Musically, it sits in an awkward position between a Mamamoo inspired jazz belter and a Brave Brothers classic. It sticks to the structure but never fluctuates in intensity. Like many songs, a rap is used as the break/bridge. The vocal itself works well, the delivery is accusatory and playful whipping around the beat. Yet the song never takes off alongside it. It sticks to its plucked strings and horns, which again are nice sounds but stagnant within these confines.

Wanna.B’s why is for a man, obviously. They curse themselves for not being able to seduce a man with their high heels, perfume, and general things that make them prettier. Like the music, there’s no progression of ideas. One might ask, why?

“Why” by Taeyeon

Taeyeon’s very own “Why” also provides us with a sense of deja vu with first listen. Since discovering producers LDN Noise on SHINee’s “View,” SM have used them for a number of songs, essentially letting them define the current SM sound. Given their name it’s no surprise that it’s a typically British house/garage sound. They return to production duties here alongside Rodnae Bell (EXO’s “Monster,” SNSD’s “Mr Mr”) and Laura Dyson, with lyrics by Jo Yoon Kyung.

Also on KultScene: The Vulgar Aesthetic of Son Dambi: Digital Perspectives in K-Popc

In adapting to SM’s house sound, Taeyeon has not completely lost her original solo colour. The laid-back pop of “I” and “Rain” is in fact bolstered and allowed to move up with it. Those previous songs relied on her vocals to progress the song. “Why” builds constantly thanks to both the vocals and music. It begins with a verse that alone would have been seen as fairly generic. Yet it builds nicely, with subtle tropical hints of what is to come. The soaring chorus that follows is a perfect mix of the two sounds. Taeyeon’s vocals, which I thought might not have fit, are beautiful in their inquisitiveness alongside thumping house beats. Those refrains of “good, good” come for my very soul. The chorus transitions directly into another verse while continuing on the blend of house slow-jam. It progresses the song without an abrupt moment. This is what Wanna.B sorely lacked. While different in genre, Taeyeon’s “Why” rises and falls and adds new elements at every turn. Wanna.B’s “Why” picked its direction and could not see otherwise.

Taeyeon’s track continually makes the right choices in production, particularly the bridge which firsts gives Taeyeon her vocal moment but allows the music to take over for the big break. LDN Noise knew this was not a regular Taeyeon track and knowing that they allowed her to shine in a different manner. The lyrics that drive the production are also more interesting than Wanna.B. They are the correct use of a title like “Why.” Taeyeon is a curious traveller, moving at random in search of beautiful moments, “The needle that would turn on a compass, Blooming abundantly at the place where it stops.” She projects an openness to allowing life to happen to her. It’s a feeling that fits with her new sound, an unfamiliarity driven by fresh experiences.

Why Taeyeon and Wanna.B?

It has proven to be somewhat unfair to compare these two. Although, like I mentioned before, there are things we can take from this. Namely as the gap between big and small companies gets smaller with regards to production level and to a lesser but growing extent sales, it seems like the bigger companies are still getting better. The sound quality between Taeyeon and Wanna.B is not vastly different, yet Taeyeon’s “Why” is vastly superior. SM have always proven to be sharp hit makers and they continually remain on top because of their adaptability. Not only that, but they also make the hip sounds of the time their own, creating new structures to place sounds in. SM’s ingenuity with the song as a total experience is why they remain on top.

Wanna.B, on the other hand, have taken a popular sound and look directly from a single group, watered it down a bit, and made it sound like the most classic of K-pop tracks. Through these filters, the special things about each of these elements is lost. The individuality of Mamamoo, the inexplicable joyous pop of a Brave Brothers track, and Wanna.B’s own flair are all forgotten. So disappointingly we leave knowing that the big dogs win again. Yet Wanna.B are only one of a string of lesser known girl groups with releases towards the end of July. Maybe there is hope.

Which “Why” do you prefer? Taeyeon or Wanna.B? Let us know WHY 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 K-Pop Phoenix: The New Generation of Girl Groups

June 30, 2016/in Entertainment, MUSIC /by Kushal Dev

K-pop is one of the fastest-changing industries known to man, woman, fanboy, and fangirl alike. Just think about it: two years ago, MAMAMOO’s derpy quirks, Sana’s “Shashasha” and GFriend’s stage falls were almost or entirely unknown to the public, Korean or international. But fast forward a few debuts and comebacks later, and the world of K-pop has changed immensely. I recently explained why the Second Generation of K-pop Girl Groups is slowly (and painfully) falling apart. And now, some seven or eight years since the fateful debut stages of legends like Girls’ Generation and 2NE1, the New Generation of Girl Groups is here carry the torch forward.

The advent of a new generation is pretty exciting — it essentially only happens once every few years when a wave of popular girl groups hits the scene around the same time. Starting in the late 1990s, the First Generation consisted of groups like S.E.S, Fin.K.L, and Baby V.O.X. It was about ten years until the Second Generation came around, with Girls’ Generation, KARA, Wonder Girls in 2007, joined by 2NE1, SISTAR, 4Minute and more in 2009-10. Now, we finally see the Third Generation, starting with MAMAMOO and Red Velvet 2014 and joined by TWICE and GFriend in 2015. The exact breakdown and timing of the Generations is something commonly debated by K-pop fans (and believing it breaks down differently than I described is totally cool, too), but it’s pretty clear that, regardless of how you define the generations, a new wave has come to dominate K-pop post-2014.

While our past faves may be beginning to fade, the K-pop phoenix is reborn again with the advent of the Third Generation. And the new groups both parallel and differ from their predecessors immensely. Let’s take a closer look at four of K-pop’s newer stars, and see how they stack up next to top Second Gen groups SISTAR, f(x), 2NE1 and Girls’ Generation.

Also on KultScene: Intro to Red Velvet

SISTAR has quite a reputation in the K-pop world. With unforgettable hit-after-hit, the four member act has asserted its place among girl group royalty since their debut in 2010. Most notably, SISTAR is known for their memorable hook songs, which tend to define an entire season of the year. They are affectionately considered the Queens of Summer Bops, launching 2012’s “Loving U,” 2013’s “Give It to Me,” 2014’s “Touch My Body, ”and 2015’s “Shake It” to the number-one spot on the Korean charts every summer. And, as this is being written, the group’s latest release “I Like That” inches closer and closer to a perfect all-kill as well. Few groups have been able to cultivate such a long string of hits. [ed note. It is currently within the top 5 on numerous Korean music charts.] With so much public recognition for their songs, SISTAR has one considerable weakness in the spectrum of girl group success: fandom strength. Since the group is so known for its public popularity, it lacks a strong fandom to buy up albums and sell-out concerts when the chance comes around.

GFriend, a six-member girl group debuted only last year, boasts a similar situation. So early into the game, the group has two very well-known songs: the cute, catchy and stage-fall inducing “Me Gustas Tu,” and the intense and memorable mega-hit “Rough,” which dominated charts early this year, becoming February’s monthly number one song against frighteningly powerful artists like Taeyeon of Girls’ Generation, who released her single “Rain” around the same time. Digitally, GFriend shows a lot of potential, and boasts a lot of public popularity and recognition as well. While they are quickly being noticed as a top girl group, GFriend isn’t exactly known for having a huge domestic or international fandom. While this could definitely change in coming years, and the groups are stylistically and musically very different, GFriend seems to line up with SISTAR’s legacy right now — captivating the public with a stellar title track and leaving the albums to a small, dedicated group of fans.

Like SISTAR, f(x) is one of K-pop’s Second Gen giants, but for a different reason. While SISTAR is more public-friendly and promotes music that people can quickly find fun and engaging, f(x) is known for an experimental style, bringing in exotic musical styles that are less familiar to the Korean crowd. They brought some alternative electronic with “Rum Pum Pum Pum” in 2013, EDM with “Red Light” in 2014, and house with “4 Walls” last year. The now four-member group has introduced and familiarized diverse musical styles among the South Korean music scene. For a K-pop girl group, it’s pretty impressive that they’ve maintained relevance for so long even though their songs aren’t the most public-friendly off the bat. The SM-produced group also has a huge fandom behind it, as albums regularly sell in excess of 80,000 copies and concerts quickly sell out.

And as f(x) enters its later years (it’s now been about seven years since their debut), labelmates Red Velvet are poised to follow in their footsteps. With distinct R&B, alternative and electronic influences, Red Velvet has become one of K-pop’s newest jewels, with multiple top 10 singles “Happiness,” “Ice Cream Cake,” “Dumb Dumb” and, most recently, “One of These Nights.” With a very distinct and eclectic musical style, Red Velvet sets itself apart and succeeds. Much like f(x), Red Velvet has established a unique musical color with a strong fandom behind it, as their two mini-albums and studio album have all topped album charts and sold about 50,000 copies, much more than other girl groups at the moment.

Now we get to the really big leagues — digital and talent monster groups with strong domestic and international fandoms. With the most number-one singles of any act in South Korean history, 2NE1 is exactly that. Iconic hit after iconic hit, the group was known since 2009 for promoting multiple singles from the same album (something very rare in K-pop, but typical of YG groups), and succeeding with each and every one of them. Since their debut in 2009, 2NE1 have launched immensely successful songs to the forefront of K-pop trends, starting with their debut single “Fire,” is one of the best-selling songs of all-time in South Korea. To date, the group has never promoted a single that charted below number four on weekly charts (that totals to seventeen top-four songs), and consistently sold albums into the 100,000s. They are also the only of K-pop’s girl groups to complete two full world tours, demonstrating their fandom power both within and outside of Korea.

While a stylistic 180 from 2NE1, MAMAMOO aligns most closely with where 2NE1 stood in the K-pop world a few years ago. With a similar four-member structure and powerful vocals, rap and dance, MAMAMOO has the incredible stage presence, talent and personality that made 2NE1 so successful to begin with. The group already has two top-three singles “Um Oh Ah Yeh” and most recently, “You’re the Best,” and MAMAMOO is known particularly for having a large and supportive fanbase. While Daum Fancafe isn’t always the best metric to determine how many fans a group has, the numbers tell us something interesting here: MAMAMOO currently has about 75,000 members in their fancafe and counting. They were the fastest girl group to 50,000, and their numbers exceed other majorly successful girl groups including AOA, 9M– USES, f(x), and even 2NE1. Going off of that, all 8,200 tickets to their first solo concert sold out in only one minute. And considering that 80% of the ticket sales were to female fans, the group is definitely finding its place as 2NE1’s successor.

There are, however, some major differences. While 2NE1 went for badass electronic pop music, MAMAMOO is one of K-pop’s only jazz-influenced pop groups, bringing in some of those elements in “Mr. Ambiguous” and “Piano Man.” The group also regularly performs on shows like “Immortal Song” and makes appearances on varieties like “We Got Married,” something 2NE1 rarely did (another YG custom). With impressive talent and stage presence, MAMAMOO is all set to rise up in the Third Generation of K-pop, just as 2NE1 did in the Second.

Last but the opposite of least, Girls’ Generation epitomizes what it means to be a successful girl group in Korea. With nationwide public recognition, a frighteningly large fandom, international acclaim, and strong digital sales, the group definitely led the Second Generation. Once GG made it big in 2009 with iconic title track “Gee,” no one stood a chance against them in the fight for the number-one spot among girl groups. From Korea to Japan, Girls’ Generation has become a household name and a nationwide craze. Speaking of Japan, GG was arguably the most successful Korean girl group there, as their debut Japanese album sold a whopping 870,000 copies. Even the Korean version of their 2011 album The Boys sold 140,000 copies in Japan — yes, the Korean version — not to mention over 450,000 album sales within Korea itself. As we can tell, it’s pretty hard to live up to a monster girl group like GG. So who is the ringleader of the Third Generation?

Right now, it seems to be none other than JYP Entertainment’s TWICE. Right off the bat, the groups are structurally similar — three strong vocals (Taeyeon, Tiffany and Seohyun line up with Jihyo, Nayeon and Jungyeon), a visual center (Yoona lines up with Tzuyu), an aegyo-centric attention-grabber (Sunny lines up with Sana) and a strong dance line (Sooyoung, Yuri and Hyoyeon line up with Mina, Tzuyu and Momo). The groups also wield a similar, glamorous girl-next-door vibe, looking for love and accessing their femininity. TWICE’s success is comparable as well — in fact, they are the only girl group other than Girls’ Generation to have an album selling above the hundred-thousand mark, which their most recent mini-album Page Two did very quickly. Along with a fierce fandom, TWICE’s digital sales are nothing to laugh at, either. After two months, “Cheer Up” still remains in the top ten of most charts, which is an incredible success in the K-pop world.

Also on KultScene: Let’s Discover: Mamamoo

Going off of these facts and stats, some have been quick to call TWICE an SNSD-copy, trying to emulate their success by emulating the group itself. The differences between the groups, however, throw this accusation right out the window. While TWICE may have successfully become the Third Generation frontrunner for having a similar vibe as SNSD, they definitely aren’t the same. The most glaring is the member dynamic — while Girls’ Generation is all Korean or Korean-American, TWICE has five Korean members, three Japanese, and one Taiwanese, making international expansion that much more logical and accessible for the group. Dahyun and Chaeyoung also serve the roles of Lead and Main Rapper, respectively, which are positions that weren’t very defined at GG’s debut. TWICE title tracks also deviate incredibly from the GG mold as well, employing diverse vocals, rhythm-changes and instrumentalism that GG’s more musically homogeneous tracks don’t use.

Fundamentally, all of these groups show similarities to their predecessors, but the differences make it clear that K-pop isn’t simply repeating itself with the Third Generation. Our Second Gen faves aren’t being replaced and forgotten. Instead, they’re being honored and built upon with new sounds and ideas. Such is the nature of the K-pop phoenix — not only being reborn again, but also with new talents, music and charms to share with the world, learning from past mistakes and successes. As the girl group landscape changes yet again, we can only hope that our new faves become just as well liked as the ones before them, and carrying the K-pop legacy forward for the man, woman, fanboy, and fangirl alike to enjoy.

Who are your Third Generation faves? 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: June 20 – 26

June 26, 2016/in Playlist Sunday /by KultScene

Every day there is new music coming out of South Korea and each week our writer’s pick some of their favorite releases to feature in our weekly K-pop faves playlist. This week, Kultscene’s staff discovered some songs from a rising boy band, the competitors on this season of ”Show Me The Money”, and a surprise hit from summer’s favorite girl group.

“Emptiness” by MADTOWN (Released June 21)

For those who’ve listened to MADTOWN before, we can all agree that “Emptiness” was quite the unexpected change for the idol group. Having debuted with a lively and swagged out track “Yolo,” to then following up with a high energy dance track “New World” and funky “OMGT,” to see them transition over to a mellow ballad was rather refreshing. “Emptiness” showcases tranquility and sorrow, both of which are things we haven’t seen with MADTOWN’s past comebacks. There are moments of despair, moments that make you want to clench your chest due to a surge of heartache (yes, Jota, I feel your pain), to moments where all you want to do is run into a significant ones arms.

–Tam

Also on KultScene: Let’s Discuss: Park Yoochun & The Changing Perception Of Leading Men in K-Dramas c

“Comfortable feat. Simon D and Gray” by One (Uploaded June 24)

Despite the fact that I’m way behind on “Show Me the Money 5” (no pressure, lovely subbers!), that doesn’t shield me from videos from the performances popping up on my news feed. Such was the case with One, [Spoiler alert] who went on the AOMG team with Simon D and Gray. Other than his looks, I don’t care much for One. However, who can resist Gray and Simon D’s vocals and rap? I know I can’t, since I clicked on the video as soon as I realized they were both on the track. It’s unusual to see these two established rappers and producers singing sweetly at the beginning, but interesting nonetheless. I still think they’re better at rapping, but I now know what a Gray and Simon D ballad sounds like.

— Alexis

”I Like That” by Sistar (Released June 21)

If you had told me last week that I would ever be a fan of Sistar, I would have laughed at you. Their songs had never done it for me. Then came “I Like That,” the group’s latest song. With nearly 5 million views on YouTube in a little under a week, it’s clear that I’m not that only one that likes this song. Even though it’s less upbeat than their more recent hits, “I Like That” takes the best of Sistar’s sexy side seen in “Alone” and “Give It to Me” and combines it with the catchiness of their summer hits like “Touch My Body” and “Shake It.” The song is sultry to the extreme, but has a hook-filled chorus and also incorporates a cheesy cheer number halfway through to ensure it’s addictiveness. Combined with the music video, this is Sistar at their very best.

— Tamar

What was your fave K-pop song 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.