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Tips on How to Maximize Your KCON 2016 Experience

June 8, 2016/in Events /by Alexis Hodoyan-Gastelum

Well, it’s that time of year again. The time when thousands of fans flock to New York and Los Angeles for the annual mega Hallyu event, KCON USA. It’s a K-pop’s fan Coachella and Comic Con all in one; it not only offers a convention filled with booths featuring vendors and fandoms alike, along with panels featuring industry insiders, but KCON also brings some of our favorite artists over from Korea.

This year, KCON NY will be held on June 24 and 25 at the Prudential Center in New Jersey. Tickets have been on sale for awhile and have been going quick. And with a lineup including BTS, Seventeen, and Day6, who’s surprised?

On the other hand, KCON LA comes a month later on July 29, 30, and 3, returning to the Los Angeles Convention Center and Staples Center for the second year. And while last year’s lineup was a hard one to beat, this time around we’re getting SHINee, BTS, Girls’ Generation-TTS, and more. Combo and platinum tickets go on sale on June 10, and the single ones on June 13 at 1 p.m. EST.

Some of you may have attended the different KCONs before, and some of you haven’t. The KultScene staff has attended most installments throughout the years, so we’re KCON pros by this point. So after watching K-pop YouTuber JRE’s video on tips to survive the event, we thought we’d chime in with a few of our suggestions so you can maximize your experience to the fullest.

Don’t Wear Uncomfortable Clothes

Always do you. If you’re cosplaying or going for a look that includes platforms, heels, heavy jacket, tight skirt, or what have you and you feel you can handle it, go for it. With that said, it’s not the best idea. Considering the convention is an all-day event that starts in mid-morning where you’ll be walking from one end to another, standing in lines, rarely sitting down at all (even during panels, those get packed too!) and is followed by the concert almost immediately, you should wear something comfy. Not to mention KCON New York is held outdoors and it gets pretty hot in June. Don’t get us wrong, we encourage dressing your stylish best, but do you really need to wear heels? We think not.

Bring water and snacks

If it’s sealed, you usually may bring in water and other goodies into the convention. You will find food vendors inside, but last year in LA wasn’t as diverse or big as previous installments at the old venue. Plus, the food is sometimes expensive, so if you’re saving your money for that BTS high-touch, $3 or $5 for water will be too much.

Also Bring Tissues and Sunscreen

The convention in LA might be indoors and air conditioned again, but New York is not so lucky. If you’re planning on spending the whole day at the convention, protect your skin with some sunscreen. The tissues will also come in handy for sweating. Not to mention when you get in your feelings when you see your bias.

Also on KultScene: Hoody ‘Like You’ Music Video & Song Review

Expect Long Lines for Panels Featuring Celebrities

In some occasions, a celebrity is added to a specific panel during the convention. For example, last year we saw model Irene Kim and actor Ki Hong Lee on a couple of panels and, well, let’s say not everyone who wanted to see them got to get into the room. For the first, many people stood against the walls, and for the second, a huge line formed outside of the room and half didn’t even get to go in. Moral of the story, plan ahead.

Bring Cash for Fan Engagement Vouchers

Once you register for the convention and pick up your scratch-off vouchers, depending on how expensive your ticket was and luck, you’ll get passes for high-touch, fan engagement, or red carpet. Unfortunately, if you got a cheap ticket, your chances are virtually zero for any of the aforementioned opportunities as opposed to people with P1 tickets who will probably get more than a few. But don’t fret. Not everyone wants to see or touch your bias. While the odds of getting the high touch you want in the lottery are low, there will be people who are willing to sell them. So if you really, really want it, you’ll have to pay for it on the spot before someone else with the cash on hand takes it. Some people are pros at this and know they can make a few dollars, so be prepared.

Expect Standing in Line for at Least an Hour Prior to a Fan Engagement

You made it! You have your voucher for the fan engagement and you’ll get to see your bias group. Line up at least an hour before it begins. And for really popular acts, or even the red carpet, people line up a couple of hours beforehand. Be sure to constantly check when lines form and ask what the lines are for. That is, of course, if you want a good spot. If not, you can pretty much just get there five minutes prior and you’ll be good standing in the back.

Check out the Fandom Booths

While KCON’s main attractions are the concert and the fan engagements, the convention also has lots to offer. Take the fandom booths for example. These are only dedicated to promote their bias artist or group and sometimes even sell merchandise. The scoop here, however, is that these fandom booths are who you’ll be getting the banners and free swag for the concert. Last year, one Super Junior fanclub sold sapphire blue light up “Devil” horns and gave out stickers and banners. Some of these fan clubs even give out light sticks (not official, of course), so be sure to check them out.

Check out the Exhibition Booths Too

The convention is an opportunity for the sponsors to display their products. And while you’re probably not going to end up buying the Toyota car that was shown, there will be many opportunities for free swag and products. Many of these booths hold contests where you can win albums (even autographed ones!) or get free goodies, like Nongshim ramyun cups. Moreover, some booths occasionally have guests on the convention floor. Last year, GOT7 made an appearance and a few lucky fans got to interact and take pictures with them. So even if your focus is the fan engagements, take a stroll through the convention. You might be surprised by what you find.

Be on Top of the Schedule and its Changes

While it’s well produced, KCON rarely goes completely smoothly, you guys. Last year in LA, the Zion. T and Crush fan engagement time was changed last minute without much notice. Lots and lots of people missed out on it and were devastated when they arrived at the assigned time only to learn it had already happened hours before. A few years back, the Crayon Pop fan engagement was cancelled even after people had already traded their vouchers for it and stood in line waiting. So if there’s a particular fan engagement or panel you want to attend, check the schedule and KCON’s Twitter like crazy or download the app on your phone.

Keep an Eye out for the Convention Stage

Other than the major stage inside the Prudential Center and the Staples, the convention itself sets up a smaller stage for mini shows and surprise appearances. In previous years, acts like DANakaDAN and Jun Curry Ahn have performed in the outdoor stage (when KCON LA was held in the Memorial Sports Arena). Last year in LA, GOT7 appeared as surprise guests in a fashion show, while Buzzfeed’s the Try Guys also had a mini performance for one of their videos.

Pace your Fan Girling/Boying

If your bias is having a fan engagement and performing and having surprise appearances, you will not be ok. Add the heat and the overall tiredness of the convention and it will take a toll on you. Remember to eat and hydrate yourself, and also take time to just chill.

Also on KultScene: CLC’s “Nu.Clear” Album Review

Line up for the Concert Somewhat Early

As mentioned before, KCON rarely runs flawlessly. And we know what you’re thinking: “I have a seated ticket, I don’t need to line up.” Well, you’d be surprised. Last year, the lines to go into the Staples Center at KCON LA were so long and the process of getting people in didn’t go as smoothly as hoped, so the event started off while people were still lining up. This writer, for one, missed the whole pre-show and half of Monsta X’s set. You spent a lot of money on KCON tickets, enjoy it to the fullest!

Look out for the KultScene Team Giving Out Stickers

Last but not least, the KultScene staff goes to KCON LA and NY every year and always have fun activities. Last year, we gave away lots of stickers featuring the performers and we’re doing it again! So let’s meet up either in New York or Los Angeles and enjoy KCON together.

Check out the video that inspired this list, which also has lots of good tips:

Have you gone to KCON or are you planning to attend for the first time? Share your thoughts and advice 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.

Hoody ‘Like You’ Music Video & Song Review

June 6, 2016/in Entertainment, MUSIC VIDEOS /by Shelley Foo

Recently signed to AOMG from its parent company CJ E&M, singer-songwriter Hoody joined the likes of talented rappers such as GRAY, Loco, co-CEO Simon D, and CEO Jay Park. News of her addition (and, with it, its first female artist) to its expanding roster was already known ever since their official announcement at the label’s second anniversary celebration party back in December. A pregnant moment in AOMG history, this surely propagated any preexisting expectations for her solo “exclusive vocalist” debut.

Yet for Hoody, who was a former member of the all female underground hip-hop crew Amourette, and who we might remember as a feature on Jay Park’s 2015 single “Solo,” has already proven with her experience that she is more than capable of holding her own, especially in a male-dominated field. With her song and music video release for “Like You” on May 31^st, the first AOMG lady once again slayed, tingeing the pool of testosterone with her provocative, gynic soul.

Song

For a label like AOMG that is known for its Korean hip-hop, it was a little surprising that Hoody’s “Like You” was not. Nor did it feature any of the label’s notorious rappers (albeit Gray helped produce), which would certainly have helped bolster her debut or given her an edge. Perhaps this was her way of saying “Let me do this,” or perhaps AOMG is the only sensible label to realize that not every song needs a rap breakdown. Ultimately, it all worked out for the single that is R&B through and through. It was almost jarring because the song was so R&B that it resembled the American R&B style of Cassie when she was in her prime.

Although Hoody has a ways to go before becoming a standard as well, her voice is seriously something lovely. She effortlessly switches between a silvery and honeyed tone, maintaining the right amount to sound youthful girlish while simultaneously appearing sultry and sensuous. Like water spilling over and permeating every crack and crevice of its buffer, she transitions fluidly to fill out the song, an impressive feat for one that lacks in any apparent pre-chorus. On the other hand, the hook is firmly there and though it plays it safe in terms of key changes, any sort of shock factor would have detracted away from the sedative ambience.

Also on Kultscene: What We Learned at AOMG’s Los Angeles Show

Content-wise, it’s lo-fi without seeming underwhelming. She repeatedly croons the same words (“I was like you”) in a call-and-response manner in the chorus while the lyrics give a pithy overview of pining for an old lover. Threaded together by its 808 beats and ad-libs threatening on a higher tessitura, Hoody collaborated with Gray to produce a wondrous slow tempo track. Even when the dynamics grew loud, the texture still remained thin, creating an overall easy listen that is not boring even on the hundred and first listen.

Music Video

The music video takes an unfamiliar approach and divides itself into chapters at certain points of the song, evocative of a play or storybook. I’m not even going to pretend I understand the storyline of the music video, as it is one of the most interpretive pieces I have seen from AOMG, but it seems to depict the four stages of getting over a loved one through the lens of three different characters (symbolically they are probably the same person). The first chapter titled “Patients with the disease should be isolate” speaks to the seclusion and heartache of someone suffering from loss. It opens with one of the character – whom we shall call ‘A’ – voyeuristically watching another, ‘C,’ dance contemporary from the window of her trailer. ‘A’ can’t stomach her food and timidly reaches out to the outside world beyond her confined space, much like someone stuck in quarantine might. It’s evident that ‘C,’ dressed all in white and moving candidly in the open, represents the agency, the freedom, that ‘A’ so desperately yearns for.

via woe-is-tuli on Tumblr

The second verse cues in the second chapter, “pathogenic.her.him?,” which asks our character to investigate who exactly is the parasitic agent in this post-breakup relationship. Is he hurting you or are you hurting yourself? Here, the other character, ‘B,’ is introduced, and as we see in the following chapter, she acts as a liaison between ‘A’ and ‘B,’ provoking ‘A’ to come to her senses and allowing her to find herself in ‘C’.

Also on Kultscene: CLC’s “Nu.Clear” Album Review

The third chapter, “Angst Essen Seele Auf” piqued my interest in particular not only for the climax moment where ‘A’ finally makes her escape, but also for its title that pays homage to the German movie “Ali: Fear Eats the Soul.” Explained by the film’s male protagonist, “Angst Essen Seele Auf” is an expression often used by Arabs to describe the corrupt nature of fear. ‘B’ substitutes ‘A’s’ place in the trailer, in turn liberating ‘A’ and prompting her to confront her surroundings.

And with the conclusive chapter, titled “White Rabbit,” we have the final stage of all “X” step programs: acceptance. The moment when ‘B’ holds up a mirror to the camera is the moment ‘A’ meets herself in her own reflection in the room with ‘C.’ Everyone is where they ought to be and it seems to end happily, or at least as happily as an abstract cinema graphic piece of art can get. I also wonder if the three characters reproduces Freud’s psychoanalytic theory of the three levels of mind (the conscious, the preconscious/subconscious, and the unconscious), especially since the title of the last chapter “White Rabbit” is one of the mystical figures used to lead one down into the hole of psychological discovery. I am still unsure if I hit the nail on the head with this one, but the more I re-watch the video and the more I play around with ideas, the more plausible everything starts to become.

via woe-is-tuli on Tumblr

Overall Thoughts

“Like You” is as beautifully shot as its message and its harmonies. Hoody could not have made a stronger solo debut under the reputable label, and I definitely look forward to her future releases. And though she has already wowed us with her independent can-do attitude, it would also be a waste if she did not lend her much talents to other R&B artists; a Hoody x DΞΔN blend, imagine that.

What do you think of Hoody and “Like You”? 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 May 29-June 4- Luna, EXID, Baby Kara

June 6, 2016/in Features /by KultScene

Each week, our writer’s introduce some of their favorite songs out of Korea released during the past week. This week, KultScene writer’s liked songs by f(x)’s Luna, EXID, and former Baby Kara members, Chaewon of April and Yoon Chaekyung.

“Free Somebody” by Luna (May 30)

From the SM Entertainment stable, f(x)’s powerhouse vocalist Luna comes of age in spectacular fashion with her impressive solo debut, “Free Somebody.” The song is a sparkling, 1990s techno dance track featuring positive and inspiring lyrics that encourage listeners to embrace life in Technicolor and to chase one’s dreams in a bold and fearless way. This cheerfully optimistic message is successfully hammered home via a striking, 1960s pop art influenced music video, which inventively incorporates scenes of Luna and her male love interest as cartoon characters. “Free Somebody” boasts some stunning cinematography, coupled with unconventional filming techniques, as it documents Luna’s sensual awakening after meeting her ideal man in an elevator. She radiates an air of classy confidence and stylish sex appeal throughout the video, which appears effortless and believable. “Free Somebody” already has me looking forward excitedly to another solo release from Luna, of the same calibre.

–Eve

“Clock” by April’s Chaewon & Yoon Chaekyung (June 1)

The news of this mini-reunion by two of Baby Kara’s members delighted many fans of the reality competition and their release at the start of the month certainly did not disappoint. This track is a reflective ballad for the most part but ventures slightly into R&B territory towards the middle of the song with its jazzy rhythm, which certainly livened up the whole track. Personally, I was surprised by the improvement in the vocals of Chaekyung, who was on the recently concluded competition “Produce 101.” Her experiences on the show definitely helped her to grow as a singer and she has made remarkable progress from her time on “Kara Project.” Chaewon on the other hand has been blossoming increasingly with every new release from April, so I’m glad that both singers got a chance to show off their beautiful harmony through this song. Chaekyung needs her debut as soon as possible, and I’m definitely excited about the future of these DSP artists.

–Anna

EXID are the queens of making use of their member’s talents. Lines can be distributed to any member at any time in a song and they’ll make it work. Hyelin and Solji pack the choruses with power, Hani takes the verses with her just as good but sexier voice, and Junghwa and LE fit around them adding much needed character to a song. “L.I.E” is helped greatly by this as musically it doesn’t work quite as well. It has wonderful parts though especially the tropical verses. The video is great as well, with their usual extensive use of symbolism and references to The Grand Budapest Hotel.

–Joe
What song was your favorite of the week? 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.

CLC’s “Nu.Clear” Album Review

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

That is one great title. Nuclear by itself would be good enough but combining “new” and their name (a shortened version of “crystal clear”), CLC have created another classic K-pop portmanteau, ”Nu.Clear.” This release is a new start for CLC because it’s their first since adding former “Produce 101” contestant Kwon Eunbin to their lineup. It also represents a good shot at them making it big as the “Produce 101” craze has not entirely died down. But Cube Entertainment groups have been in decline recently, and CLC never did garner much of a fanbase to add to by now. Whether or not they break out this year, we can be sure they deserve it.

“Nu.Clear” explodes (get it?) into life right from the opening with ‘90s hip-hop beats, record scratches, and bombastic horns. Written and produced by frequent Cube collaborators Son Youngjin and Jo Sungho (4minute’s “Cold Rain,” BtoB’s “It’s Okay), “What Planet Are You From?” doesn’t stray too far from retro pastiche and is energized by the girls’ fantastic vocals. One of the things CLC do better than a lot of other girl groups is their group singing. I don’t know if it’s just good production or they were always planned to be like this but in nearly all of their choruses you can hear a number of distinct voices rather than one being layered. It works especially well on a ‘90s throwback like this. I also love the high-pitched synth that the girls harmonize with in the verses; it transitions the song effortlessly.

Also on KultScene: K-Pop Reactioner MRJKPOP talks YouTube, Producing, & Analyzing Korean Music

CLC continue with the horns and bubblegum pop on lead single “No Oh Oh” but with a more modern twist than the album opener. It bears the hallmarks of producer Shinsadong Tiger’s work (most recently popularized by EXID), horns, male voices in the background, big vocal choruses, and a healthy disdain for men. “No Oh Oh” is about a girl who knows she’s too young for men’s creepy approaches to them but has to continually say no to the stranger danger. This repetition is mirrored nicely in the refrain of “ani ani aniya” (“no, no, no” in Korean) and in the weird delays that come halfway through the verses. These are the highlights as they suggest a chorus or pre-chorus is about to begin but the song continues on with the verse, shutting down any possible change of heart from the girls. Again, I love how parts of the music harmonize with their voices and this time it’s the electric guitar, which adds a more youthful touch than synths in the previous song. While not as structurally interesting as EXID songs, all of these elements work just as well for CLC to create something more coherent and immediately satisfying.

“1, 2, 3” is CLC’s effort to jump on the GFriend innocent bandwagon. The use of theremin, the 808s, and delay in the chorus all recall GFriend’s own aping of Girls’ Generation. Here though it is dialled up a notch with a lot more elements making GFriend seem like tired old ladies. It begins by slowing the album down with some harp, apparently bringing us (sadly) to the ballad portion of the album already. But it was not to be. The song crashes back into life only seconds later with its chorus of rolling synths and pop beats. Written and produced by singer Lee Sang Chul, Seo EBum, and BPM, “1, 2, 3” does not rest from there and is a great example of fitting someone else’s style into your own. The song is so busy but moves at such a fast pace you don’t have time to be confused. Synths, pianos, and drums jump off each other creating the kinetic energy that keeps the song at this speed. The buoyant vocals shine alongside it, highlighting a key point of this album, vocals and music working in great harmony.

Unfortunately, Nu.Clear does move onto the ballad portion, or just slowed down portion, with “Day by Day.” Again Son Youngjin is on production duties this time with the help of more Cube regulars Ferdy and Big Sancho. More of an acoustic slow jam than a ballad, “Day by Day” isn’t the worst of its kind but comes unwanted in this otherwise bright album. I’m not of the belief that mini-albums like this need to be paced in the same way as full length albums. Give me all the bubblegum pop I can take. That chorus would fit right into any Disney musical so will be likeable to a lot of listeners. Like on all of the tracks, I really like Yeeun’s rap. Her childish and cheeky delivery is always fun and brings CLC’s music to life.

Also on KultScene: Fiestar’s ‘A Delicate Sense’ Album Review

The more sentimental, subdued tracks continue with “Dear My Friend.” I didn’t find any translated lyrics for it but I bet it’s one of those sappy songs about how much CLC love their fans or each other or something cheesy like that. At least this one is musically a bit more interesting than “Day by Day.” Jo Sungho and Ferdy return for the production to give the verses some edge with plodding synths. The chorus is weak though and reminds me of a charity song from the 80s, which reminds me of songs I never want to listen to twice.

Were CLC trying to give us every variation of the boring album track on this album. Nu.Clear started so brightly but slowly faded into disappointment. Ferdy (I’m starting to dislike this person) produces solo this time on “Before,” the most ballady out of the last three songs. I think the thing I hate most about ballads like this is the guitar that strums the same three chords over and over in the chorus. It does make me like the two previous songs a little more though, and I am thankful again for the raps.

Nu.Clear weaves together a number of great sounds that perfectly complement a rookie girl group. Like Oh My Girl, CLC exude the youthful exuberance of teenage girls and never try to go beyond their means. The first half reflects this with three blistering tracks of pure joy while the second slows things down for a mellower time. The first half is considerably better in my mind but the slower tracks don’t ruin the experience totally. It is their best release by far since their debut with “Pepe” so hopefully will spell a time of good fortune for them.

What do you think about CLC’s Nu.Clear? Share your thoughts in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter,Instagram, and Tumblrto keep up with all of our posts.

K-Pop Reactioner MRJKPOP talks YouTube, Producing, & Analyzing Korean Music

May 31, 2016/in Features, Interviews /by Tamar Herman

If, like this writer, you were unconsciously reading the YouTube account MRJKPOP as Mr. J K-pop, you may be surprised to hear that M.R.J stands for none other than the show’s forerunner, Michael R Johnson. Johnson began his YouTube channel three years ago and since then has become one of the most watched reactioners relating to Korean music. Through insightful analysis coming from his professional background and his highlighting of even the smallest details in new songs from South Korea, MRJKPOP has become a go-to for many diehard K-pop fans who want to get a deeper look into the music.

We spoke to MRJKPOP about his YouTube channel, being viewed over 13 million times, and a lot more.

KultScene: How did you start off as MRJKPOP?
I initially wanted to share K-pop with my friends, who had never heard of it, and also discuss the songwriting, production, and marketing aspects of it with others. As a session musician and songwriter, I constantly break down and analyze the music I am listening to in my head — always trying to learn something, get ideas and inspiration, and figure out how it was created in the studio. While I wanted to help promote and share this awesome pop music I had discovered from the other side of the globe, I figured that only a very small handful of “music geeks” like myself would be interested in listening to what I had to say, especially since my videos ended up being quite long.

What makes you pick a certain music video to review?
I have my own sort of criteria for determining whether I will spend the time to make a song review — since they take at least 4-6 hours each to create — but the main things it comes down to is if I personally am interested in the song, writers/producers, or group, if I think it is significant in some way in the industry, if I think a lot can be learned from it through analysis, and finally, if I actually have the time to review it shortly after it is released.

You do a lot of reviews/reactions, but also have done several interviews. How did you go about transitioning from consumer to producer?
I don’t really see it as a transition from consumer to producer — my review videos are adding a lot more substance and analysis than me simply consuming music, so even those already contain a lot of “producing” or “product.” Actually, this YouTube channel has always been a side project; I run a music production/technology and marketing company as my main thing — reviewing K-pop music on YouTube is just something that is a natural extension of the other things I do, and also intersects with my personal interests (yes, I actually enjoy listening to K-pop in my personal life). Before I ever started MRJKPOP, I was already creating and producing both music and video content for YouTube and elsewhere, so it’s natural for me to add things like interviews, collaborations, or original music content to the MRJKPOP channel.

Also on Kultscene: Sungha Jung brought Singaporean Fans to ‘Cloud Nine’ with ‘L’Atelier’

Videos from your main YouTube channel have been viewed more than 13 million times. What do you think people enjoy watching you so much? Did you expect the success?
That’s a really big number — and it still always surprises me when I look at my analytics. Like I said before, when I started the MRJKPOP channel, and even for a long while after it was up and running, I still didn’t think more than a handful of music theory buffs, aspiring producers, and musicians would be willing to spend 15 minutes at a time listening to me talk. However, over the years of feedback via comments and messages from viewers, it seems that people really do like learning more about how the music they like is made — they want to see what is going on behind that curtain, and see what makes the “magic” happen. I have some knowledge, skills, and experience in that particular area, so I think that is why people enjoy watching me explain some of those things in a way that hopefully people with little knowledge of recording or music theory can still understand. At the same time, I hope that even experienced industry veterans and artists can also find value in my videos and analysis — and I have gotten positive feedback from many of those people who watch regularly. I also say exactly what I feel and what I think about the music I am analyzing, and don’t pretend, hold back, or try to sugar coat anything, and I think people appreciate that honesty as well.

Watching your videos, it’s clear that you know a lot about music. What’s your background like?
I was classically trained on the trumpet and music theory by an amazing ex-US NAVY Band, Washington D.C. 1st chair trumpet player from the time I was about 10-17. He was an extremely tough teacher, but I still use things he taught me to this day in my everyday work, and even when analyzing music on MRJKPOP. I played in various bands, wind ensembles, pit orchestras, jazz bands, and combos all through school, and attended a visual and performing arts high school for music and trumpet performance. When I was about 13, I began learning how to do remixes and record music myself, and started piecing together my own small studio. By 15, I was recording local artists and bands professionally, as well as writing and recording my own music. Sometime around then, I picked up electric guitar, and taught myself to play — using the knowledge of music and practice habits I had already acquired from the trumpet. I also taught myself how to build and repair electric guitars and audio equipment and amplifiers around that same timeframe.

After high school, I transitioned to playing guitar more frequently, formed my own rock band, and continued to record and collaborate with other artists, while constantly building up the equipment in my own studio. I also began getting hired as a studio session guitar player, and started uploading guitar covers and original music to the Internet (as well as the early days of YouTube). That lead to collaborations and session work for musicians all over the world, like former American Idol contestants and YouTube musicians like Roomie, and eventually I was picked up by a studio working on music for major label projects, where I was a session guitar player, songwriter, and co-producer. I also continued to write and co-write music, and produce for other artists as well through my own studio. After a move to a different state, I continued my session playing, producing, and songwriting work, but focused on doing it through my studio and company on projects I chose to work on, which is what I’m still doing to this day. More recently, I am finishing a Music Production degree from the Berklee College of Music.

Many of us know you through your YouTube channel, you also run a production company, MRJ Studios. Can you tell me a little bit about what you’re doing with that?
MRJ Studios, Inc., is the music production, technology, and marketing company that I’ve basically been running since around 2003. It has been operating professionally since about 2005 as my personal music business, but was recently incorporated, so I have everything in place to continue to expand it. I offer a lot of different services through my business — from music production, recording, songwriting, artist development, session playing, and mixing to the marketing end of things, like social media presence, international promotion (especially for K-pop artists looking to expand their fan base in the USA), advertising, and more. I also offer a lot of technical services like computer systems setup, recording studio equipment repair and setup, consulting, and answering questions about how to accomplish various tasks relating to music, electronics, and the Internet. Video production and music analysis/consulting (much like what I do on the MRJKPOP channel) is just one of the many things my company can do.

Also on Kultscene: Vlogging K-Pop, Sister Style: Nutty Nomads Talk Their Career And New DramaFever Show

You’re extremely prolific, so can you tell our readers a little bit about what your work ethic is like?
I don’t mind working hard, but I have had to learn to really manage my time carefully. For the past year and a half, I’ve been attending Berklee Online, which is full-time and year-round college, doing multiple videos and other behind the scenes work that you don’t see for MRJKPOP, and also running my business — all at the same time. Prior to that, I was in college for engineering and business instead of music production, so it has been much of the same schedule for the past 4-5 years. It’s a lot to keep track of, but I feel like it is worth it to keep at it and working as hard as I can.

You have a lot to say about the present of K-pop, so where do you think the future will take the genre, its artists, and its fans?
I really don’t know what will happen with K-pop, but I think it can certainly continue to grow globally, and appeal to more and more fans. I really do think that K-pop can become much more prevalent and desired in the US market, and that’s something I’m constantly working to help out in any small way that I can. And as always, I’m looking forward to seeing what new music comes out of K-pop next!

What video did you enjoy making the most?
The videos I enjoyed making the most are the interviews — although they are probably the most work by far — and the few skits I’ve done were really fun too. I do like making the more technical videos too, showing production techniques and really breaking down how to make sounds that are used in all of our favorite releases.

Also, congrats on being featured by the Korea Herald! Is there anything else in the works that KultScene’s readers can look forward to?
I actually wasn’t aware of that until you mentioned it and I just looked it up… I suppose that it’s nice that they mentioned me, but some of the information isn’t correct, and that type of thing happens rather often. Surprisingly, I am hardly ever contacted or asked when I am quoted, summarized, or referenced in news articles. You’d think journalists would want to get accurate information directly from me, and I make it rather easy to contact me in many different ways… So thank you for actually taking the time to contact me for this interview!

Anyway, I’ve got a ton of stuff in the works all of the time — I really enjoy bringing new content to anyone who is nice enough to take the time to view it! I am working on some more interviews with KPop artists and producers, and I’m also working on a membership program for people interested in getting additional exclusive MRJ content directly from me, with a lot of other cool features included. Finally, I’m working on writing more original music that will be released or maybe even picked up by other artists soon!

And, finally, what’s your favorite song of the moment?
My favorite song of the moment is definitely Good Luck by AOA. I’ve been replaying the song and music video constantly since it first came out.

Thank you for talking to us, MRJKPOP! If you like what you see, make sure to subscribe to MRJKPOP on his YouTube channel.

Do you enjoy MRJKPOP’s videos? What other sort of interviews would you like to see from KultScene? 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.

Sungha Jung brought Singaporean Fans to ‘Cloud Nine’ with ‘L’Atelier’

May 30, 2016/in Events /by Anna Cheang

Taken from @theofficialsunghajung via Instagram

Popular Korean guitarist and YouTuber Sungha Jung returned to Singapore once again on the 28th of May for his sixth concert held in the country in six years. The sold out show was held at Kallang Theatre and was filled with good music, adorable banter and lots of fan interaction.

After a short introduction by a local emcee, guitarist Lee Guo Liang (newly crowned winner of the Sungha Jung Guitar Competition 2016) took the stage and opened the show with his rendition of Stevie Wonder’s “Isn’t She Lovely.” Sungha then appeared and performed “On Cloud Nine,” the first track from his latest album, “L’atelier.” Just like its title, the song was light-hearted and cheerful, which livened up the atmosphere in the theatre. While tuning his guitar Sungha introduced himself and his new album, before playing its title song. “L’atelier,” which means “the studio” in French, was a very bittersweet yet soothing piece. The guitarist certainly delivered on these emotions with his perfect expression of the song’s distinct melody.

A departure from the quieter nature of his first two songs, Sungha followed up with the jazzy “In The Midnight” and the rhythmic “Seventh #9,” both from his newest albums. These two songs were results of his experimentation and exploration into different styles of music, and they certainly paid off. “In The Midnight,” for example, was “the first of its kind to be composed,” but Sungha managed to show off his finger-style guitar playing prowess while managing to convey the intricateness of the jazz elements in the song. He returned to his roots with “Nocturne,” which was a “sad but peaceful” piece that Sungha particularly enjoyed. Its introduction sounded like the beginning of a beautiful K-drama soundtrack, or OST, and this feeling lingered throughout the whole melody. The quiet pensiveness at the end of the piece was palatable and made the whole performance that much more memorable.

Also on Kultscene: 5 Tracks To Get You Ready For Sungha Jung’s L’atelier Concert

Next on display was “The Milky Way,” which was also the lead single of Sungha’s previous album “Monologue.” This piece was a lot more cheerful in nature and conveyed a certain wide-eyed innocence that was comforting and enjoyable to listen to. To end off the first half of the concert, Sungha performed a piece which was specially arranged for his Singaporean fans. It was none other than JJ Lin’s (a famous Singaporean singer-songwriter) “Remember,” which was also previously covered Sungha Jung’s Youtube channel. With his masterful arrangement and skills, Sungha was able to convey the richness of JJ Lin’s voice through his playing while also keeping the piece rhythmic.

Featured local guitarist Neil Chan kick-started the second half of the concert with his solo performance of the self-composed song “Merci.” His unique way of playing the guitar by lap-tapping was fascinating and helped him to play the melody fluently, as if he were playing a keyboard.

Official picture via Sprout Entertainment

The first music student of Yong Siew Toh Conservatory of Music (YSTCM) also had the honour of collaborating with Sungha, who made his reappearance with “Stars.” The piece was originally composed by Sungha as a tribute to the victims of the Sewol Ferry Tragedy but was rearranged into a duet. The simple yet heartfelt piece was definitely enhanced by the natural chemistry that was evident between the guitarists despite their different playing styles and nationalities.

Also on Kultscene: ‘Another Oh Hae Young’ Asks Why Women Feel Insecure

After Neil left the stage, Sungha performed a cover of Justin Bieber’s “Love Yourself,” which he had recently covered on Youtube with Eric Nam. The performance was a massive hit with the audience who cheered incessantly even before he began playing. This was followed by the obvious crowd favourite of the night, which was also the only K-pop cover in the concert. Sungha’s version of BTS’s “Butterfly” is different from the original with its more relaxing and soothing tone but he played around with the dynamics of the song to show different levels of intensity.

The last song performed by Sungha from his latest album was “Catching The Beat,” a piece that was highly rhythmic in nature but had a somewhat disjointed melody. This piece was the hardest to appreciate in the whole concert but it showed off the guitarist’s fantastic sense of rhythm and technical ability. As another special gift to his Singaporean fans, Sungha performed yet another of JJ Lin’s songs, this time a classic called “江南” (or South of Yangtze River). His dynamics were very pronounced here in an effort to imitate the singer’s emotive voice but there were also times when Sungha’s chord accompaniment ended up covering the melody of the song.

Official picture via Sprout Entertainment

In his slightly awkward but charming way, Sungha playfully introduced the last song of the concert, his cover of Ryuichi Sakamato’s “Merry Christmas Mr Lawrence.” After stating that this cover was one of his favourite arrangements of all time, he discreetly hinted about his hope of receiving an encore call, causing a lot of laughter among the audience. Of course, the guitarist’s enthusiastic supporters did not disappoint him and Sungha made his return onto the stage with his “real last song,” John Mayer’s “St Patrick’s Day.” He surprised and delighted the crowd as he started to sing as he played, and his sweet and stable voice surely melted the hearts of all who were present.

All in all, “Sungha Jung Live In Singapore 2016” was a great success and Sungha Jung definitely left audiences wanting for more. Even as he bid goodbye with a cheery wave and humble bow he promised his fans that he would be “back again soon.” Next year perhaps?

Did you attend Sungha Jung’s concert in Singapore? What do you think of his music? 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: May 23-29

May 29, 2016/in Fans, Playlist Sunday /by KultScene

The final (full) week of May brought a lot of returns from some of our team’s favorite artists. Girl groups, boy groups, solo artists, and a wide variety of genres are represented in this week’s KultScene weekly K-pop faves.

“Windy Day” by Oh My Girl (Released May 25)

With “Windy Day”, Oh My Girl threatened us with a most dreaded coffee shop ballad. I nearly stopped listening after twenty seconds due to intense disappointment, especially this being the best and most exuberant of all rookie girl groups. I perked up by Yooa and Binnie’s angelic pre-chorus and was absolutely hooked by the Middle East-inspired break after the chorus. Between these parts, the song is driven by Oh My Girl’s perpetual dynamism. First by the chorus vocals in which seven of the members participate in and then by those wonderful strings (might be an Oud) and choreography. No group has exuded such youthful apathy towards musical norms quite like Oh My Girl. They are the rightful heirs to Girls’ Generation’s throne.

— Joe

“Life in Color” by Beenzino (Released May 26)

After the lackluster that was “We Are Going To,” it’s comforting to see that Beenzino is back at it making up for the lost momentum after his “Up All Night” album. It’s no secret that Beenzino is #artsy: one of his most artistic music videos is last year’s “Break.” Continuing the concept and, with another Digipedi music video, comes “Life in Color.” The track is more on the experimental, hypebeast hip-hop side rather than the Southern rap stuff Illionaire regularly does, which makes it that more refreshening. Korea is all about making rap music that doesn’t sound like rap music (mainly slow tempo tracks with a singer at the chorus), but Beenzino mastered this practice by creating something interesting and new while keeping it upbeat. I for one am now highly anticipating his new album (which drops tomorrow!) and hope we see more songs on par with “Life in Color” rather than “Break” and “We Are Going To.”

— Alexis

“so-so” by Baek A Yeon (Released May 23)

I accidentally came across this song while scrolling through Youtube. Baek A Yeon’s soothing vocals blended with the soft melody is easy on ears. This ballad track has R&B and soul effect to it which portrays the feelings of being single and lovesick. The lyrics are quite relatable and hold some bitter reality to them. The subdued effect of the song is neutralized by using pastel shades for the video. The music video has a cute concept and is pleasing to eyes. Baek A Yeon’s “So So” is skyrocketing the music charts, like her previous hits.

— Sana

”Monodrama” by Lay (EXO) (Released May 26)

I really missed hearing R&B from EXO, and even though he only makes up a ninth of the group, Lay’s “Monodrama” was enough to satiate that musical craving. Performed in his native tongue, this song is exactly what I imagine when I think of Chinese R&B. And like all quintessential R&B slow jams, this too makes generous use of layered claps and sensual guitars, giving it a very classic, old school sound. I don’t have to read into the lyrics (I mean, I did) to understand that this isn’t exactly a celebratory song because the instrumentals more than expressed the heartache that “Monodrama” is all about. Lay may not be the strongest vocally in his group, but with this comeback he definitely was able to brandish more than he did when he had to share lines with eight other members. Those several laudatory high notes alone probably made this one of SM Station’s best releases yet.

— Shelley

I was thoroughly absorbed in the music video for “All In” when I heard it the first time, to the degree that I honestly missed much of the song and had to go back to listen again. This music video, which appears to set up a dystopian trilogy featuring some of the members of Monsta X committing suicide, had me thinking of Nazi Germany, The Lord of the Flies, Japanese-occupied Korea, The Walking Dead, yaoi manga, and at least ten other K-pop music videos from the past decade. All at the same time. That said, because of the convoluted plot I feel like the music video honestly didn’t suit the song. As with all Monsta X singles, “All In” has an aggressive sound. Despite the pounding chorus and horn-heavy raps, the song isn’t actually about war or anger, so I feel like it should be accompanied by a music video about sports or some other difficult to achieve goal rather than a fight-for-life plot. The lyrics reflect being all in a relationship; translating this to being all in on a team or a competition makes sense while depicting it through revolution seems off the mark. But, back to the song, within two listens this pounding beat got stuck in my head and I really enjoyed the raps; It’s their most diverse single to date, while still retaining their specific style.

—Tamar

What song was your favorite of the week? 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.

‘Another Oh Hae Young’ Asks Why Women Feel Insecure

May 29, 2016/in Entertainment, Television /by Joan Vos MacDonald

[Disclosure: This article contains some spoilers]

The drama “Another Oh Hae Young” is aptly named. Yes, it’s a drama about two women who have the same name, but it’s also the story of two women who suffer from imposter syndrome and they mirror each other in their insecurity.

Imposter syndrome is a term coined by psychologists Pauline Clance and Suzanne Imes in 1978. People afflicted by imposter syndrome feel like a fraud no matter what they’ve accomplished or are capable of. Although they are high achievers, they feel that it’s only a matter of time until someone finds out how incompetent they are and that they’ve been faking it. They anxiously anticipate being embarrassed.According to the American Psychological Organization, the syndrome is not unique to women but affects anyone who feels they have to work harder to make up for a disadvantage. The extra pressure to achieve may leave a person susceptible to the syndrome if they fall short of their own, often unrealistic, standards of success.

Both women named Oh Hae Young suffer from imposter syndrome, feeling they are secretly not as capable or worthy as others perceive them to be. Ironically, the Oh Hae Young played by Seo Hyun Jin went to school with the Oh Hae Young played by Jeon Hye Bin and the inevitable comparisons made her miserable. Jeon Hye Bin’s character was the queen bee at school, popular, and always the center of attention. Seo Hyun Jun’s character was always “the other Oh Hae Young.” Occasionally, she was unfavorably compared to the “Pretty Oh Hae Young.”

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Seo Hyun Jin’s Oh Hae Young was shy in school. She felt she was plain compared to her namesake and saw herself as an outsider, definitely not as one of the cool kids. Jeon Hye Bin’s character was the standard by which she was measured and she fell short. In the drama’s present day segments, Seo Hyun Jin’s character has matured into an attractive and stylish woman. She has the kind of quirkily endearing personality that’s often born of growing up as an outsider. Although she’s attractive, likeable, and has a good job, she’s not secure in her accomplishments or secure in her sense of self-worth. After the sudden cancellation of her wedding, she meets Jeon Hye Bin’s character again, having to work under her at the office. She’s overwhelmed with insecurity and feels like a second-class citizen. Anyone might feel emotionally derailed by a canceled wedding, but meeting Jeon Hye Bin’s Oh Hae Young adds the emotional equivalent baggage of returning to the worst part of high school.

In a conversation with Park Do Kyung, played by Eric, Seo Hyun Jin’s character tells him that Jeon Hye Bin’s character is in another league than she is. Seo Hyun Jun classifies herself as a B, while she classifies Jeon Hye Bin’s character as an A. And she classifies her former fiancé, played by Lee Jae Yoon, as another A. She figures that he must have been confused to want to marry her and that they broke up because he finally came to his senses. She’s sure the marriage was cancelled because he realized her shortcomings.

Meanwhile, the other Oh Hae Young might seem chic, savvy, and successful, but she’s also far from secure. Jeon Hye Bin’s character had an unhappy, impoverished childhood and has been working overtime to make up for it. She worries that her past will make people look down on her so she works hard at being successful and popular. When the mother of her ex-fiancé said she was not worthy to marry into the family, her fears and insecurity forced her to run away.

While it might be a bizarre coincidence that Eric’s character dates two women named Oh Hae Young, it’s no surprise he dates them. His character has a history of feeling sorry for women, based on past experiences with his pitiful mother. During the course of the drama he expresses pity for both Oh Hae Youngs. He almost married the first Oh Hae Young out of pity. He figured she was so broken, so damaged by her childhood that he could not break up with her. Despite Seo Hyun Jin’s admiration for Jeon Hye Bin’s character, Park Do Kyung actually pities the “pretty Oh Hae Young” and sees her as less than perfect. He treats Seo Hyun Jin’s character as if she were more resilient.

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The drama illustrates the obvious lesson that every woman has her own battles to fight. Another woman’s life may seem perfect from a distance, but it’s often not so appealing up close either. “Another Oh Hae Young” is at its strongest, story-wise, when it shows how precarious and fragile a woman’s sense of self-worth can be.

Hopefully by the end of the drama both Oh Hae Youngs will give up on their impossible standards, learn to love themselves, and realize their true worth. Both characters have a lot to offer.

Are you watching “Another Oh Hae Young?” How are you liking it? Share your thoughts in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and to keep up with all of our posts.

Intro to KNK

May 26, 2016/in Entertainment, Intro To /by Tamar Herman

Five was once the magic number of K-pop boy bands, but it’s been quite some time since quintets were a thing in K-pop. Bigbang, B1A4, FTISLAND, and, after the departure Hyunseung, BEAST are some of the few popular active acts to have only five members nowadays. And now we have KNK, a new boy band from YNB Entertainment that is garnering a lot of attention.

KNK, or “Keunakeun” the word for great or might in Korean, come from a relatively small agency with a lot of exceptional talent. (If you haven’t heard Noel, Almeng, or Bestie, go listen to some of their songs right now.) After debuting in February as the first male idol group under YNB, KNK caught the attention of several KultScene staff members with their debut single “Knock,” which features a deceivingly ballad-like intro before quickly morphing into an aggressive, pounding dance-track. The b-side track of their first single album, “Angel Heart,” in contrast, is a ballad that has a J-pop soft vibe. Multifaceted musically and able to captivate with their dances, KNK is a must watch rookie of 2016.

Also on Kultscene: Artist Spotlight: Almeng

But maybe more so than their own songs, KNK caught my eye when I heard their version of TVXQ’s “Love in the Ice.” (The below video is their performance from their debut showcase. KNK has performed the song on multiple occasions.)

To understand why this was so exciting to discover that a rookie boy band could hold their own while performing “Love in the Ice” live, it must be understood that the song is legendary. KNK performing it, and managing to do it justice, shows that not only are these five rookies extremely skilled they’re also determined.

There’s no sticking to simple when it comes to KNK; they could have picked a much less strenuous song to perform at their debut showcase but instead they performed a song that every audience member, perhaps every person in South Korea, would recognize and would know if they missed up. That takes guts for rookies, but KNK managed to pull it off. Primary vocalists Yujin and Inseong carry the majority of the song, but that in itself is impressive considering the song was meant for five of K-pop’s most iconic vocalists.

KNK has also gained quite a following thanks to their frequent videos uploaded to YouTube or Naver’s V App. They’re about to release their first EP “Awake,” so here’s a perfect time to get introduced to KNK.

Jihun

Kim Jihun’s only 21 years old and the second youngest of the group, but he’s actually the leader of KNK. He’s the group’s main dancer and, like everyone but Heejun, Jihun performed as a backup dancer for Bestie prior to debuting. Before going to YNB Entertainment, Jihun was a trainee under Nega Network. (And he’s kind of a dork.)

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Youjin

KNK’s lead vocalist and oldest member (he’s 23), Kim Youjin has some of the most powerful vocals around. Before joining his current agency, Youjin trained with B.A.P’s members at TS Entertainment.

Seungjun

The group’s rapper and visual (that means they think he’s the best looking but the below video argues that), Park Seungjun trained with BTS and Got7 before moving to YNB. The tallest of the group, Seungjun was also voted the least stylish of the group and has a goofy side.

Inseong

The middle member when it comes to age, Jeong Inseong is one of the group’s main vocalists. He formerly trained at Big Hit Entertainment with the trainees who would end up being BTS and also trained at FNC Entertainment.

Heejun

The youngest member, or maknae, Oh Heejun was formerly an FNC Entertainment trainee who appeared on the company’s reality show “Cheongdam-dong 111” with Inseong. He was featured as a vocalist and guitarist in FNC’s Kokoma Band but now is one of KNK’s rappers.

What do you think of KNK? Are you excited to see where they take their career? 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.

‘Phantom Detective’ Is Bringing Back Detective Noir to South Korea

May 25, 2016/in Entertainment, Movies /by Shelley Foo

As part of their newly launched Korean Movie Night New York: Premiere Showcase series, the Korean Cultural Center NY provided East Coast audiences and film critics with a special preview screening of independent filmmaker Jo Sung-Hee’s latest return to the silver screen, “Phantom Detective” on May 18^th ahead of its May 20^th release. The movie is a modern adaptation of a Joseon Dynasty Robin Hood folklore, Hong Gil-Dong, but instead of the classic, chiseled butcher-framed hero, Lee Je-Hoon (“Architecture 101,” “Bleak Night”) stars as our pretty-boy sociopathic private investigator of a protagonist.

[Disclaimer: This article contains major spoilers]

The neo-noir film, set in an unspecified time period, follows Hong on his pursuit for the one-eyed Kim Byung-Duk who he witnessed murder his mother 20 years ago. Yet before our anti-hero could arrive at his nemesis’s humble abode to exact revenge, he discovers that his killer had already been whisked away by someone else with a different agenda. In Kim’s stead are his two young granddaughters, who quickly become not only Hong’s meddling sidekicks but also comic relief for the plot that favors melodramatic shootouts and nihilistic themes.

The unlikely relationship that forms between an apathetic male lead and doe-eyed youth in thriller is a common trope (see “The Man From Nowhere”) that I knew going into the screening was going to be set-up for pathos. Audiences still shamelessly bought the bait though, because as much as Hong’s character was thawed out by the inquisitive girls, viewers too were captivated by such naiveté. There are several tear-inducing moments, such as when the eldest granddaughter finally let her suppressed tears fall upon her grandfather’s death, which could not have been achieved had it not been for the virtuous nature of the secondary leads. The delivery of the child actress Roh Jeong-Eui (“Pinnochio,” “Dream High 2”) and Kim Ha-Na, who is only making her acting debut here, were just as convincing as some of the already known cast members, such as Go Ara and Kim Sung-Kyun (“Reply 1994”). With a killer (no pun intended) script and a star-studded cast, my expectations for “Phantom Detective” were already very high.

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And for the most part, those expectations were met. It was enjoyable, definitely, but for a two hour movie more could have been fleshed out, especially in the telling of Hong’s past. In his mad search for Kim and in figuring out his kidnapper’s motives, Hong also unravels his own identity and his past involvement with the organized crime group of which the assailants are working for. Jo Sung-Hee appropriately foreshadows Hong’s connection to this cult early on in the film, as indicated by the recurring shots of the tattoo on his wrist who he shares with some of the – as viewers soon learn, corrupt – political leaders. My qualm, however, lies not with establishing this second storyline, but with the lack of a real build-up to Hong’s relationship to the party’s ringleader, Kang Sung-Il, played by Kim Sung-Kyun. With a literal bang, Kang’s character is first introduced in an armed tableau, where he is portrayed as Hong’s worthy adversary. For the first time the intuitive Hong with the “99 percent success rate” is outwitted, and it is here that we know that the real antagonist is not Kim, but Kang.

As it also turns out, Kang is Hong’s brother. Yet this does not become clear until the climax, which seemed as out of place as Kang’s introduction. What happened to the pair when they were younger so that things turned out the way it did? What is the backstory behind their parents? While this could be fodder for a sequel, the pacing and execution could have been better.

Another fault concerns the somewhat inconsistent use of noir elements. Besides the low-key lighting and striking contrast between light and shadow that are typical of the genre’s distinctive cinematography, the movie also deliberately employs CG effects a la “Sin City.” The opening scene where the camera pans from car to obviously graphic city is a page straight out of a comic book, as is also the case where the light catches Kang’s glasses in the most sinister of ways that has only been done in Japanese animes. But sometime amidst the skirmishes and apocalyptic pandemonium, these devices are lost. As a result, the hyper-reality that Jo Sung-Hee envisioned for his alternate universe couldn’t even suspend my disbelief. I thought it might have been my scant exposure to neo-noir that made the stylistic choices seems satirical at best, but in retrospect it might have its erratic application.

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That being all said, I would recommend “Phantom Detective” to anyone who was riding on its hype, but not as something to watch a second time. I realize this review may come off as reproachful and berating to some, but on the contrary; I sincerely appreciated all the chair-gripping combats and plot twists. When Kim said that he did not regret killing Hong’s mother and would do it a thousand times over if it meant protecting his family in front of a desperate Hong, I had to pick my jaw off of the theatre’s carpeted floor. Like why?! I was rooting for you, old man!

The plot is constantly complicated by the past of its characters, and the even though there was no doubt in my mind that good will prevail over evil (blame popular culture for this canon), it’s the means by which to get to the ends that makes the film laudable of a watch. It’s been a week since the initial viewing and I still cannot gauge how seriously I should be taking it and all its animated, laypeople-operating-machine-gun glory. I suppose that that is its charms. Not to mention, the movie serves as a nice pace of change from the superhero genre that currently saturates our box offices today. Not all heroes wear capes; some wear trench coats and fedoras and always carry a stash of caramel on hand.

Check out the movie trailer:

And if you miss “Phantom Detective” at its East Coast Premiere at the IFC Center, you can still catch it at select theaters throughout North America here.

Have you watched or are you planning to watch “Phantom Detective“? 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.