Fiestar’s ‘A Delicate Sense’ Album Review

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Fiestar

If any group was poised to be the next breakout superstars, it would be LOEN’s girls, Fiestar. Leader Jei and Chinese member Cao Lu have been gaining followers on variety shows by the day and we all know of the success that rapper Yezi has had following her breakout on the second season of “Unpretty Rapstar”. I would have thought that they would come back with as much fanfare as possillbe with little delicacy, but here they are with new mini album “A Delicate Sense”.

Ever since Cheska left, Fiestar have focused their style. Before, it was varied and somewhat of a mess for any budding fans. After the ménage à trois anthem “One More” and silky, acoustic “You’re Pitiful,” an air of melancholic sexiness has grown around them. New single “Mirror” and its music video do nothing to dispel this idea. This new mini album shows the eclectic range of 2016’s possible rising stars .

Also on KultScene: Park Shi Hoo’s Two-Pronged Post-Scandal Return To K-Dramas

Opener “A Sip of Your Lips” is an oddity that could only ever be an album cut. It fuses a number of sounds to create something at once chaotic but sensual. Latin beats, country electric guitars, and sweet vocals make up the bulk of the song. Each part comes together at once to a simple structure to keep it from going too far. Most interesting is the recurring autotuned vocal sound that sounds like a slide guitar. It’s the type of weird sound that makes a song like this infinitely listenable, not just because you’re trying to figure out what it is but because of its beauty.

If any of the members were being pushed for this promotion, the music tells us it is Yezi. Her cold, clinical raps seem to frame every song on the album. Even if she only gets the obligatory bridge of verse, she pulls the song around her. On “A Sip of Your Lips,” the music even stops for a moment, preparing itself for Yezi to inject a fiery pace to it.

She does this no more so than on the single “Mirror.” It’s a synth pop track familiar to K-pop fans as the sound of 2010-2011. Back then, this was the most common kind of sound produced and probably the most expensive they could sound. Hearing it now with even better technology shows its timelessness. Synth stabs cut right to the ear building Fiestar’s melancholic reflection. It’s a perfectly solid lead single but probably the least interesting song on the album.

Yezi is the other difference between the 2011 version of this song. Before, the rapper would have been a regular idol, the girl who couldn’t sing, so they make her talk sort of melodically so they fit into the song. Yezi, however, is a rapper. She bites into the song giving it an anger and frustration where there would only have been sadness.

Also on KultScene: Fiestar & Sex in K-Pop

“Mr. Black” also,in some way, brings Fiestar back to their roots by being an overt ode to sex. Their explicit sexuality is still refreshing if a bit on the nose. Lyrics mentioning an “unstoppable dirty dance” and a “tasty road” (which when pronounced by a korean sounds like tasty load yikes) are embarrassing, but at least we don’t understand Korean so it’s not distracting. The song plays up sensuality over euphoria. The girls coo and whisper throughout over bubbling electronics and a restrained beat. The chorus especially has some of the sexiest vocals K-pop has ever seen.

Fiestar slow things down even more for “Thirst,” a song about insatiable desire. “Thirst” twinkles into existence while carrying on the slightly retro sounds of 2011 with its fuzzy synths. They combine well with chimes forming an eerie dreamy sound. Yezi again fits in perfectly with an autotuned rap that feels like it is ripped straight from the music. I love raps in slower songs like these, they add a new weird perspective but manage to not be too jarring (see also Lim Kim’s “Alright”, Ladies’ Code’s “Hate You”). There’s a desperateness to it that works really well against Linzy’s angelic vocal.

“Back and Forth” is a chance for Fiestar to get angry at all these lovers they sing about. It threatens to be a fairly formulaic track with a bit of sax. The instrumentation is excellent however. The aforementioned sax blends wonderfully with guitars over a strong drum beat. The song begins to build after the first chorus with Yezi’s most outwardly aggressive rap of the album. After a beautiful bridge, the vocals become unhinged and Yezi snarls in between them building the song into a cacophony of angry voices. The repeating refrain of “wassda gassda” adding to the frustration of these young girls.

If Fiestar fail to light up the year like EXID, Sistar, and others before them as new starlets, we can still look back on this and see how impressive they have become as a group. Each song on “A Delicate Sense” has its own identity, adding something fresh to tired formulas. Delicacies in the music lift the tracks into territory worthy of repeat listens. Not only this but their continued use of sex in their lyrics is something to cherish forever. We’re going to look back at Fiestar as a group who dared to be explicit and were great precisely because of that.

What do you think about Fiestar’s new album? 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.

Fandom, Not Genre, K-Pop Surpasses The Limitations Of Music

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Fandoms

When a friend of mine recently asked why K-pop is a fandom rather than a genre, it was puzzling; of course K-pop is a fandom. Looking around at K-pop’s international fanbase, the question hardly makes sense; it’d be like saying The Beatles are a genre when they are in fact so much more. But that doesn’t resonate with people unfamiliar with what K-pop is, who just assume that K-pop is a very specific type of music rather than an entire entity.

K-pop, at its heart, isn’t one sound but rather a production style coming out of South Korea today and the pop culture surrounding it. K-pop is Korea’s music industry and all that it contains. Similar to Hollywood being the umbrella term for the industry, its stars, and its products, K-pop is the blanket term for music, celebrities, and a variety of other aspects of Korea’s pop culture.

Also on KultScene: Playlist Sunday: K-Pop In Wonderland

Understanding that K-pop is the overarching term for a variety of music coming out of South Korea is key to erasing the idea that K-pop is a single musical style. What most people think of “K-pop” is actually idol music, pop music acts produced by large entertainment agencies. There are usually, but not always, synchronized choreographies. K-pop doesn’t just mean idol music though, since all of South Korea’s mainstream music is now coming under the title. But that’s not everything under the sun in South Korea, and even Korean indie acts are falling under the broader K-pop umbrella; this year’s SXSW’s K-Pop Night Out includes a girl group, two R&B artists, an IDM producer, an alt-punk indie duo, and a glam metal band.

And they’re all included in the idea of K-pop to some degree, despite their blatant genre differences.

Because of its utter enormity, fans of K-pop aren’t just fans of a specific style of music, which would in fact make K-pop a genre. A fan may be a fan of an act act, such as idol groups like SHINee or 2NE1, but unlike fans of musical genres, K-pop fans express affinity to the artists rather than the musical style; musical affinity isn’t bound to being a fan because K-pop is impossible to pin into one individual style. While both SHINee and 2NE1 have distinct styles within the K-pop world, their songs themselves are known for genre-blending and musical experimentation rather than sticking to one specific musical style.

Saying K-pop is a musical genre is limiting, since the songs falling within K-pop’s realm range from folk to R&B to bubblegum pop to hip hop and beyond. (It also diminishes the face value of music coming out of South Korea today, since K-pop gets a bad rap as a wholly manufactured industry with little innate artistic value.)

In a recent interview, members of Korea’s most popular boy band Big Bang deplored the idea that K-pop is a single genre. Seungri argued that the title doesn’t express what is good K-pop versus bad K-pop and G-Dragon highlighted the fact that K-pop isn’t K-pop to Koreans; it’s just music. Meanwhile,T.O.P argued that the terminology itself was a failing, and implied that there were racist connotations to lumping all Korean music under the idea of a single genre.

“It’s like this,” he told the Washington Post. “You don’t divide pop music by who’s doing it. We don’t say, for instance, ‘white pop’ when white people make music.”

But clarifying that K-pop is just general Korean mainstream music isn’t really easy to explain in a casual conversation since most people are not likely to understand the nuances of why it’s not a single musical style, making it difficult to expand on the broader definition of how and why K-pop is dissimilar specific genres like country or metal.

Metal fans, like other fans declaring favoritism to a specific style, favor acts that fall under a specific overarching musical genre. Just like K-pop, they identify one another on the streets based on band tees and get excited when a new act comes to town. But without the specific tones of being a metal band, those same fans won’t be interested. If a metal band put out an album inspired by jazz music, their fans would likely be confused and pan the album. K-pop fans eat up that sort of experimentation, since it’s part of what makes certain songs fall under the K-pop title.

But with K-pop, the most genre-bending music “genre” of all, the music is just the beginning of the pitfall that leads fans to start liking all aspects of the K-pop scene. While many songs sound similar, and there are trends in K-pop overall, a K-pop fan can be biased towards the slower, more mellow ballad tones rather than the dance music, but still be a K-pop fan. Most fans of K-pop claim partiality to specific acts and join that act’s fandom (i.e., Big Bang fans are known as VIPs as a whole) but still are a part of the overall fandom of K-pop. They cheer when a K-pop act beats out other acts internationally, coming together to support the industry’s international growth, and get upset collectively when a single fandom may be under attack from outside fandoms.

Also on KultScene: 5 Acts That Define What ‘Kpop Star 5’ Is About

 

While “K-pop” once stood for the specific idol music coming out of Korea, it is now essentially a word handed out freely to describe all Korean pop and even all Korean music. Looking at idol groups alone, there are allegedly hundreds of different sounds and concepts. But when someone says they’re a fan of K-pop music, they’re not saying that they’re a fan of the specific sound of K-pop music because there is no such thing. Rather, they’re saying that they are a fan of the world of K-pop. What that world is is up for debate in South Korea nowadays, just as Big Bang said, but K-pop is no single musical style, despite the Guardian trying to peg Grimes as K-pop in a recent article.

If K-pop were a genre, it’d be the all-encompassing world of Korean pop music and then some. It’s the industry consisting of music production companies in South Korea and the musicians themselves as well as the music. Some of it is idol music, some of it is hip-hop, ballads, indie-style folk music, etc., but it’s the production value and promotional aspects that makes K-pop what it is and why fans love it. It’s an idea moreso than a genre.

Yes, K-pop songs are mostly Korean pop songs, and you could say that K-pop is a genre. But a genre is a style with a limited range of musical tropes. K-pop is definitely an entity, but that entity is so much more than any music genre; it’s an entire scene that, yes, surrounds a certain type of music, but is so much more than a single genre.

What do you think of defining K-pop as a fandom rather than a genre? 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.

Playlist Sunday: K-Pop in Wonderland

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alice in wonderland kpop k pop korean theme concept mv music videosBecoming a fan of the K-pop industry is often described as going down the rabbit’s hole that you won’t be able to climb out of. In honor of K-pop fans everywhere, this week’s Playlist Sunday is dedicated to all things ”Alice in Wonderland”. The songs that we included are all based on the concept of the beloved story, whether it’s the story of the song itself or the respective music video.

Seungri’s 2011 solo release “V.V.I.P.” is basically a Korean version of “Alice in Wonderland.” We have cricket, a mad tea party, Tweedle Dee and Tweedle Dum, and instead of growing bigger by drinking the antidote, Alice grows older. Seungri’s role, however, is unclear. Maybe he’s the mad hatter or the white rabbit? Moreover, instead of going for the psychedelic colorful scheme, Seungri opted for a more posh and lush color palette, given the song is all about him showing of his fame, looks, and money. Overall, it’s a fun video to watch, even if I’m not sure the relation between the song and the concept.

— Alexis

Also on KultScene: Intro to AOMG [+ Follow the Movement 2016 North American Tour Info]

Boyfriend took the famous “Alice In Wonderland” tea party and card games to another, deadly level in the music video for their song “Bounce.” Painting the roses red while singing about a lover who is hiding holding out on affections, this music video takes its cues from Tim Burton’s haunting version of “Alice,” with life and love on the line as the white rabbit femme fatale taunts Boyfriend with her swinging pocket watch until they follow her down the rabbit hole. Boyfriend’s a stellar, but underrated, K-pop boy band whose music videos since the release of “Janus” in 2012 have been thought provoking with their storytelling and high production value. “Bounce” continues the trend and is one of K-pop’s most solid retellings of “Alice in Wonderland.”

— Tamar

Veteran queen of K-pop Son Dambi offered her own interpretation of Lewis Carroll’s iconic story with her 2012 single “Queen.” It references sparingly with images of playing cards, a big girl in a small room, and lyrics about waking up from fantasies to become the woman you want to be. What most people will get from listening to this song in 2016 is just how dated it sounds. The autotune and synths even sound from previous to that era. If you can get past that however there’s some great sounds to be found. The variety of vocals are wonderful; from whiny raps to angelic singing, Dambi shows a range of considerable quality. She even uses different inflections for different verses. I even love the autotune which, as the song goes on longer, starts to increase turning the song into piece of abstract digital art. The second (and final!) chorus adds auto tune and more electronic wobbles and chips as the song devolves into what could be a remix of what we heard at the beginning. Through the looking glass you might say.

— Tamar

What K-pop song reminds you of going down the rabbits hole? 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.

Intro to AOMG [+ Follow the Movement 2016 North American Tour Info]

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aomg loco jay park gray simon dominic simon d dj pumkin tour us info tickets

Korea’s hottest hip-hop label right now is undoubtedly AOMG with its awesome roster of rappers, R&B singers, and producers. But with so many artists signed to the label, hip-hop becoming more and more popular, and countless collaborations, it’s easy to lose track of who’s who. So in light of AOMG’s Follow the Movement 2016 North American Tour, there are a few things we should get straight.

Following their performances in Los Angeles, New York, and Washington D.C. in 2014, Jay Park is expanding his horizons to our delight and touring eight U.S. cities this upcoming April. And the “Mommae” singer isn’t planning on turning up alone. Oh no. He’s making it a family affair and bringing labelmates Simon Dominic, Gray, Loco, and DJ Pumkin for the Follow the Movement 2016 North American Tour.

They’ll be hitting Chicago at the House of Blues on Apr. 5, the 8th in New York at the Playstation Theater, the 11th in Houston at the Warehouse Live, in Dallas at the Bomb Factory on the 12th, in Las Vegas at the House of Blues on the 13th, at The Wiltern Theater in Los Angeles on the 14th, in San Francisco at The Warfield Theater on the 16th, and in Seattle at Showbox Sodo on the 17th. Tickets have been on sale since Feb. 26, but as of Feb. 29, VVIP, VIP, and Superior tickets for Chicago, VIP for Dallas, and VVIP and VIP for Los Angeles, New York, and San Francisco are sold out. Ticket prices start at $75. Moreover, some of the dates have age restrictions, so be sure to check that before purchasing a ticket.

Last year, Jay Park appeared as a producer on “Show Me the Money 4” along with Loco and released banger after banger with his album “Worldwide;” it was truly a highlight year for him. But in case you’re not well-acquainted with him or the rest of the gang, here’s a short intro to the Above Ordinary Music Group gang.

Also on KultScene: HISTORY Talks Teamwork & Upcoming Releases [INTERVIEW]

DJ Pumkin

After joining Jay on his last AOMG tour in the U.S., DJ Pumkin was soon signed to the label. And even if he’s not a rapper himself, similar to Gray and Cha Cha Malone, DJ Pumkin is behind some of AOMG’s hottest songs like Loco’s “Respect” and a few of Simon D’s former group Supreme Team’s.

Loco

Fresh out of his win on the first season of “Show Me the Money,” Loco joined AOMG in 2013. He went from being unknown to being featured on some of the hottest hip-hop tracks of the last couple of years and topping the charts. Whether on his own releases or featuring on song with other rappers and K-pop idols, Loco always delivers a fiery performance.

Gray

Together with Cha Cha Malone, Gray is AOMG’s other star producer. While he also sings and raps, he’s been more active producing hot tracks for his label mates, like Jay Park’s “Mommae,” and other artists, including K-pop legends SHINHWA and Infinite’s subunit Infinite H. Loved by the ladies for being hot and handsome, Gray is a stellar producer who has us vibing with his just as hot tracks. Since joining the label in 2013, he’s only dropped one album, but it has been enough to make a lasting impression.

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Simon Dominic

Together with Jay, Simon D is co-CEO of AOMG and a rapper. He has been in the game for a long time, being a former member of Supreme Team and Jiggy Fellaz, along with being signed to Amoeba Culture. However, Simon made his solo debut in 2011 and hasn’t stopped dropping hot track after hot track since, with the latest being “Won & Only.”

Jay Park

Long-time K-pop fans will always remember Jay as the former 2PM leader. However, since his removal from the group, Jay has made a name for himself by forming AOMG in 2013 and releasing music successfully post-scandal. He not only raps, but also sings, dances, choreographs, acts, models, produces… the list in endless; he’s truly a multi-dimensional artist. Since 2012, Jay has been at the top of the charts with his hot releases and 2015 was no different. After a slew of singles, he released his latest album “Worldwide” and was met with critical and fan acclaim. Among his latest jams we can anticipate a performance are “Solo,” “You Know,” and “My Last.”

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5 Reasons Why Teen Top is Awesome [+ US Live Tour Info]

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teen top kpop korean us tour 2016

One K-pop group that we can say we watched grow up in the spotlight is Teen Top. Debuting as fetuses, the boys have slowly but surely grown with each release, both musically and individually, and have become well-rounded performers. They’ve given us more than a handful of songs to jam to over the years, as well as serenaded us with outstanding vocals. In a genre where the competition is fierce, it’s hard to stand out. Teen Top however, shines for their greatness. Whether we’re talking music or personality-wise, we can’t get enough of them.

Fortunately, fans in the U.S. have been #blessed with many Teen Top shows. And with a new year comes a new tour, and this upcoming April the guys will embark on a U.S. tour. They’ll be performing on the 2nd in New York at Terminal 5, Chicago at Copernicus Center on the 5th, McFarlin Memorial Auditorium in Dallas on the 8th, and at The Wiltern in Los Angeles on the 10th. Tickets for Chicago, Dallas, New York, and L.A. are now on sale. And while prices vary with each stop, they range from around $234 to $60. For more details, check out KPOPLive.TV’s Facebook page.

But now, as we were. Here’s why Teen Top is awesome and hence should attend their shows.

1. Buttery vocals

Teen Top are great dancers, no doubt about that. However, their backbone is truly their main vocalists. Niel and Chunji both have interesting high voices, which one would think would deepen as they age, especially given they all debuted at a very young age. And yet, instead of going up, their voices have only matured without losing their pitch. Niel nailed it with his solo “Lovekiller,” while Chunji held his own on “King of Masked Singer.” While both vocalists have high voices, each of them is distinctive and adds character to every Teen Top song.

 Also on KultScene: HISTORY Talks Teamwork & Upcoming Releases [INTERVIEW]

2. Knife-like choreography & fancy footwork

Right from the get-go, Teen Top was branded the nickname “knife choreography.” And with intricate footwork as in “Rocking (No Joke),” what do you expect? There’s no such thing as an easy-breezy choreography for them. Even the slower tempo “Missing” featured some chair action and moves. The boys murder each comeback with their performances as if it were nothing.

3. Singles are always flawless

Since their debut “Clap,” Teen Top has released jam after jam. Whether we’re talking about the earworm “Supa Luv” or the catchy “Crazy,” we can count on the boys (and Brave Brothers) to deliver an outstanding single. Seriously, think about it. There’s probably no other group as consistent as them. Their latest, “ah-ah,” is not the exception.

4. This behavior

If you’re into Teen Top, you know about the pettiness they have exhibited during their various stints on “Weekly Idol” during the Random Play. Yeah, I’m talking about the vicious and hilarious violence they inflict on one another. I don’t think any other group has gotten physical with each other on broadcast, let alone make us laugh as hard. However, it’s clear it comes from a place of love, showing they truly have a siblings-like relationship.

 Also on KultScene: 8 Misheard K-Pop Lyrics Pt. 4

5. Their concerts set records

Three years ago, Teen Top performed in Paris and broke a decibel record. Why? Fans got a little too excited and screamed their lungs out, for it was recorded as being the loudest the concert had ever been. We can only imagine how amazing their show was for it to break a record. We can, however, break some here in the U.S. with their upcoming tour ooh-ing to “To You” or la la-ing to “Miss Right.”

Are you planning on going to a Teen Top show? Share with us in the comment section below why you like Teen Top 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.

5 Acts That Define What ‘Kpop Star 5’ Is About

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kpop star korean television season 5

SBS’s “Kpop Star” is deep into itsfifth season at the moment with the top 10 contestants just beginning their live shows, but boy has it already been such a fantastic ride. From outstanding soul singers to a seemingly ready-to-debut girl group, the contestants of “Kpop Star 5” have exhibited a boundless amount of talent, making for a highly enjoyable yet extremely brutal competition. In particular, here are five contestants who have really stood out and in essence and are the definition of what this season of “Kpop Star is about”; it’s not just about the discovery of vocal talents, it’s also about growth, both for the K-pop industry and for the contestants themselves.

1. Ahn Ye Eun

Ahn Ye Eun started out as one of the most underrated contestants in this competition but she has subsequently rose in the ranks ever since she started to get broadcasted on the show. She barely scraped through her first audition with the help of Yoo Hee Yeol’s life-saving wild card and did well in the ranking audition after that, but the producers did not include her in the broadcasts for the same reason that Yang Hyun Suk and Park Jin Young did not let her pass. They were afraid that her self-composed songs would not be well-received by the general public because the songs were too different from mainstream K-pop. These fears turned out to be unfounded however, because her unique compositions impressed not only the other contestants and the judges but also made many fans out of the viewers, both locally and internationally.

As a singer and songwriter Ahn also gained more confidence in her abilities and this is made evident by the risks she chose to take, especially in the round leading up to the selection of the top ten acts. Although the judges had previously criticized her compositions she decided to believe in herself and performed her strongest (and perhaps most disturbing) song “Sticker.” This song is about a stalker and is a truly creepy yet winning composition.

Her efforts paid off and she earned great feedback from all three judges for her performance. Ahn has currently made it into the top eight of the competition and I am looking forward to the music revolution she will definitely bring into the K-pop industry.

2. Jung Jin Woo

Unlike Ahn Ye Eun, singer-songwriter Jung Jin Woo has been under the spotlight ever since his first audition on the show. A returning contestant from Season 3, this talented musician garnered a lot of attention with the first self-composed song he performed on the show, “Satellite.”

He was praised for his witty lyrics and fresh compositions, prompting him to experiment with different types of music and continue his journey as a songwriter. Not all was smooth-sailing for him though and Jung had to work hard to find his own colour as he progressed through the rounds. He also had a few successful duets with contestant Lee Soo Jung, and together this couple was both electrifying and adorable.


Through each round Jung has shown consistent growth as a musician and with the aid of judge Yoo Hee Yeol, Jung’s songwriting and style has become more refined. With his high-level abilities and natural charm, it’s pretty certain that he will go very far in this competition.

 Also on KultScene: EXO Made The Audience Feel Like One At EXO’luXion New York

3. Mazinga S

The formation and success of this four-member girl group was probably the biggest surprise in this season because of the group’s origins. The members all started as individual contestants but were grouped together during the team mission round. Mazinga was formed when three individuals, Joyce Lee, Kim Yerim and Denise Kim, were put together in the same group. Their fourth member, Yuyu Liu was initially paired with another contestant, a returning young singer called Brody, but she eventually joined Mazinga to form Mazinga-S. Although the other three girls had already enjoyed a great chemistry before Yuyu joined, she fit right in and added even more charm to the group. Their teamwork was so perfect that the judges made an exception and requested them to stay as a group even after the team mission round was over.

This group has been going from strength to strength, especially as their teamwork and friendship is strengthened; this is evident in the way they are able to work together so flawlessly on and off stage. Although they are of different ethnicities (Joyce is from America, Yuyu is from China, and the other two members are from Korea), they are always able to move beyond their differences and channel their energies towards their shared love of performing, and boy, are they good at it.

There is a reason why they are always being praised that they seem like a professional girl group. They give off a very strong aura and their amazing vocals certainly complement their image. A group normally only has one or two exceptional singers, but Mazinga S is special in the sense that no member is weaker than the rest, they each have and display their unique charms but are still able to fit in with the rest of the group. They aren’t only good technically, their love for performing also shows when they are on stage; their actions are so natural and fun that it draws attention right away. If not for the fact that there are many insanely talented contestants in the top ten right now, I would say that this group has a very high chance of winning this competition.

4. Lee Soo Jung

Lee Soo Jung has been one of the most consistent performers this season and she only seems to be getting better. She has a beautiful voice, but more than that, she knows how to use her voice as an instrument to fit the song she is singing, and she is able to do this for songs of varying styles as well; ranging from R&B to ballads to pop songs. She can make each her song her own, and this artistic sensibility sets her apart from the other contestants. Lee has always been seen as a cool contestant because she is rarely affected by the performances of her competitors and doesn’t display much emotion but as she progresses through this competition, her emotions are beginning to show through her performances. The most notable example of this would be her tearful rendition of g.o.d’s “Lies.”

She adapted this song by revamping the rap parts of this song and changing some lyrics of the song; it was a beautiful testament to her growth as a musician not only because she was able to immerse herself fully in her performance but also because of her beginning attempts at arranging and songwriting. She is a contestant that I look forward to watching every week because I know that she will never disappoint.

Also on KultScene: ‘Cheese In The Trap’ & ‘Answer Me 1988’: tvN’s 2nd Male Lead Problem

5. Joo Mi Yeon

Joo Mi Yeon is probably the contestant who has grown the most in this list, not just as a singer but on a personal level. When she started the show, she was still suffering from stage fright, a symptom of the psychological trauma she suffered when she failed to get into any university after her high school exams. Her nervousness and stage fright was so evident whenever she went on stage but when she immersed herself into the song, it was as if all her fear had left her. Her emotions were so real and well expressed through her performance that it touched the hearts of the other contestants, the judges, and of course the viewers of the show. This was especially true in her performance of “You Are Tearful” where she truly displayed her nuanced and sweet voice.


It was gratifying to see her gain confidence as she received compliments from the judges and even more so to watch her power through the obstacles that stood between her and a position in the top ten. While she may not be as unique and outstanding as her fellow competitors at the moment, her emotive voice is one of my favourites and I look forward to her music in the K-pop industry in the future.

Have you been watching Kpop Star? Who is your favourite contestant so far? 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.

5 Songs to Prep You for Dynamic Duo’s ‘The Grand Carnival 2016’ U.S. Tour

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Dynamic Duo

If you’re ready for something Dynamic, this Duo is what you’ve been waiting for. Puns aside, the iconic Korean hip hop act Dynamic Duo is making its way stateside this March. Beginning with a show in New York City on March 11, Choiza and Gaeko are heading to Chicago on March 13, Atlanta on March 16, and completing the series in Los Angeles on March 19.

The two have been together for more than a decade and are at the forefront of Korean as the founders of the hip hop label Amoeba Culture. With so much experience, there’s a large repertoire of songs that Dynamic Duo will perform during the tour and there’s so little time to listen to it all. Our list features a few songs that will familiarize even the most casual fan of K-hip hop with the pair’s sound.

1. “Jam”

Dynamic Duo’s “Jam” (“Honey Jam” in Korean) is the group’s latest popular single and was released last November. The innuendo-filled song and music video fit right in with the current groovy trend invading Korea’s hip hop scene. The pounding, sexy “Jam” is all about being together and getting it on like bees do. “Honey jam, tonight’s super fun,” the pair sings as they compare themselves to hard working bees trying to get honey from the ladies. With a cameo from Honey Lee and a parody of BIGBANG, the music video is a lot of fun and different from many other videos Dynamic Duo released last year.

2. “Ring My Bell”

The song, featuring vocalist Naeul, was released in 2004 and is a remake of Anita Ward’s “Ring My Bell” from the ‘70’s. The Dynamic Duo song a more old-school hip hop style than some of Dynamic Duo’s more recent, R&B focused songs. They definitely have a fond spot in their hearts for their debut song, and they’ve performed it over the years so even though “Ring My Bell” has a bit of a dated style, the song is a surefire banger that will get everyone moving.

Also on KultScene: ‘Cheese In The Trap’ & ‘Answer Me 1988’: tvN’s 2nd Male Lead Problem

3. “BAAM”

Dynamic Duo was caught by the exciting woman that makes them exclaim “BAAAM” back in 2013, but we’re still singing this funky song a few years later. The beat-heavy song pulls out all of the guns with a variety of different genres explored throughout the track. The pair raps about the heartfelt feelings of a man who admires and loves a woman who is driving him crazy with her carefree lifestyle in this smooth, synth heavy song. With a variety of beats and vocal styles, including a really cool vocoder performance from UV’s Muzie, “BAAAM” was ahead of its time and seems more like a song that came out last month than one that came out three years ago.

4. “J.O.T.S” feat. nafla

While “Jam” was the more popular single from “The Grand Carnival,” but the pair also released the dramatic single “J.O.T.S” last November. “J.O.T.S” stands for “jump over the slump” and, fittingly, the song is all about hardships. The lyrics are raw as Choiza and Gaeko rap about their personal struggles; Gaeko raps about difficulties he’s faced as a musician, comparing writing lyrics to solving difficult math equations as Choiza raps about struggling to live while finding happiness. nafla joins the pair in the aggressive, take no shit chorus of the song that declares “my future’s so bright.” The music video is a gritty, old-school style video that is a must see for any Dynamic Duo fan.

Also on KultScene: Artist Spotlight: 4TEN

5. “Dodoripyo”

“Dodoripyo” doesn’t appear on the setlist that MyMusicTaste shared from the upcoming tour, but it’s still a personal favorite so a must for this list. The title, which means “repeat sign” in English, demands to be listened to in a car on a night when you have a lot to think about. While the album is called “The Grand Carnival,” songs like “J.O.T.S” and “Dodoripyo” suggests that there are some dark clouds surrounding the fun times. The stripped down rap and laid-back instrumentals make it easy to imagine that the Duo earnestly put pen to paper and wrote the song in a matter of minutes while talking casually about their everyday headaches. Gaeko raps about the struggles of managing Amoeba Culture and the need for money to pay bills, alluding to his marriage and child, while Choiza mourns to go back to the past when life was easier and less hectic. The chorus is all about the desperate, repetitive life that they find themselves living in. It’s dark, but “Dodoripyo” is Dynamic Duo at their most earnest and a song that everyone can relate to.

Want to attend? Tickets for the the Los Angeles show at Nokia Theater and the New York show at Playstation Theater are already being sold through AXS, while tickets for the Chicago show at Vic’s Theater can be bought through ETIX. Fans who want to see Dynamic Duo at Atlanta’s Loft theater can buy their tickets through Ticket Alternative.

What Dynamic Duo song do you want to see performed live? Share your favorite Dynamic Duo 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.

‘Cheese In The Trap’ & ‘Answer Me 1988’: tvN’s 2nd Male Lead Problem

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Cheese-In-The-Trap-Answer-Me-1988

South Korean cable network tvN, owned by CJ E&M, has turned into one of Korea’s trendiest channels. Since 2012’s “Answer Me 1997,” the station has produced hit show after hit, proving that the channel was able to put together a great experience for viewers as an alternative to the shows produced by Korean broadcast channels. But as tvN continues to compete, and often surpass, Korea’s broadcast programming weaknesses are rearing their faces at a time when tvN can make or break its image.

However, tvN’s growing focus on changing the show’s plot to focus on the second male lead to try and shock viewers has instead resulted in audiences growing appalled at the lack of coherence in some of their latest shows.

[Disclaimer: This article contains spoilers]

tVN’s stellar production history that began with “Answer Me 1997” and led through the successes of trailblazing shows such as “Misaeng,” “Liar Game,” and “Twenty Again” is now facing an identity crisis. tvN’s latest shows, “Answer Me 1988” and “Cheese In The Trap” suffered immensely from changes relating to the plots after the show was well under way, in part thanks to sudden changes made during the live-production of the show.

Also on KultScene: Artist Spotlight: 4TEN

Rare in Hollywood, live-production is rampant in Hallyuwood. Although more heavy budget dramas, such as “D-Day” and “Descendents of the Sun,” are increasingly going to air after completely finishing production, most Korean dramas are still produced while the show is airing with only a handful of episodes fully ready before the series begins airing. Over the years, last-minute production has become rarer and rarer, but 2011’s “Sign” is still upheld as a warning of live-production gone wrong: The finale featured numerous editing errors and color bars appeared on air at one point due to last minute editing, revealing that the show had been filming as late as possible.

While neither “Cheese In The Trap” nor “Answer Me 1988” had any last-minute technical issues, another peril of live-shoots has affected both shows: Changing the show in reaction to audiences. Both shows set themselves up as promising one trajectory, but then ended amidst waves of anger from viewers who felt misled by the romantic subplots of the show, a basic tenet of many South Korean dramas.

While Korean dramas are famous for second-lead syndrome, with a secondary attractive male getting his heart crushed by the lead female in favor of the show’s main male protagonist, “Answer Me 1988” allegedly changed things so that fans didn’t find the show too predictable. The result? Disappointment. “Answer Me 1988” completely changed over the show halfway through. The show, starring Lee Hyeri of Girl’s Day, Ryu Jun Yeol, and Park Bo Gum, set itself as a retro throwback mystery with viewers guessing which of the men Hyeri’s character Deok Sun would marry. Ten or so episodes in, all signs hinted to Ryu Jun Yeol. Then, with little warning, Ryu’s character was thrown to the curb as Park and Hyeri’s characters paired off with one another.

Following the show, Ryu revealed he felt disappointed in how his character was essentially ignored for most of the final episodes of the show and not given appropriate closure after certain romantic scenes made both the actors and audience believe his character was the future spouse.

According to fans online, the writer of the show changed the plot so that viewers were surprised even though Ryu had been written in as the husband at the start of the show. Scenes and hints that seemed to point in the direction of Ryu’s character as the husband suddenly came to a halt and were ignored as the showrunners tried to tie everything together.

While all actors involved played their parts perfectly, and it was believable that Hyeri and Park’s characters fell in love thanks to the pair’s chemistry, the way the show carried on for so long under one understanding was jarring for viewers. Perhaps a longer series could have recovered, but writing more than half of the show with one intent then changing suddenly was ruinous and put a halt to the near-perfection of the show.

Similarly, “Cheese In The Trap,” which aired its final episode in Korea today, began with an intriguing premise. Main character Hong Seol (Kim Go Eun) tries to understand Yoo Jung (Park Hae Jin), who acts one way most of the time while revealing darker motives that only she is conscious of. As the relationship progressed from friendship to love, Seol struggled like a mouse trying to decide if she would approach the cheese of Park Hae Jin, or if it wasn’t worth getting caught in the trap. The show focused on the pair’s interpersonal and psychological issues, hinting to the darker side of human nature and psychological disorders.

Or it used to, at least.

It was very clear at one point of the show that both Yoo Jung’s hidden and manipulative behavior and Seol’s lack of getting close to her peers emotionally hinted to psychological issues. Yoo Jung’s character showed signs of antisocial personality disorder, while Seol appeared to be suffering from depression. Neither situation was life threatening or as dramatic as the autism featured in “Good Doctor” or schizophrenia as seen in “It’s Okay, That’s Love,” but the show seemed to be walking the line between raising awareness regarding worrisome behavior and for praising it. tvN appeared to be aiming at the pair coming to terms with their mental health issues and helping one another through the difficulties.

But then Kang Seo Joon’s character of Baek In Ho was more sympathetic to the audiences and the showrunners seemed to write Park Hae Jin out from many scenes of the drama. Scenes that were important to show the reasons behind Yoo Jung’s darkest actions were cut and plotlines went unresolved. Park, the forerunner, was all but cut from many episodes.

Also on KultScene: Taemin ‘Press Your Number’ Music Video & Song Review

Park, who has appeared in numerous popular Korean dramas and previously revealed that he took the role seriously and reread the webtoon “Cheese In The Trap” multiple times to get a feel for the complexities and nuances of Yoo Jung, publicly stated that the final version of the drama was not what he had expected it to be.

“I believed in the original and decided to commit the the drama before anyone else was involved, even the director,” Park told OSEN. “Now I don’t believe in anything.” If it was a one off situation, where a main actor was disappointed with his character’s role, it would be fine. But not only is this the second time, following “Answer Me 1988,” that a male lead character was thrown under the bus for the sake of the showrunners, but the “Cheese In The Trap” producer went so far as to apologize to webtoon writer Soonkki for how the show mistreated the author’s characters and plot.

Tropes get a bit boring after time, but the suddenness and lack of exploration depicted in both “Answer Me 1988” and “Cheese In The Trap” highlights the fact that tvN’s attempt to respond to the reactions of viewers backfired. “Answer Me 1988” was ruined because fans were aware of the planned plot so the writer altered things, while “Cheese In The Trap” was kept from delving into deeper issues throughout the latter episodes of the show by the audiences’ reaction to Seo Kang Joon’s character.

If tvN wants to reclaim the trust of its fans, changing plots based on Internet opinion is not the way to do it. Fans look forward for tvN dramas to deliver relatable characters with storylines that inspire and make sense. tvN’s previous hits make it clear that the company’s showrunners know how to intrigue without being overly dramatic and it is to that point where tvN should aim to return once again.

What do you think about “Cheese In The Trap” and “Answer Me 1988”? 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.

Artist Spotlight: 4Ten

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4Ten
When 4Ten released their first album “Jack of All Trades” earlier this month, the title and tracklist got me thinking about their career so far. The term “Jack of All Trades” when referred to pop groups brings to my mind groups like 4minute, SHINee, and TVXQ. Groups with talent across the board or talent so good that even the seemingly-less talented members are given their chance to shine. The tracklist of “Jack of All Trades” does little to show the variety of 4Ten. It contains three old tracks re-recorded with the new members and two new ones. Less than half are new and those re-recordings removed some key elements to those old songs. Hardly “Jack of all Trades.”

Let’s take a step back for now though, it is just a title after all.

4Ten are a four member girl group who debuted under Jungle Entertainment in 2014. The name is derived from the English word “potential.” Try pronouncing the number “4” as if you were Korean (since Korean doesn’t have an “f” sound) and it’ll make more sense. The original four members had a, shall we call it, distinctive look. It wasn’t something K-pop fans would not be familiar with. Their faces were, well, let down by the doctors. Two especially, Hyeji and Eujin, were operated on by surgeons with Parkinson’s disorder. TEM, the rapper, doesn’t look like an idol although she was probably scared of surgery after seeing her groupmates. The remaining member looks like a regular enough idol which in a way is boring for this group.

Also on KultScene: Artist Spotlight: Blady

Hoping to blow away their competition (zing!) 4Ten debuted with “Tornado” in August of 2014. Like all rookie groups coming from smaller companies, the low production value is immediately obvious in the song and music video. “Tornado” is a messy club banger that somehow combines Crystal Castles and David Guetta into a relatively palatable pop song. Everything about it is close to being at least something that could be popular, but everything about it is also something that should be left as a demo. The pianos that should twinkle in contrast to the synths are flat and not varied enough. Those big synths are not clear enough so get lost amongst a million other things in the chorus. The video was shot in a bunch of dusty brown exteriors that do little for the girls except make them feel at home. The choreography needed a lot more practice too, not that it looks particularly difficult. The one saving grace is TEM, whose rap is genuinely good and promises the possibility of building around her for the future.

That future resulted in “Why.” It does not make TEM the focus but it can be called an improvement. It recycles the cheap synths for a europop verse that is almost hard to get through but builds by adding a rock drum beat. Mostly it’s the chorus that makes “Why” superior to “Tornado.” Its hook is pretty generic but it has an authentic energy that was missing before. After the chorus, it transitions straight into a rap, which is again the highlight. TEM has a few more little spits towards the end that indicate a possibility that Jungle have realised the real talent of this group. Let’s look for — hey TEM where are you going? No, wait, please don’t go. Goddamn.

Let’s start again I guess.

Also on KultScene: Playlist Sunday: Press The Replay

Poten are a five member girl group who debuted under Jungle Entertainment in 2015.

After the departure of TEM and Eujin, 4Ten rebranded themselves by adding three new members, Hio, Yoon, and Haejeong and changing their name to free themselves of the number four. Not that that stopped groups before — I’m looking at you Nine Muses and Day6 (too soon?). This all proved to be beneficial, however, as the revamp gave the girls their best song. “Go Easy,” released in the summer of 2015, is a slick funky track that sounds a million miles from their precious work. The loss of TEM is more than made up for with great vocals and great production. In the video, they once again dance and pose in an American town, but this time they themselves and the camerawork actually looks good. The life of a young girl group is a difficult one, but it’s always good to see when a group starts to even slowly improve.

4Ten are a four member girl group who debuted under Jungle Entertainment in 2016. Goddammit not again.

This time it was Haejeong’s turn to leave, and with her departure the chance to revert to their original name and pretend Poten never existed, which was too enticing for Jungle. Luckily Haejeong had little to do with “Go Easy’s” quality, so her loss was not damaging. 4Ten returned in February 2016 with the aforementioned album and lead single “Severely.” It continues on the work of “Go Easy” by going full 80’s throwback. “Severely” would be up there with all the great throwbacks we’ve had recently if its production was that bit better. The vocals are great, they snap out of the track with power. The chorus group singing is especially good, evoking the period perfectly. The synths are just that bit too drowned out to be really satisfying. I can so nearly imagine Tom Cruise kicking ass in a training montage with this in the background. In reality, it’s closer to “Wet Hot American Summer” than “Top Gun.” (I embedded the live version because it has more bite than the video and might make me love it wholly).

So maybe 4Ten are not jack of all trades, but does it really matter? What I really like in underdog groups like these is the almost tangible feeling of desperation that comes from their songs and videos. The sense that even if it looks and sounds like it cost $5, that they put their all into it and for a split second thought they could be the next Girls’ Generation. With the K-pop industry becoming less exclusive to groups out of the big three companies, it is a lot easier for this to potentially happen. Yet we can always count on new upstart companies to try in earnest with groups like 4Ten. Maybe members won’t be able to dance, maybe they won’t be as pretty as Suzy, maybe they can’t even sing that well. Groups like these have to try new things in order to grab our attention and sometimes that yields great results. With 4Ten we have gotten one great song, an interesting failure, and some spectacular misfires. Most importantly they gave me a good time. I hope groups like these never die out.

What’s your favourite 4Ten song? 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.

Playlist Sunday: Press The Replay

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K-pop is full of addicting hooks and songs that will get stuck in your head, but not every popular Korean song is going to stand up to the test of time. There are those special songs that every person can listen to on repeat wherever, whenever. This week’s Playlist Sunday is dedicated to all the songs that make our team press the replay button.

Could it be Doojoon’s sudden but mesmerizing intro that sets the mood in Beast’s “Fiction?” Or maybe it’s the addictive “fiction, fiction” chorus? Whatever the reason may be, it’s clearly a replay favorite. According to my iTunesI’ve played this song 783 times since January of 2012. Whoops! Although “Fiction” is about a broken relationship that the members wished they could rewrite, I can’t help but rather feel a sense of warmth and tranquility. And if the song itself doesn’t already bewitch you with it’s obsessive melody on its own, the music video, which shows off their popular “penguin” dance, will make even the non-dancer (like myself) get on up in an attempt to try it out. If you haven’t already, check out their original music video for “Fiction” and also their live orchestra version at the MAMA 2011 awards!

— Tam

Also on KultScene: Taemin ‘Press Your Number’ Music Video & Song Review

From the moment the retro drumroll began and led to the unique synth sounds that identify this as an INFINITE song, “The Chaser” stole my heart away. When the song was released, I vividly recall thinking “I need to be sedated” because my heart was filled with such euphoria upon hearing this oh-so-perfect song. Fast forward to several years later and “The Chaser” is still the INFINITE song nearest and dearest to my heart. If I’m having a bad day, I’ll turn to its belting, uplifting melodies. Each member gets their moment to shine throughout the song as it’s one of INFINITE’s most expressive performances to date, which isn’t easy to do amidst a dance song. And, vocal performances aside, the song’s musical arrangement is unique amongst K-pop songs and easily one of the best songs by a K-pop group ever. The live orchestra version of “The Chaser” from SBS’ 2012’s Gayo Daejun is still one of the best year-end show performances ever, and each year I find myself watching it multiple times just to admire how extraordinarily versatile this pop-synth song truly is as it seamlessly changes into a rock power ballad. The song also has one of INFINITE’s most subtly sensual performances to date, and four years later, I’m still madly in love with every aspect of “The Chaser.”

— Tamar

Hands down, my favorite song of 2014 was BEAST’s “Good Luck.” It’s perfection, case closed. However, the next best thing was the other song they promoted alongside the single, “We Up.” While “Good Luck” tugged at your broken heart, “We Up” was simply a fun jam. So fun that even the members seemed like they visibly looked amused performing it and being playful with the dancers — a rare sight for music shows and K-pop artists altogether. Not to mention it is almost impossible not to sway your shoulders and follow the choreography at the chorus.

— Alexis

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Look at those guys above me listening to old songs. Get over it, guys. It’s all about the new in K-pop, didn’t you know? On replay for me is “Deepened” by the newly revamped Brave Girls. The silky smooth trap R&B is a popular sound nowadays that the girls have executed to perfection. The Calvin Klein-esque styling and lushly simple choreography as well show a confident new direction for these brave girls. Best of all is the rap which comes halfway through the song. The way the rapper turns it into a high pitched vocal, the way it goes on that bit too long. I love its excess and emotional delivery. The new Brave Girls is where it’s at.

— Joe

What’s your favorite K-pop song to put on replay? 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.