Last week, BTS released their long-awaited album Map of the Soul : 7on Feb. 21. At its heart, 7 is a celebration of BTS, their fans called ARMYs, and the love they have for each other and the art that BTS creates.
Seven years into the group’s career, it’s time for some reflection on their time as BTS. They call back to their previous eras, including elements and samples from Skool Luv Affair, 2 Cool 4 Skool, and having 7’s lead single title “On” come from O!RUL8,2?’s “N.O.”
The last message BTS promoted was to “speak yourself” and this full Map of the Soul era can be a follow up to that, continuing their journey. Along with reflecting on the group’s career, 7 ponders how to deal with speaking yourself if you may not have answers to the questions asked in “Intro : Persona” (which officially started the Map of the Soul era last march): “Where’s your soul? Where’s your dream?”
Suga’s solo “Interlude : Shadow” is the first of 15 new tracks on 7, and truly continues what was started with Map of the Soul : PERSONA. “Shadow” brings a darker mood to the MOTS era (which was previously light and pink with PERSONA), both lyrically and musically. Suga raps about wanting to be at the top with fame and success, and the dark shadow that ends up coming with it. Even once you achieve your dreams, there will be difficulties. That shadow and fear that stays with you, and will conflict you and leave you wondering about what you truly want in reality.
Following that, “Black Swan” discusses a possible side effect that shadow might bring: passion and the loss of it. The death of passion is something that is unfortunately far too relatable. This far into their lives as artists, the members of BTS have had their fair share of questioning; as have ARMYs in their many passions. After you realize what you’re going through and admit that you’ve lost passion or motivation, you’re just stuck asking “what’s my thing?” Hearing these global superstars ask the same is quite comforting, and makes it so easy to connect with the band.
The first solo track from the vocal line is Jimin’s “Filter.” This song is definitely a step away from his previous solos “Serendipity” and “Lie.” Jimin sings of presenting himself in different ways and being seen in different perspectives. Jungkook’s solo “My Time” brings us back to the main theme of the album, as he reflects on his time in BTS from his early teenage years to now. Similar to Suga, Jungkook speaks of a negative aspect to his career: trying to find time within his hectic life. Both of these tracks represent the singers and their talents well.
Next track “Louder Than Bombs” brings up the shadow again. Echoing the crux of “Shadow,” this track explores the pain that comes with fame, but this time offers a light to it all: ARMYs. BTS promises to “sing endlessly to [ARMYs]” because the pain they feel is also felt by their fans that have been with them during these seven years. Lead single “ON” continues that promise, challenging life to “bring the pain on.” Musically, this song perfectly encompasses that energetic determination to carry on and fight through whatever pain following your passion throws at you.
The rap line’s track is often one of the most powerful songs on each album, and 7’s “UGH!” is no exception. RM, Suga, and J-hope rap about the empty rage that comes from haters and the rage the artists feel in return.Contrasting the rap line’s track is the vocal line’s “00:00 (Zero O’Clock)” directly after it. This song is like a sweet reaffirmation to ARMYs. It re-enforces the relationship between them and BTS, and the amount of love there is. Having your favorite band tell you “you’re gonna be happy” provides that special kind of connection that BTS has with their fans that they’ve built in their seven years. “Zero O’Clock” also fits into the group’s story, almost like a sister song to “ON,” saying that even though today was full of pain, the clock will reset and a new day will bring better ones.
V speaks to himself from years ago on his solo track “Inner Child.” V’s previous solos “Stigma” and “Singularity” were sultrier, but this one packs an emotional punch. The opening notes sound like the stars he sings of being speckled in the sky one by one, showing the song’s inspirational and dreamy feel. “Inner Child” is a beautiful look at V’s life, from being the dreaming kid who worked so hard and was fearful of his outcome, to the happy and successful person he is today.
V and Jimin team up for the happy track “Friends” that celebrates their unique relationship. Stories from over the years about the two “soulmates” show that being in BTS has allowed them to find themselves and know that they will always be together even throughout their personal difficulties.
Jin continues the band’s promise to ARMYs in his solo “Moon.” This focus on the fans is different than Jin’s “Epiphany” and “Awake,” where he explored his relationship with himself. Comparing himself to the moon orbiting ARMYs’ earth, Jin promises to always stay by their side and be the light in their lives.
On “Respect,” RM and Suga discuss what the meaning of ‘respect’ is. This track just seems fun at first glance, but can also fit into the album’s theme. As they begin to understand “respect” as being able to look at someone and their flaws and still see them as good, they ask to not be respected so easily because they’re not sure they should be or in case the weak them ends up coming out. ARMYs can go on and on about how much they love and respect BTS, but there’s still the apprehension of being praised that can make it hard to believe. The pain of fame and success contributes to that, and “Respect” is an interesting, but fun, take on that struggle.
“We Are Bulletproof : the Eternal” plainly states the relationship between BTS and ARMYs that has come from these seven years and encapsulates Map of the Soul : 7’s purpose. “We were only seven, but we have you all now.” After seven years of hard work and even doubt, BTS knows they have their fans with them and always will. No matter what happens, no matter what pain the group faces, they will always have their reason for all of it: ARMYs.
Closing out the album is J-hope’s “Outro : Ego.” J-hope has the more cheerful style of the rap line, which absolutely shines through on “Ego.” On this track, J-hope looks at the hardships faced as what made him him. Map of the Soul : 7 looks back on the past seven years of BTS, their experiences, and what has come from them. Although there has been, and is, pain, BTS always has ARMYs to remind them of what they have achieved and the massive amount of love they have earned. Utilizing different genres and the members’ varying personalities, this album shows the connection between BTS and their fans, and why it continues to exist. There is not just one piece that fans hold onto, but an array of reasons to love the group that come together to speak their message. No matter what new project BTS could explore, ARMYs will continue to support them because their message of love and perseverance will always stay the same.
What’s your favorite song on the album? Let us know your picks and thoughts in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.
https://kultscene.com/wp-content/uploads/2020/02/image0.jpeg10241548Emerson Reddinghttps://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngEmerson Redding2020-02-28 13:11:002020-02-28 13:11:09A closer look into the messaging behind BTS’ ‘Map of the Soul: 7’
As the screens opened one by one during the theatrical VCR that showed the breaking of a new lock each time, the Microsoft Theater in Downtown Los Angeles broke a new threshold of excitement and loud screams. When the final lock finally broke and the last screen separated to reveal the eight members of Stray Kids, we were officially in “District 9.” This past Sunday, Feb. 16, marked the last night of Stray Kids’s Stateside leg of “District 9: Unlock Tour,” orchestrated by SubKulture Entertainment, that took the unstoppable boy group around the country on eight stops.
Stray Kids kicked off the night with a remix of their debut hit “District 9” and continued to electrify the crowd with “Victory Song” and “Question.” The group performed “Rock” off their second mini album I Am NOT as they began to interact with lucky Stays —their fans— in the front row before showcasing their incredible dancing skills with their iconic dance break previously seen at KCON LA 2019 that seamlessly transitioned into “Side Effects.”
The group took a short break to introduce themselves and officially say hello to the LA Stays, who were eagerly awaiting one of the most anticipated moments of the entire show: Felix doing the famous TikTok “Renegade” dance during his part in “M.I.A.” which became a tradition in each city.
While Stray Kids is undoubtedly talented as a full group, their three units perform just as well alone. The dance line, known as Danceracha, composed of Lee Know, Hyunjin, and Felix were first up with their captivating unit stage for “Wow.” Before anyone had a moment to catch their breath, the screen behind opened to reveal Han standing on top of a staircase to begin “Mixtape#4.” Although this song appears on 2019’s Clé 2: Yellow Wood, the original pre-debut 3Racha version was already a fan favorite for its inspiring lyrics that boast successfully journeying on with a “Broken Compass.” The compass is quite an important symbol in the world of Stray Kids; a spinning one can be found inside of their official lightstick, dubbed nachimbong based off the Korean word for compass, nachimban.
by Emerson Redding
One of the most beautiful moments of the night was the performance of the latest title track “Levanter” and the VCRs that bookended it. In case you didn’t know what Stray Kids was all about, Felix’s narration introduced the song explaining that “Stray Kids is not the only one who got lost; those who got lost could be anywhere. All strayed steps come together to make a new road and Stray Kids will be with each and every step. Stray kids everywhere all around the world.” After the song, a simple but poignant VCR repeated Felix’s words, adding on lyrics from “I Am You:” “stay together you and I,” and a rendition of one of the group’s catchphrases “you make Stray Kids stay” and “we all make stray kids stay.”
The VCR ended by emphasizing that their other catchphrase “Stray Kids everywhere all around the world” does not mean just the group themselves, but is a calling to every “stray kid” out there who may feel lost. Later during the night, leader Bang Chan took time to explain that meaning again when he expressed how thankful he was that Stray Kids have created this “district” full of Stays and other stray kids. “It doesn’t matter who you are; whether you’re a boy or girl or whatever you choose to be. It doesn’t matter where you’re from … Ethnicity doesn’t matter either. Everyone is welcome in our special district and we promise that this special district, we will always have pride in it and always represent our beautiful and wonderful Stays.” Chan’s heartfelt words brought another tradition of the “District 9: Unlock Tour:” the “best leader” chant that Han started and Stays made heard in every corner of the venue.
Those touching, slower moments were sprinkled in throughout the show, alongside the bright and powerful stages that Stray Kids are known for. The ballad version of “I Am You” that perfectly transitioned into the “We Go” unit stage for the 3Racha rappers Bang Chan, Changbin, and Han executed that duality perfectly. Speaking of duality, Changbin was also a part of vocalists Seungmin and I.N.’s beautiful unit song “My Universe,” which showed a different side of the rapper than normally seen during his super fast-paced verses.
by Emerson Redding
In the last act of the show before the encore, Stray Kids showcased their powerful stages of “My Pace,” “Double Knot,” “Boxer,” and remixes of “Hellevator” and “Miroh.” Stays all around the venue joined Stray Kids and enthusiastically screamed the fanchants for these songs, but Stays’ work did not stop there. The actual members left the stage but quickly reappeared in video form for the “Stay Featuring” segment, in which Stray Kids instructed Stays to do things like clap and dab on beat for parts of “Get Cool” and “Miroh.” The last thing Stays had to do was cheer as loud as they could for Stray Kids to come back out, which they did with zero difficulty.
For the encore, the whistling of “Grow Up” began and Stays knew it was yet again time to take a moment for reflecting and feeling every emotion. As if the song itself wasn’t enough, a VCR with the English translation of the lyrics played behind the group as they performed, reminding Stays “You’re doing alright now. Stay strong, cause you’ll do just fine. I promise I’ll be by your side.” Stray Kids made that promise with the release of I Am NOT and have kept it since.
by Emerson Redding
After the song ended, the group was surprised with a VCR project made by Stays full of messages celebrating the group’s achievements, thanking them for all they have done for their fans, and reminding them that Stays will always be there for Stray Kids too. The group tried their best to thank their fans for the surprise. Han told Stays, “Because of you, we exist. You guys are brighter than the sun. I’m so proud of you guys.” Felix called Stays their “shining stars” and ended his speech telling Stays, “Don’t stop shining because you mean everything to us.”
This LA show made it obvious that Stray Kids and Stays were indeed meant for each other. Stray Kids created a world full of power and love, and brought it to life with their “District 9: Unlock Tour.”
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Did you go to Stray Kids’ U.S. tour? How did you like it? Let us know in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.
https://kultscene.com/wp-content/uploads/2020/02/AA59EBF4-AB4C-40E0-8B43-BBD013FC19C4.jpeg10151523Emerson Reddinghttps://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngEmerson Redding2020-02-19 07:08:572020-02-20 11:16:59Stray Kids unlock last stop of their US tour in Los Angeles
After an auspicious debut last year, ITZY are already ready to take on 2020 as they continue their premiere showcase tour, this time in North America. The latest girl group from JYP Entertainment had previously hit up four other major U.S. cities (Los Angeles, Minneapolis, Houston, Washington D.C.) before slowing their roll at their last stop in New York City this past weekend on January 26 at the Kings Theatre. There, the historic movie palace’s marquee aglow with “ITZY? ITZY! IN USA TONIGHT” greeted arriving fans with the affirmation that they had come to the right place, and that just underneath its cache of light bulbs and past the main entrance awaited something different. The finale was nigh.
Once inside, ITZY broke the ice for the evening with their most recent and aptly titled single, “Icy,” back to back with the less apt but still equally electrifying, “It’z Summer.” The girls, who were all decked out in coordinated white and silver sequined stage outfits, shined in more ways than one as they cleanly executed some of the choreographies’ more brisk moments while being also mindful of always maintaining a stable live performance through smiles. We should learn to expect as much from a group whose very brand rests on glitter and teen spirit.
With a collective “All In Us!” from the members, it came time for the self-introductions. All the members did their very best to communicate with the audience in English, but Canadian member Lia was particularly at ease that evening. She expressed her gratitude towards MIDZYs, their fans, who patiently waited for them and promised to return as soon as possible. That having been said, the girls proceeded to the meat of the showcase, and that was the variety segments.
The first of these was a Q&A corner, where ITZY answered pre-selected questions submitted by some of the MIDZYs in attendance. Nothing to write an exposé about here, but it was still just enough to glean a little insight into their private lives. The youngest, Yuna, shared how she would like their team mascot to be a unicorn, even using the emoji when saving the other members’ names into her phone’s contact list. Chaeryeong went on to explain how they used to joke that they were the Unicorn Team during their pre-debut days; the members were all free-spirited as one. Still, for the main dancer, she preferred something more hybrid: a delicate balance between cat and dog.
Since Lunar New Year was the day prior, the quintet also took pause to wish everyone a happy holiday during this time. One of the questions prodded the girls for their fondest memory regarding the New Year, to which Lia responded with how though “she don’t have anything special,” her family usually gathers for a lunch and visits her paternal family in the morning, followed by her maternal family later in the day. Unfortunately, as festive as this time may be, it also serves as a reminder for them of how they are not home to spend it with their loved ones. In an adorable pout, member Ryujin bemoaned how she wanted to see her father. Right on cue, the studio-like audience could not help but sympathize in unison.Awww!
On that note, the MC decided to steer away from “Question Time” to segue into the highlight of every fanmeet — Game Time. This one, dubbed “Challenge Mix Song,” involved having the members guess both the title and artist of three overlapping K-pop songs. From round one, this proved quite difficult for them even after generous hints, replays, and audience assistance. And with a punishment and prize on the line, there was no room for forgiveness of one another’s blunders either, which was the case when leader Yeji mistook the title of their own song “It’z Summer” for “It’z My Summer” (“It’s your summer?” quizzed the others).
Three rounds of this and many lifelines later, and ITZY had already reached the end game. This time, however, there was a caveat. Instead of K-pop, the mix would only feature American pop music. We suppose anything to shoehorn in Jay-Z’s “Empire State of Mind,” right? A momentarily sore Yuna, who scrambled the title of the unofficial state anthem but had the right idea, facetiously remarked how she was always trying with nothing to show for (a mood!). It didn’t exactly help either that she, along with Yeji, ultimately ended up scoring the least, having to fulfill the punishment that had the pair blithely recording a wakeup call for all the busy New Yorkers. Meanwhile, Ryujin took home the win, as well as a miniature version of the Statue of Liberty.
Before delving into the next entertainment portion of the night, ITZY resumed taking the stage for a rendition of their senior labelmates’ songs, “TT” (TWICE) and “Hard Carry” (GOT7). With only five songs to their name, these sorts of covers are inescapable. We were able to look past the obvious filler for these “monster rookies” though, who lived up to their sobriquet with their cookie cutter moves and pitch-perfect vocals. Their slick handling of such dichotomy — the beloved aegyo-centered “TT” versus the more hard-hitting beats of “Hard Carry” — makes the up and coming group easily duality manifest.
But back to the games. The final mission of the tour, “Pass the Ball,” tested the extent of ITZY’s teamwork by asking the members to cooperate in delivering a ball to a basket using only acrylic tubes that they had to link together in just two minutes. Through a comedic series of attempts, it appears that teamwork really meant colluding with one another to find the best loopholes, including bringing the basket closer to them and transporting the tube with the ball in it to the basket instead of feeding it through a canal. They might have not succeeded, but at the very least they were awarded the high-budget consolation prize of magnets. As for the punishment, it was Lia who beared the brunt of it, performing the viral “Gwiyomi Song” while putting on a random dance. Chaeryeong and Yeji carried out their own fan service on her recommendation too, although theirs never felt like a penalty when sending hearts to New York MIDZYs came naturally to them.
Just only a few songs left, the show had neared its imminent end. “Cherry” sealed their girl crush concept with its trap stylings and darker colors, whereas the clarion calls of the punk-inspired “Want It?” and unabashedly feminist energy from “Dalla Dalla” brought it all back to their grrrl power agendas. Moxie like this haven’t been seen since the Spice Girls, and with a promising start to their career already, they are certainly a pop force to be reckoned with. The last leg of the tour, ITZY’s showcase in New York City left a bittersweet taste in probably everyone’s palates that Sunday, one that was especially felt by the teary-eyed Chaeryeong as she struggled through her ending ments. They might have came as they had gone, but if there is one thing MIDZYs can still hold onto from the night it is the group’s word to come back, guaranteed. Until then, Yuna urges us to all smile in the meantime as she keeps doing the same.
Did you go to ITZY’s PREMIERE SHOWCASE TOUR “ITZY? ITZY!”? How did you like it? Let us know in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.
https://kultscene.com/wp-content/uploads/2020/02/itzy_new-york_subk.png12072000Shelley Foohttps://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngShelley Foo2020-02-03 17:29:522020-02-03 17:30:01‘ITZY? ITZY!’: ITZY completes premiere showcase tour in NYC
On Episode 48 of Kultscene’s K-pop Unmuted, Joe, Scott, Stephen, and Tamar continue their review of the last decade of Kpop. In this second of two episodes, we each select a Wildcard category, choose our Songs of the Decade, and pick our Albums of the Decade.
https://kultscene.com/wp-content/uploads/2020/01/Untitled2.png768764KultScenehttps://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngKultScene2020-01-01 11:07:152020-02-18 22:34:38K-Pop Unmuted: the best of the decade part 2
While we’re closing out a decade (and commemorating it with a list of its own) that marked K-pop’s exponential growth around the world this year, that doesn’t mean 2019 didn’t give us amazing K-pop songs that should be highlighted in their own right.
The year was notably marked by a slew of rookie groups that came out swinging for their debuts, as well as female acts —new, up-and coming, and more established ones — constantly making waves in the scene with innovative concepts and music, and seemingly all the male acts went dark with their concepts, often with a deep house track. 2019 was also the year different groups made even bigger strides in America. Whether that was topping the Billboard charts, performing at festivals, multiple world tours, or going on every other morning and late night TV show, K-pop was hard to overlook this year. As the decade came to a close, it unfortunately also took two K-pop greats: Sulli from f(x) and Goo Hara from KARA, highlighting the need to have conversations on online bullying, misogyny, and mental health and ultimately resolve the issues they raise.
2019 gave us high highs and low lows, on and off the stage, but music continued to be a refuge for many. Here are KultScene’s best K-pop songs of the year.
50. “Picky Picky” by Weki Meki
All of K-pop, past and present, is contained in Weki Meki. They began life with one of the great structure bending songs in “I Don’t Like Your Girlfriend,” and have since ridden its giddy waves to great effect. “Picky Picky” feels so classically K-pop thanks in most part to its sense of humour. Who still makes songs that rhymes with their groups name and who so gleefully shouts the name of that group as arrogantly as they can. This verve of Weki Meki’s manifests in extraordinary high pitched vocals, coming in auto-tuned squeals as well as big chants. It doesn’t take a native speaker to know this is a song about supremely confident young girls who know exactly what they want.
— Joe
49. “Loss” by Colde
Now that it is officially winter, it’s the perfect time of the year to stay in and cuddle up to Colde’s “Loss” again. Released earlier this year as part of SM Station’s third installation, this moody single takes an unorthodox approach to mainstream music by using silence and soundmarks to build an acoustic environment where listeners can explore the theme of loss on an ecological level. The sounds of birds chirping, of tea decanting from pot to cup, of the car door slamming, of heels hitting the pavement. It’s the soundscape of the mundanities of life. Accompanied by an eerie piano piece and a drawling string section, there’s an emptiness and a sense of longing in those pieces of information that don’t require words. Colde knows this too as he keeps his part quite laconic with only eleven lines, all reading like sedative poetry. Maybe that’s why every listen always feel all too short. And maybe that’s why we still haven’t had enough.
— Shelley
48. “Tic Toc” by Neon Punch
Neon Punch made it a successful two for two on their only track of the year, “Tic Toc.” The cosmic symbols of its video try to convey the feeling of a destined love, mixing metaphors with stars and clocks. Similarly, the song itself takes a number of familiar elements and crashes them together to make them fresh once more. The house beats are bolstered by not just being fidgety but relatively scant. They allow the verse to shift around a number of synths leading to a rising pre-chorus. This somehow works thanks to the chorus that comes after it, quite low key in comparison but given a scratchy guitar for more of a disco feel. It’s all very unlikely but so is destiny, if you don’t go for it, it’ll never work.
— Joe
47. “Maybe It’s Not Our Fault” by Baek Yerin
Baek Yerin flexes her soulful voice for a haunting experience in her lead single, “Maybe It’s Not Our Fault.” Backed with eerie synths, sporadic sleigh bells, and a deep bass, the lo-fi R&B track exudes a somber yet hopeful aura as Baek pieces together the unforeseen turning point in a relationship. Ultimately, climaxing at the realization that some things can’t be salvaged even if there isn’t anyone to blame. “Maybe It’s Not Our Fault” marks Baek’s full leap into experimenting with her sound and reshaping her identity as an artist.
— Nnehkai
46. “Blue Flame” by Astro
With each release Astro serves up one addicting single after another, and this year’s “Blue Flame” heated things up for the act, serving up a classic, dramatic K-pop boy band dance track and putting their own flair on it. With groovy instrumentals helping the track lean into the popular “newtro” trend of 2019, scattered trapped beat and sonorous EDM melodies, it’s a song that deserves to be played again and again and will brighten up any playlist.
— Tamar
45. “That’s Okay” by D.O
EXO’s D.O shocked fans back in July when he suddenly put his career on halt to enlist in the military, but he did not do so before leaving this comforting parting gift. Written by D.O himself, the acoustic R&B ballad expresses how it’s alright to open up and to live in your emotions. The healing message feels more reassuring when sung by the main vocalist, whose warm colors and vocal runs alone are enough to fill out the stripped down song. Just as “That’s Okay” concludes on a hopeful note, so too should we remain optimistic that he returns from his mandatory services safely. Until then, “it’s okay to be okay.”
— Shelley
44. “Sunrise” by GFriend
Beginning with a whimsical piano, “Sunrise” grabs listeners’ attention with a bouncy vocal entrance by main vocalist SinB. From there, each vocal addition builds into the song’s emotive, pulsating chorus leading into the quintet’s signature sound. From Yerin’s powerful vocals to Umji and Sowon’s heartfelt harmonies, each member takes command of her part. However, it’s Eunha who drives “Sunrise” to its dramatic close with her rich, high notes. GFriend once again proved to be some of K-pop’s best vocalists and performers with their precise choreography. All in all, no one’s doing it like GFriend.
— Nnehkai
43. “Fear” by Seventeen
Seventeen opens a new chapter in their discography with this angsty R&B track. The group delivers an intensity that they’d yet to reach starting with Wonwoo’s opening declaration of being poison, but it’s Joshua and Jeonghan’s falsettos that add dimension throughout the song’s changing dynamics. Co-composed by member Woozi, “Fear” takes a look into the root of insecurities and the manifestation of our fears. On a surface level, the song is about needing to let go of a toxic relationship but remaining out of fear. However, it also examines how complacent we become in various aspects of life because of fear, and how it can be poison to others and ourselves.
— Nnehkai
42. “Sweet Chaos” by DAY6
This track may be intense, chaotic, and have a BPM of 200 (the fastest ever title track for DAY6), “but I like” it. It showcases the full range of abilities this band has to offer, with stunning vocal sections and exciting instrumental riffs. Wonpil, in particular, shines here more than he normally does in their other drum-heavy songs, and his traverses up and down the keyboard during the chorus sections are absolutely delicious. Both in its instrumentation and lyrics, the thrill of love despite the massive transformations it brings to a person’s life is conveyed very well, and “Sweet Chaos” was overall an extremely fitting choice as the title track for the musically complex The Book of Us: Entropy.
— Anna
41. “Adios” by Hoody
The nine to five grind can be a tedious cycle of routine and unwanted events without any time for vacation, and Hoody’s title track from her first full album echoes that yearning for escapism. Composed by Cha Cha Malone, Gray, and Hoody, “Adios” is equipped with mesmerizing piano loops, colorful synths layered over a simple hip hop beat serving as a dreamy background for Hoody’s honey vocals. Hoody’s vocals breezily navigate the song’s ebb and flow before Gray stamps his distinctive sound on the track for a nice break.
— Nnehkai
40. “Woowa” by DIA
“Woowa” popped up to be the unashamed dance pop song of the summer we sorely needed this year. There has been no true heir to almighty reign of Sistar, but DIA staked a claim last year with the Tinashe-inspired “Woo Woo.” That had clear beach summer vibes, this time it’s the after party rave. “Woowa” is a straightforward blast of rising jigsaw synths, snare heavy beats with a wonderful looping bassline, and utterly unpredictable horns in the chorus. It’s the bassline that producer Shinsadong Tiger uses to constantly pull you back in after another breathless chorus. Eventually, it pulls you in so close to the bodies around you on the dancefloor, you can’t help but fall in love.
— Joe
39. “Say My Name” by ATEEZ
ATEEZ’s pirate concept requires powerful and apotheotic songs, and “Say My Name” delivers just that, in the catchiest way possible! Its flute melody in the beginning is one of the coolest K-pop intros of the year, and the rest of the song develops with the same level of excitement. Special highlight is the chorus, that builds the tension for the drop in the best hero movie vibe. ATEEZ’s style, enthusiasm, and energy really show through “Say My Name.” The entire song just makes you want to dance, or go out and conquer the world, or call ATEEZ’ name to do it.
— Ana Clara
38. “I Don’t Need Your Love” by NCT DREAM X HRVY
East meets West collabs within K-pop have been historically, and objectively, mostly bad, though the last couple of years have given us a few gems. NCT DREAM’s SM Station song with the English singer HRVY is luckily one of those. Though probably not an organic collab, both acts definitely sold us on the idea that it was. HRVY was woven into DREAM’s fabric seamlessly. Their vocals all blended flawlessly —if you simply listened to this song, you could swear the NCT unit had a new member. And though the bar is on the floor with this one, just the fact that he showed up to film the music video is a feat in itself, but he also attempted to —bless his heart— do the choreography, and spend time with the dreamies in Seoul. The track itself brought DREAM to their softer, dance pop days, which was a refreshing throwback in between “We Go Up” and “Boom” (#JusticeForBoomOnTheKultSceneList). More collabs like “I Don’t Need Your Love,” please.
— Alexis
37. “We Don’t Talk Together” by Heize
In the midst of dropping her first studio album, She’s Fine, and an EP, Late Autumn; Heize gathered an all-star team featuring rapper Giriboy and producer SUGA of BTS fame to bring us the upbeat R&B track “We Don’t Talk Together.” From the smooth synth beats in the beginning of the song to the layering of Heize’s whimsical vocals, there were so many elements that came together to make a great song. Overall, the song has a light and airy feel to it but with Giriboy’s rap, a contrasting hardness was introduced creating a well-balanced song that is pleasing to listen to despite it being about a couple with communication problems.
— Katherine
36. “Shaker” by Sumin
Throughout the entirety of her 2019 album, “OO DA DA,” but never more so than on “Shaker” Sumin makes excellent use of her voice as an accompanying instrument. A variety of ad libs, each unique in sound and edit, counterpoint against her vocal, building layers to quite a stripped back song. It’s only two and a half minutes long, but these vocals and the repetitive, almost counting synth add a sense of constant movement. Sumin always feels like she’s innovating in the electro-pop/indie world, and “Shaker” feels like the most appropriate start to the best work of her career.
— Joe
35. “Blue” by Ha Sungwoon
The former Wanna One member has consistently been impressive with his solo releases and the OSTs he has released throughout the year. “Blue” is an extremely catchy dance track that also successfully highlights Sungwoon’s powerful vocals, along with his delightful high notes. Though the base beat of the track is slow, Sungwoon manipulates it with ease, changing the speed of his notes to vary the intensity of the song. It is a masterful performance from Sungwoon with a charismatic dance performance as a cherry on top, and I’m excited to see where his artistry takes him next.
— Anna
34. “Want” by Taemin
Some say seduction is an art; and well, it really does sound like it in Taemin’s “Want.” We’ve had a glimpse of Taemin’s elegant approach of love and sexuality before in singles like “Thirsty” and “Move.” This time, however, the songwriting choices make “Want” even more urgent and direct than the other ones. If “Thirsty” was all about sexual tension’s discharge and “Move” was more about the intoxicating allurement of watching your partner’s body moves than about any interaction at all, “Want” goes several steps further, as Taemin yearns for his partner to feel just as insatiable as he does. Taemin’s sensual entonement of the lyrics, supported by a disco instrumental filled with reverb sounds, and his most typically pop-esque usage of chord progressions so far, shows why the singer is king in making sex and seduction sound even more beautiful —in lyrics such as “I’m your eyes, I’ll make you see a new world”— hard to resist.
— Ana Clara
33. “Love Talk” by WayV
We know, we know. WayV isn’t exactly what we traditionally would consider a K-pop group, and “Love Talk” is an English language song sung by a group that mainly sings in Mandarin. But with at least four members being officially part of NCT (OT21 though, fight me!!), all of them training under SM Entertainment —the birther of K-pop groups as we know them— and the fact that they promoted on a Korean music show, they’ve earned their spot on a K-pop list. Now that that’s out of the way, “Love Talk,” started a frenzy on social media when it first dropped. Has a K-pop group ever been so explicit in their lyrics? Probably not, and we love WayV for it. Not to mention they pull them off unlike others (“Regular” and “Highway To Heaven” English versions, mainly)And the song itself, ain’t bad at all, with every member adding their own personality and vocal color. From Lucas’ husky rap to Xiaojun’s velvety yearns and Ten’s angelic high notes, to paraphrase their lyrics, doing what they do to us is a crime.
— Alexis
32. “Red” by The Rose
In spite of the experimental approach the band has towards their instrumentation this time around, this sound is unmistakably theirs, and its familiarity is extremely comforting. Woosung’s beautiful unique tone stands out as usual, especially since he got almost all the singing parts in this song, but the extraordinary control he has over his voice reflects his growth over the past year, both through the release of his solo album and his experience on JTBC’s “Superband.” The electronic instrumental riffs which pop up throughout the song is somewhat atypical of The Rose, who used to favour more naturalistic instrumental sounds, but it works extremely well to make this track pop.
— Anna
31. “Nabi” by BIBI
After making it all the way to the finale of survival program The Fan where she first charmed the public with her distinguished voice and smashing stage presence, runner-up contestant BIBI has finally debuted! Signed under Feel Ghood Music, the rookie made her official solo debut with “Binu,” where her lyrics about washing away her sins with soap and sometimes monotonous, sometimes pitchy, but always intoxicating style was only an introduction to the cockeyed concepts that were to come. Enter “Nabi” only a month later. This time, the song approaches the capricious nature of love. A stock talking point in music, until you realize that this one does so through the lens of cat. BIBI’s free-spirited, fluid personality is reflected once again through her vocal agility, switching between highs and lows with ease and sustaining certain notes over others. The hook’s lo-fi drum beat is equally as chill; it’s just the support BIBI needs for her precocious vocals. She’s got that kind of voice that suits all kinds of genres, from R&B to indie, and if this fanciful voyage into her imagination is only the beginning, then we’re scared (in the best way possible) for more.
— Shelley
30. “Blueming” by IU
As “Love Poem” serves as the perfect wrap to the first decade of IU’s career, “Blueming” pays homage to the pop-rock wave that took the world by storm in the ‘80s. The track boasts a syrupy electric guitar, full syths, and a deep, percussive undertone with IU easily flexing her fluttery vocals. A play on the word blooming, “Blueming” also draws on the significance of a blue rose and its double meaning of an unattainable love and a promise of commitment in a relationship in which both are a testament to today’s dating culture. IU proves that she is trying her best to decipher the ins and outs of adulthood after conquering the insecurities voiced in her previous albums, Chat-shire and Palette.
— Nnehkai
29. “Make It Right” by BTS
When one of the biggest songwriters in the world writes a great song exclusively for you, you don’t say no. But if you’re BTS, one thing you won’t do it either is to take it without making it sound as if it has always been your own. Ed Sheeran might have been the mastermind behind “Make It Right,” but it’s the Korean septet’s unique touch that makes the song so good: their uniquely natural introduction of rap between the sections, as in RM’s; their clever exploration of the vocals of Jin, Jimin, V, Jungkook – and, this time, of the rapper J-Hope too, for the surprise of many! Also, the group’s thoughtful and inspired lyrics. Special highlights are SUGA’s emotional rap and J-Hope’s verse, which summarizes BTS’ purpose as artists for their fans: “The answer to my journey, I sing to find you.” This track had everything to be a typical, generic pop collaboration crafted for the mainstream, yet it’s just as in tune with BTS’ true roots as it could possibly be.
— Ana Clara
28. “No” by CLC
As previously mentioned in our 100 Best K-pop songs of the 2010s, nothing screamed (self) women empowerment than CLC’s “No.” They might not have set out with the intention of the song becoming an anthem, but it absolutely did! In a society where we’re so used to hearing “yes” instead of “no” to so many things, it was profoundly refreshing to have a song with a bunch of no’s. No, you won’t tell me how to dress. No you won’t tell me how I should look like, and, overall, no you shouldn’t ever tell me what to do. “No” is about not just about having confidence in, well, everything but with holding one’s self pride.
— Tam
27. “Breathe” by AB6IX
In a big way, 2019 was the year of the super rookies, and one of those groups was undoubtedly AB6IX. After completing a very successful stint with Wanna One, Woojin and Daehwi joined MXM’s Youngmin and Donghyun, plus new member Woong, to form the first boy group to debut under Brand New Music. Knowing most of the members through their respective projects plus their participation on the second season of Produce 101, the expectations for AB6IX were high, and with their debut single “Breathe,” they delivered. The Daehwi penned, deep house track plays into each member’s strengths, like Woojin’s spitfire verses, Daehwi’s airy vocals in the chorus, and Woong’s much welcomed smooth tone. AB6IX represents the new generation of K-pop groups that self-produce, choreograph, and write and aim for the global market. And given that the group has already announced a world tour for 2020, we can safely say it’s working well for them thus far.
— Alexis
26. “Face” by Woosung
Ask me how many times I found myself humming “I like your face” this summer. Actually, it’s an embarrassing amount of times, so please don’t but correct me if I’m wrong, I’m inclined to say that “Face” by Woosung (from The Rose) had one of the catchiest hooks of 2019. It’s memorable and heightens the chorus along with the background bass. As someone who listens to The Rose and is utterly obsessed with soulful and emotional ballads, you didn’t have to watch the music video to know that Woosung had a ball making this song. It’s a light and playful song which made it all the more entertaining and appealing.
— Tam
25. “We Must Love” by ONF
ONF have cultivated something of a fruitful partnership with producers Monotree, since the group’s debut. Together they make dramatic and EDM heavy songs about intense relationships. Monotree have edited their vocals in such a way that they have their real voices alongside auto tuned versions of them. In “Complete,” it was the members as incomplete people, in “Why” it goes too far and begins to take over them, “We Must Love” is the bridge between these two. The auto tune still mirrors them like in “Complete,” but there’s the slightest feeling of that voice also trying to rip itself out of them on “We Must Love;” it’s a warning of what is to come after. Monotree make things more exciting with subtle shifts in each chorus that have an added bonus of adding to the slight feeling of anxiety. Where “Complete” is euphoric, “Why” fearful, “We Muse Love” is at once hopeful and desperate.
— Joe
24. “Love Poem” by IU
There is no song that hits quite as hard this year as the gentle, mellifluous “Love Poem” by IU. A warm blanket of a piano-based ballad, the singer offers comfort to listeners, promising to sing alongside them as a source of solace and company. Arriving just a few days after the loss of her close friend Sulli, the release of “Love Poem” felt immensely intimate, and also a reflection of IU’s heartwarming approach to her life and relationships.
— Tamar
23. “I Think I” by Super Junior
The stakes were high for Super Junior’s comeback this year. It would be their first as a “full” lineup since 2011’s “Mr. Simple” after all the members completed their military service and would follow a handful of singles catering to their Latin American fan base. But instead of building on what they started with “One More Time (Otra Vez)” and “Lo Siento,” Suju went back to what they’re known for with their lead single. “Super Clap” was a very on-the-nose dance track in line with every other dance track they’ve done throughout their career, but the pre-release “I Think I” takes the crown for being the better version of the group formed with nine thirty-somethings. “I Think I” does feature a light Latin-inspired vibe, but relies more heavily on the jazzier, funkier melodies and harmonies. Much like the entire album, “I Think I” is a safe track that was probably crafted to resonate with ELF, their fandom, the most. But just because they aren’t pushing genre boundaries doesn’t mean they didn’t deliver a strong track that reminds audiences just why Super Junior is still active —and thriving— 15 years into their career.
— Alexis
22. “Feel Special” by TWICE
First we were getting “Fancy” and now we “Feel Special.” TWICE has once again cranked out another feel-good pop tune produced by JYP. The song starts off with some funky synth beats and, much to our surprise, rapper Chaeyeon singing the opening verse. As the song builds to the chorus, the lyrics go from the subject of being lonely with little self-worth to recognizing how someone lifts up their spirit and ultimately makes them feel special. The vocals during the chorus are uplifting and bright, driving home the theme of the song. During the bridge, the beat drops as Dahyun delivers a solid rap verse leading back to the chorus to close out the song. “Feel Special” is just one of those happy-go-lucky songs that brings warm vibes with every listen.
— Katherine
21. “Platform 9 and 3/4 (Run Away)” by TXT
It’s been a magical debut year for the boys of TOMORROW X TOGETHER, and their fantastical, Harry Potter-inspired “Platform 9 and ¾ (Run Away)” further gave us a glimpse into their artistry. With a flare for inspiring, upbeat electro-pop tunes, “Run Away” takes a turn towards the rock side of things and uses the dynamic as a platform over which distorted, Auto-Tuned versions of the quintet’s voices emote about the “magic named ‘us’.”
— Tamar
20. “Flash” by X1
As someone who no longer watches competitive music shows —the heartbreak is too much to handle at this age— it’s always a joyous occasion when one of your favorites makes it into the group. So, of course, my anticipation was already at a high prior to X1’s release of “Flash. It wasn’t long into the song (maybe a solid 3.5 seconds) and I uttered the words “issa bop” out loud in awe and fascination because in all of its entirety, it truly is. “Flash” accelerated at full speed and was an exceedingly compelling track from beginning to end. The dub-step heavily influenced the song, giving the breaks a powerful punch. Much like its title, it all happened in a “Flash” and even after a hundred and something listens, I’m still grasping each piece and am not over it.
— Tam
19. “Time Of Our Life” by DAY6
Their first title track of the year seven months after their last, “Time Of Our Life” was a welcome return for the band, and it memorably became the first track to net them music show wins. DAY6 has always thrived in concert settings, where they’re able to really receive the energy of their fans and unleash it out on their various instruments. The fun that they have on stage is unmistakable, and it is fitting that one of their most successful releases to date plays on this concert energy. Its lyrics speak of the excitement and anticipation that the band feels as they prepare to perform for their fans, and captures the idea of that precious page of life that DAY6 and their fans share in this beautiful period of youth. With its higher, lighter instrumentation, it is an extremely cheerful and enjoyable track that will definitely leave you with a smile, if not singing along.
— Anna
18. “Snapping” by Chung Ha
Chung Ha brought us not only one of the best songs of the year, but one of the best songs of the decade with “Snapping.” A song about ridding yourself of feelings towards an ex with just a snap (if only things in life were that easy); “Snapping” radiates ample amounts of attitude and sass. Chung Ha did a wonderful job with her vocals, portraying a more sultry sound in the verses and bridge and then bursting with power in the chorus. Mirroring the vocals, the song itself also goes through high and lows creating an interesting pace as the song progresses.
— Katherine
17. “Loca” by Favorite
Girl group Favorite kicked off 2019 just as winter was in full-effect (at least in the Northeast region of the United States) with a tropical house influenced dance track with a slight Latin twist “Loca.” Sometimes you don’t need meaningful lyrics to make a song good, every now and then all you really need is an energetic and hypnotic rhythm. “Loca” is exactly that because although the lyrics are a bit lackluster (with the exception of the addictive “na loca loca loca”) as soon as the first beat dropped, the deal was sealed —you’re instantly hooked. There’s no way you can stop swaying once you’ve listened.
— Tam
16. “Noir” by Sunmi
Branching off of songs like “Gashina” and “Siren,” Sunmi’s early 2019 release “Noir” delivered a dark synth-pop song that describes the deterioration of a relationship. Throughout the song, the word noir is being referenced to, which in this case can correlate to noir films in black and white films pertaining to that they are dull, old, or in the past; like the relationship being described in the song. And Sunmi plays up this theme very well with her nonchalant, almost indifferent sounding vocals, which have a haunting sound that blend well with the synths and electric drums giving it a retro sound without feeling old.
— Katherine
15. “Psycho” by Red Velvet
Lifted by soft R&B coupled with trap stylings, “Psycho” zooms into our Top 15 in spite of its late December release. Red Velvet takes an eery and very much welcome turn from the bright zaniness of fellow 2019 releases “Zimzalabim” and “Umpah Umpah” on this track. Instead, “Psycho” calls back to Red Velvet’s infamous “Bad Boy” days, singing about being completely in love one second, and fighting with your lover the next. Starting with dollhouse horror-style leaps and riffs, the song moves quickly into the trap-driven verses, adding some brass in the chorus for rhythmic complexity and sonic impact. While the song has all the signatures of a Red Velvet song—most notably, the Irene-and-Yeri rap immediately following the first chorus—it is Wendy and Seulgi’s falsetto performance in the pre-chorus that lifts the song to new heights. While I do want to note that the “you got me feeling like a psycho” refrain might have some ableist connotations, the release as a whole shows that Red Velvet’s versatility should not be underestimated, especially with a new decade on the horizon.
— Kushal
14. “Boy With Luv” by BTS feat. Halsey
I’ll be honest — when I first listened to “Boy With Luv” I easily dismissed the BTS single as unimpressive pop unable to measure up to the same integrity they had when they were still considered K-pop’s underdogs, or even from only a couple years ago. Little did I know that the sunny funk-pop tune rife with disco basslines and cruising verses would burrow its way into my inner ear and set up home there indefinitely. After all, who can resist the way vocal line skips around the pre-chorus with little effort or the cheesy enthusiasm in the explosive choruses? Even American singer-songwriter Halsey’s feature came as a welcomed surprise, naturally dissolving into Jungkook and Jimin’s tenors while still playing up her femininity. Although her part is limited, it’s probably the most memorable and invites listeners to sing along: “oh my my my, oh my my my.” Her subtle harmonies are how features should be done, not reserved for a jarring second verse or bridge and definitely not for the sake of an overseas collaboration. Save for Suga’s experimental trap-infused raps, “Boy With Luv” sets itself apart from the group’s past enterprises by eschewing trends and sticking to good clean fun melodies instead. The result is sure to withstand the test of time.
— Shelley
13. “Valkyrie” by ONEUS
This is probably one of the strongest K-pop debuts I have ever seen in my 10 years of being a fan. Their performance is so polished, their raps and vocals are on point, the instrumentation is extremely subtle and catchy —I was a fan from the moment this track began to play. “Valkyrie” and its concept are not particularly new to male K-pop groups, but its execution is flawless here. Leedo, in particular, caught my eye, because of his versatility and his impressive skill at both singing and rapping. In terms of vocal ability, each member fulfills a different role with their varying timbres, and they complement each other well. ONEUS has been busy since this debut with other releases in 2019, but their boundless potential leaves me excited for their future.
— Anna
12. “Miroh” by Stray Kids
For someone who doesn’t particularly enjoy EDM or “future” genres, “Miroh” can be a little intense. Actually, intense is an understatement. But look past the warped synths and obnoxious beat drops, music purists, and you just might be able to appreciate the galvanizing energy and call to arms lyrics enough to make up for any prejudices. With the song’s use of animal vocalizations (the majestic call of a hawk comes to mind), “Stray Kids” warcries, and Congolese-inspired chants throughout the climaxes, any listener would feel as if they had just embarked for some kind of wilderness adventure. Anyone would feel amped up. Stray Kids never seem to fail in the hype department, but for being able to let out the beast within all of us, including those who were slow to love, they earn extra marks here.
— Shelley
11. “Bon Bon Chocolat” by Everglow
Everglow exploded onto the scene with multi-dimensional “Bon Bon Chocolat.” While blending electric EDM synths and robust hip-hop beats isn’t new to K-pop, Everglow manages to deliver the trend in a novel way through a clap-heavy pre-chorus and a peculiar, trap-influenced chorus. Everglow’s voices contrast the beat’s intensity with softer tones but still keep listeners captivated with their melodies and impudent chants. The song’s lyrics are as much of a call to confidence as its beat with the group expressing their excitement for debuting and taking their place in K-pop. The ladies lived up to their lyrics’ message charting both domestically and internationally.
— Nnehkai
10. “Pinky Star” by GWSN
Never has forgetting about a group’s debut happened so quickly and in such necessary fashion. GWSN’s “Puzzle Moon” from last year was a well-produced but generic foray into deep house. “Pink Star” is similar, but so much more lavish and detailed, proving for GWSN that more is better. A skittering sharp beat accompanies a bell-like synth that’s interlaced with dubs and other synths. The members are appropriately staccato in this first verse, which contrasts well with the following pre-chorus filled with the breathy voices of Seoryoung and Lena. The genius of this song lies in its quite long chorus, though. In order to get the best out of a house track they not only have the dancey, melody heavy chorus of “Runner, I’m runner,” but that also leads again into a hook heavy chorus. It’s the best of both worlds and it absolutely works thanks to great range of voices in GWSN, the dramatic vocals of Seoryoung and the sweet but matter of fact words of Miya, Seokyung, and Anne.
— Joe
9. “Come See Me” by AOA
For a long time, AOA’s brand relied mostly on the members’ looks (“the pretty girls are AOA,” rapper Jimin used to chant). And while they’re still as beautiful as ever, in 2019 the group proved for once to be much more than that. “Come See Me” is AOA’s second comeback without ChoA and first without Mina, and was released in the last weeks of 2019, just in time to crown a year in which they shone in the reality show “Queendom.” It’s almost ironic that the song combines nostalgic elements, like western movies soundtrack features, and a chord progression that evokes the sound of previous generation’s K-pop girl groups such as T-ARA; but still sounds perfect to showcase the growth of AOA. While some of the group’s remarkable traits are still there (like an ultra catchy and repetitive hook, and Jimin’s famous “Hey!”), “Come See Me” shows a more mature and united AOA in a much more powerful performance, with a “love in the dark” type of vibe. The pretty girls are, after all, fascinating women as well.
— Ana Clara
8. “Obsession” by EXO
Upon first listen, “Obsession” is an absolutely wild listening experience. And that’s precisely the point: the song is a discordant tune that vacillates between smooth moments and grating ones, with EXO warring with themselves, or rather their X-EXO clones. A conversation between two oppositional forces, the single has all the best of EXO – pristine production, layered harmonizing, dynamic dance breakdowns, and sleek R&B elements – and turns things on their head with all the quirky digital modulations bringing the song, and EXO’s artistry, to new heights.
— Tamar
7. “Crown” by TXT
Being the first group launched by Big Hit Entertainment after BTS, and still on the trail of their seniors’ legendary success and impact, the expectations for TXT’s debut were high. Nevertheless, the group responded in the best way possible: embracing their position of legatees of today’s greatest fictional content developers in the music industry (BTS with their Bangtan Universe), but also as teenagers and rookie artists. A new jack swing song with summery electropop vibes, and cute lyrics about a boy who has to get used to growing horns in his head, “Crown” is amazing exactly because it doesn’t try too hard. It’s fun, fresh, and youthful; with just enough storytelling to give TXT’s’ artistry a bit more of meaning, but not too much to the point that it would sound pretentious.
— Ana Clara
6. “PIRI” by Dreamcatcher
Masters of mixing dance pop and rock genres, Dreamcatcher brought us another gem with their early 2019 release “PIRI.” Being the last installment of their nightmare concept, “PIRI” brings an eerie and somewhat frantic vibe with the lyrics, which describe a feeling of helplessness, and the desperate cry for help, which is represented by the flute. The beats are fast-paced and the girls do a great job changing up their vocal styles for the different parts of the song. The chorus is as powerful as ever along with the rock track reaching its climax, SiYeon and SuA’s vocals expressing the desperation represented in the lyrics. Not to be out done, the rap verses by Dami and hooks are heavy and dark in contrast to the light sounds of the flute. Dreamcatcher is one of the few groups to go 100 percent with their concepts and execute them near flawlessly.
— Katherine
5. “Gotta Go” by Chung Ha
Although the trap-inspired production of “Gotta Go” is cool and catchy enough, it’s Chung Ha’s vocals that make the song worth listening to many times. The melody on the chorus just slides and develops in such a satisfying way, with Chung Ha holding a note over the charmer flute hook, making the section truly hypnotic. Opening her second full year as a solo artist with “Gotta go,” Chung Ha seems to have found her sound and secured her name as one of today’s main K-pop divas.
— Ana Clara
4. “Fancy” by TWICE
Whenever TWICE and the songwriting duo Black Eyed Pilseung (“Like Ooh-Ahh,” “Cheer Up,” “TT,” “Likey”) come together on a project, it’s guaranteed to succeed. This was no exception here. “Fancy” retains the group’s trademark cloying vocals and bouncy pep in the choruses, but unlike their previous hits, that’s really where it ends. Rather, for much of the song’s entirety, there’s a sophisticated edge in their tone that can only come from doing this for years. This holistic sound rests on a bed of sultry, retro synth riffs and lurching tempos evocative of the now defunct JYP girl group, miss A, before shifting into the sticky hooks that we so “fancy” about TWICE. There are no bad TWICE songs, but this foray into more mature styling just may be their best to date.
— Shelley
3. “Focus On Me” by Jus2
Can we talk about how Jus2 became the duo we never knew we needed and how “Focus On Me” is thethot anthem we didn’t deserve but thankfully got in 2019? Stemming from GOT7, seeing Im Jae Beom and Kim Yu Gyeom pair off as a duo was a pleasant surprise, as through their EP Focus and especially on this title track “Focus On Me,” listeners were able to see their vocal range and diverse tones. Both members exuded just the right amount of appeal and seductiveness and modulated their tones to give off a serene and relaxed environment, to compliment the images that are being painted throughout the song.
— Tam
2. “%% (Eung Eung)” by Apink
Apink started off the year with the release of “%%,” and it’s a song that has been impossible to stop listening to over the 12 months of 2019. Though they used to be known for their bright and innocent musical concepts, this song and last year’s “I’m So Sick” have showed the world what it means to be Apink at the end of the decade: a girl group maturing musically as they members age. A blend of atmospheric and addicting digital elements drive “%%,” and the sleek song exudes confidence as the members sing about not compromising in relationships, never settling because it feels like it’s something a person should be doing. Impactful and addicting, “%%” has us saying “Eung Eung” to it for all eternity.
— Tamar
1. “You Calling My Name” by GOT7
There are two things that GOT7 has trained us to expect from them with their comebacks: complex, intense choreographies and high energy dance tracks. And we got that with “Eclipse” earlier this year, but GOT7 turned the tables on everyone with their second release of the year, “You Calling My Name.” Fans had been begging the group for a sexy concept for the longest time, and though the group teased it, nothing could have prepared any of us for what they put out: a yearnful, ridiculously smooth yet funky alt-R&B gem performed in pleather suits, complete with waist and thigh caressing moves and bedroom eyes for three minutes and 14 seconds straight. But most importantly, we got the chorus drop that broke the internet (Jinyoung’s breathy falsetto alone deserves a daesang!). Going into their sixth year active, “You Calling My Name” is the culmination of each member’s artistry as performers. Both the vocal and rap verses are sleek and perfectly in sync with each other without being monotonous, instead, their deliveries go down easy —the best they’ve sounded yet on a single.
“You Calling My Name” doesn’t sound nor look like anything the group had done before — it actually seemed more in line with what Jus2 did earlier in the year,— but it did open the door to a more mature and sophisticated side to them that is welcomed as we head into a new decade. The shift is reminiscent of when they changed things up and delivered probably their best single to date “If You Do,” and now “You Calling My Name” right up there with it. GOT7 did not come to play with “You Calling My Name.” They were out for blood, and hopefully 2020 will bring them the recognition they are long overdue for.
What was your favorite K-pop song this year? Share your picks and thoughts in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.
https://kultscene.com/wp-content/uploads/2019/12/best19.jpg12071434KultScenehttps://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngKultScene2019-12-31 10:58:352019-12-31 10:58:4350 best K-pop songs of 2019
On Episode 47 of Kultscene’s K-pop Unmuted, Joe, Scott, Stephen, and Tamar look back on the last decade of Kpop. In the first of two episodes, we discuss our personal Kpop journeys over the last ten years, we pick our Artist of the Decade, and we list our picks for Top Five Music Videos of the Decade.
https://kultscene.com/wp-content/uploads/2019/12/kpop-unmuted-logo-47.png15001500KultScenehttps://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngKultScene2019-12-24 11:47:052019-12-24 13:05:47K-pop Unmuted: The best of the decade part 1
The last 10 years in K-pop have been monumental —we’ve experienced the highest of highs to the lowest of lows. Music-wise, the 2010s gave us a myriad of different Frankenstein monster-like songs that only K-pop fans can love. The soundscape experienced many shifts, going from the electropop productions that made the late aughts great, to the transition into EDM, then there was that weird dubstep phase we prefer to forget, to the dark deep house stuff all the male groups are playing with nowadays.
As K-pop reached a wider global audience and more and more acts emerged, The K-pop Sound evolved and ushered in an age of diversification, where nothing was off limits or too crazy.
To celebrate all the amazing music that the 2010s brought us, the KultScenestaff came up with the 100 best songs of the decade. We’re not focusing on impact involving numbers, but on the lasting impressions these songs had on the public. Or, you know, just whatever we liked for the past 10 years.
Rainbow kickstarted this decade with the relentless sonic force that is “A.” Surf guitars propel the song’s double chorus while horns boom throughout to hold down the rhythm. All this gleeful energy helped to build Rainbow into a group of unending fun for a decade that sorely needed them.
Brown Eyed Girls threw themselves onto “Sixth Sense.” The rolling orchestra is constantly tempting them further, pushing their bodies and voices to the limit. They are a match for every moment, not once relenting but embracing this sense that is “more than emotion.”
The original, and still best, melancholic K-pop house banger, the delicate balance of Daishi Dance’s twinkling pianos and fuzzy synths alongside the punchy vocals and legendary performance of After School, is unmatched to this day.
4Minute’s venture into experimenting with more traditional hip-hop sounds was, of course, a bubbly Brave Brothers production, following the success Hyuna had with her solo “Ice Cream” just the year before. It marked a transition in the group’s emphasis, centering Hyuna’s rap verses in every single until their ultimate disbandment. “What’s Your Name?,” with its inoffensive and fun electronic hip-hop, sounds and looks like what every innocent, girl crush-lite girl group is doing nowadays.
Perhaps because it is often eclipsed by Taeyang’s other single “Wedding Dress” off of his first studio album Solar, people often forget that “I Need a Girl” was actually its head song in charge. Everything we love about him is there — the R&B influence, his steady falsettos, the thirsty lyrics. A playful rap featuring from fellow Big Bang member G-Dragon is always a plus, too.
Covered in neon lights and projections of fireworks, Chung Ha sings of newfound love with a certain electricity. “Rollercoaster” pulsates with energy, like a beating heart full of excitement and nerves. Her vocals are tender yet commanding, “ooh ahh”-ing and riffing through the choruses with the fragile confidence of getting closer to a lover. Dropping one of 2018’s catchiest songs, Chung Ha would hit her stride on this track, leaping to new heights as I.O.I’s first solo alumnus. As 2020 approaches, “Rollercoaster” not only recalls Chung Ha’s biggest hit, but also describes the craziness of the years ahead of her as her star continues to brighten.
To f(x), love is a shower in technicolor lights, a glare in your eyes as the sun hits your face, a geometric structure whose insides are impossible to navigate. “4 Walls” itself is a metaphor, but the track evokes new ones in your head as you listen and imagine. A trance-pop number with electronic dance fusions, the song is as catchy as it is ethereal and shiny. It’s almost as if someone took the glimmer of a sun-lit lake, or the clear starry sky and put it to a melody for Luna, Victoria, Krystal, and Amber to sing. And it lingers in our heads as one of the 2010s’ most beautiful, but also enigmatic, songs.
An iconic moment often overshadowed by predecessor hits like “Gee,” “Genie,” and “Oh!”, “Run Devil Run” made clear that the most powerful characteristic of a Nation’s Girl Group is none other than versatility. Musical acts around the world whose heydays were before and after that of Girls’ Generation have rarely been able to pull off such a 180 degree turn in appearance, vocal tone, and performance. An angry breakup song, “Run Devil Run” offered layered vocals and explosive jazz in a way that was simultaneously abnormal, yet somehow current and on-trend with 2010 K-pop nonetheless. It was from here and on that GG would begin to depart from its cutesy origins, and demonstrate new confidence as the decade’s premier K-pop act.
The start of the decade was a tricky time for music, given that the trends were a very specific kind of pop-EDM that didn’t age well just a few years later. BIGBANG survived this by not going this route with their lead single “Bad Boy” (instead reserving it for “Fantastic Baby,” which albeit a bop, sonically is very representative of the time it was released in) and going a mellow hip-hop route. This track transcended K-pop, as it garnered attention from the locals outside of the fandom. It defined what a boy band looked and sounded like in 2012.
Having played a big role on what K-pop sounded like since its inception, SM Entertainment fell behind with the sonic shift towards quote-unquote authentic hip-hop that the growing global audience prefered for most of the decade. NCT 127 was the answer to that change, and the R&B, grungy, electronic, and anthemic hybrid “Limitless” was the song that marked the group’s arrival into the game as tastemakers and disruptors.
— Alexis
90. “LATATA” by (G)I-DLE, 2018
Amidst a girl group landscape saturated with cute-concept songs and performances, (G)I-DLE took the time-honored alternative approach of debuting with the opposite concept to get heads turning. “LATATA” is a well-brewed mix of electronic dance and tropical house, with reggae and hip-hop influences to boot. The track progresses with impressive momentum, starting from bouncing, seductive verses and Minnie’s hypnotic pre-choruses only to explode into the Miyeon’s dramatic chorus lines and subsequent EDM dance break. Every second of the track was engaging and sonically interesting—a foreshadowing for the exciting career and discography (G)I-DLE had coming.
T-ARA was the type of group that could pull a sad song, with the nostalgic vibes of Korean traditional music, and still make it sound powerful and modern. “Day by day” is one of these songs. The combination of flute and acoustic guitar stands out amongst the other singles of the group, which are heavily focused on electronic beats. Although T-ARA’s unapologetic take on ludic, fun dance tracks was a big part of their brand, “Day by day” brought us a very refreshing side of the ladies that I would’ve love to see more as well.
On “Oh! My Mistake,” April finally hit their peak thanks to focusing on their members’ strengths. It’s a pitch perfect slice of ‘80s pop and each member has a part to play that fits them, as well as helping the group as a whole. They sustains the playful bouncing feeling of the song built so well by those lolling synths and processed beats.
After a lineup change, U-KISS came back stronger than ever. The layering of all the vocals in “Neverland” showed just how well they complement each other while also showcasing their vocal talents. And with its synth-pop beats and repetitive but catchy chorus, the song was bound to be a hit.
This electropop earworm, which was I.O.I’s final single as an act, will run itself around your brain for a very, very, very long time, with the members of the act exuberantly hitting the mark perfectly with the delivery of each paunchy verse and catchy refrains.
CLC wanted to start 2019 with a big splash, with female anthem of the year, “No.” Like the title suggests, these ladies aren’t afraid to say no to others’ opinions and desires; they’ll live however they wish to, wear what they want, and will do as they feel like. In a society where women empowerment is looked down upon and where people shy away from doing what they want while on their own terms, “No” let’s you know that it’s perfectly okay to be your own person. No one owns you, only you do.
Even plagued with plagiarism allegations, “Bboom Bboom” was still able to climb the charts making it the groups most popular song to date. The quirky and fun tunes were a perfect fit to Momoland’s playful images.
More than the song itself, the filming for BIGBANG’s “Tonight” music video is what made it shine (in my eyes). “Tonight” could’ve been just another song that was on every club’s rotation that was overplayed. But when accompanied with the video, it becomes more relatable and transparent and a bit contrary to the lyrics; that at the end of the day, everyone just wants to have a good time, no matter where they are. It reminds you of all the beauty that is in the world and to live out the moment while you’re in that moment.
Chung Ha has been slowly working her way up the ranks of solo female K-pop artists, and “Snapping” is a great stepping stone. The sensual dance track exudes a ton of drama and attitude with the vocals. With its more intense chorus and slower hooks, the dynamic pace keeps the listener absorbed in the song.
— Katherine
80. “This Is War” by MBLAQ, 2012
Dramatic is an understatement when it comes to MBLAQ’s “This Is War.” The full orchestra playing throughout the song provides softness that is complemented by the sorrowful lyrics and vocals of Lee Joon and Thunder, while creating a contrast with the powerful vocals of G.O and Seungho and the rap verses from Mir.
Jinyoung’s layered vocals, Baro’s fun raps, guitar-driven instrumentals, sudden chord progression changes… “What’s Happening?” showcases everything that is great about B1A4’s music. Be it with sad or upbeat tracks, the group never fails to make you feel something; their music is so full of life! And amongst the tracks that prove that, “What’s Happening “ certainly deserves honorary mention.
“B.B.B” builds the greatest ‘80s nostalgia piece of the decade over a bed of heavy, satisfying synths. They allow for some fun to happen around them, so Dal Shabet don’t just fit in with them but grow alongside. They open with Subin’s sexy, almost pained questions, its then anchored by Woohee in the chorus whose pain is not being hidden, and then crushed by the maternal cries of leader, Serri.
“Underneath the sky, you cannot be hidden. Even if you hide, you will kneel before the truth.” It’s a villainous world out there, wrongful acts are done around the clock and B.A.P ignited the flame to get people to start thinking and acting against it with their debut track “Warrior.” The song encompasses ways to which one can little by little stop the acts of war, rebellion and corruption in our society. Topics that are not spoken off as much as they should be because the thought of repercussion and the aftermath embodies one’s thoughts versus the changes that could be made if acted upon. These guys weren’t playing around when this was decided to be their title track, as these are heavy topics. B.A.P, a group that’s been fighting destruction since debut and “Warrior” a song before it’s era.
When a new group debuts, it’s hard to pinpoint exactly what their core concept will be, for they will try many things before getting to really know their identity. This was GOT7’s case, until “Fly” came out. “Fly” was the perfect cover letter of what GOT7 had grown to be and would showcase from then on: intricate and precise choreography, hype-beast aesthetics, and the perfect blend of crazy electro amalgamations with R&B vocals.
AOA and the Brave Brothers pretty much go hand in hand, and in 2014 AOA took over the Kpop scene as one of the most popular girl groups. Throughout the year, the group played the cute and sexy card and “Like a cat” was no exception. With both pop and rock elements, the song gave a more sultry feel compared to their previous releases.
SISTAR take listeners through the realization of falling in love with someone from the strange feeling of having a pounding heart to gathering the confidence to confess. All the while, dance-synths and trumpets create a convivial foundation for the group’s sweet vocals. In its success, “Loving U” sparked the beginning of SISTAR’s legacy as “Queens of the Summer.”
After going viral with a fancam and becoming one of K-pop’s top female acts with “Up & Down,” EXID’s 2015 follow-up “Ah Yeah” spends it time taunting and aggressively taking on the typical ways men approach women they’re interested in through its brassy, sassy hip-pop nature.
With a high-budget “Fahrenheit 451” reminiscent music video, 2NE1 made a full-force return to the K-pop scene with “Come Back Home” in 2014. The song quickly flips genres with surprising cohesiveness. While Minzy and CL carry the reggae-influenced verses, Dara handles the pre-choruses with her trademark tenderness. Park Bom nails the emotional delivery on the chorus, serving what could easily be a ballad’s refrain as the epicenter of an electronic vocal pop moment, all leading up to the song’s iconic EDM dance break. After two years of randomly released singles and comeback delays, the song was not only pleading to a long-gone lover, but also as a message to Blackjacks to return after their many sporadic hiatuses. In the aftermath of 2NE1’s disbandment, however, “Come Back Home” gained a third meaning: a plea from fans for the group to return to their roots and reunite.
Laidback and infused with reggae rhythms and pop-rock melodies drawing inspiration from the ‘70s, “Why So Lonely” brought Wonder Girls’ band concept to the forefront, with the act’s members not only writing the song but also playing the instrumentals for the recording, pushing the boundaries of the act’s musical fluidity and career in a bright direction. It was their last formal single prior to disbanding in 2017, though they released one final song “Draw Me,” and left things on a captivating, groovy high.
— Tamar
70. “Trouble Maker” by Trouble Maker, 2011
HyunA and Hyunseung shook the table when they debuted as Trouble Maker. Straying from societal norms, the subunit’s suggestive mannerisms caused a stir both on and off screen starting with their teaser performance at Mnet Asian Music Awards in 2011. Their eponymous debut single featured an enchanting whistle while staying true electro-pop’s influence. HyunA’s distinctive rapping and Hyunseung’s smooth vocals were a dream pairing that earned them a triple crown on local music shows. Their accomplishments opened the door for the success of K-pop’s co-ed groups.
“Girl Front” is the miracle of the 2010s. Not only does it incorporate the sounds of three previous LOONA solo songs, but the themes of them too. Producers Ollipop and Hayley Aitken smashes them into an unforgettable explosion of teen emotions with an unending list of sounds that includes, thumping kick drums, razor-sharp synths, slap bass, and a killer vocal harmony.
Count on Monsta X to drop a title track that will always hit you with an alluring intro, dynamic chorus, entrancing hook and clean outro. “All In” fulfilled every aspect of that and more. Even without watching the music video, you’ll be at the edge of your seat when you’re listening to the song, anticipating and playing out what’s going on with each verse and just when you think the song has slowed down it reaches a climax and sends you on yet another thrill ride.
Only Brave Brothers could make generic sporting event music sound good in one of his electro-pop songs, and “Heart Attack” is aural proof of that. There’s never a lagging moment among the persisting synthy beats, gung ho stadium chants, or the girls’ honey vocals. AOA peaked with this one.
Before they rose to fame following their participation on the second season of Produce 101, NU’EST was that group with an impeccable self-produced discography that went largely unnoticed by the general public. With “Overcome,” the group was at their creative and experimental peak and delivered an avant garde, smooth tempo rollercoaster with a cascade of glitchy synths and instrumentals, and a bunch of random sounds and noises that somehow all work together.
No other debuting group this decade had a marching band announce them, so Oh My Girl were stepping way ahead right from the off. The marching drums of “Cupid” are loud and clear and take an age to repeat themselves, giving the track a chance to constantly feel like fresh. It provides a bed for Mimi’s best verse of her career, a chant that doesn’t wear itself out, and enough vigour to sustain an impossible level of pep.
In the mid-2010’s when brass was the choice instrument in pop, Monsta X decided to throw their hat in the ring and came up with “Hero.” The result was a delicious concoction of 8-bit video game soundbytes and erratic saxes, along with a helluva bridge from Jooheon taking it all home (and probably ending a few idol rappers’ careers in the process). “Hero” made enough noise to catch our attention, and we have not been able to peel away since.
With heavy Auto-Tuning, a funky beat, and clap-happy electro-pop-meets-house melodies bolstered by a series of chanty phrases, “Bonamana” is explosive in its dynamism and a stalwart example of the sort of brash, earworm-focused songs Super Junior focused on in the first part of this decade.
As quirky as ever, Orange Caramel brought us “Lipstick” off of their first full-length album of the same name. With cartoonish horns and accordions, the trio rode the line between cute and strange to create a sort of funhouse pop tune. Staying true to their aesthetics, Orange Caramel creates fun and whimsical songs that continue to delight us.
Arriving just a few days into the final year of this decade, Apink’s “%% (Eung Eung)” is a twinkling, synth-fueled tune that epitomizes the direction where this girl group is heading in in the second part of their career, and continues relaying the shift from cute girlishness to confident songstresses that they started in 2018’s “I’m So Sick.” It’s atmospheric and propulsive, with clap-happy, tinny beats driving much of the song towards its quirky, digitally-inflected choral melody. All the while, each of the act’s members are given a chance to shine, relaying how each of their distinct tones have helped perpetuate Apink’s legacy as an A-class act in South Korea’s music world throughout much of the decade.
— Tamar
60. “Tomorrow, Today” by JJ Project, 2017
“Tomorrow, Today”’s steady percussion beat guides the JJ Project’s harmonies and melodious tones showing the duo’s maturity since their boisterous debut in 2012. The song’s simple composition compliments its intimate lyrics that capture the uncertainty of foraging a meaningful future.
With bombastic confidence and potentially appropriative aesthetics, 4MINUTE set the 2015 winter on fire with “Crazy.” Unlike many K-pop girl group songs, including ones in 4MINUTE’s earlier discography, there is little singing on this track. The verses and chorus are dominated by different rap lines, while Gayoon and Jihyun handle the song’s only melodic parts in the prechours and bridge, respectively. While Hyuna has always been the public darling and center of the girl group, it was Jiyoon who really shined on this track, serving as a fierce rapper and dancer (despite her role as the group’s main vocalist). This song goes down in K-pop history as one of the 2010s’ fiercest bops.
WJSN found their ultimate collaborator in producer e.one. His trademark style of editing vocals, a slight but almost alien whine, gives form to the Cosmic Girls’ name and concept, while his always tight and groovy rhythm section grounds it in reality. This combination gave us “Secret,” a masterful balancing act that gives teen girl problems the kind of grand scale that the girls likely feel is truly plaguing their lives.
Two entries on this list and two ‘80s throwbacks, Dal Shabet have surprisingly stuck their place in history with an electrified use of nostalgia. This time, alongside Brave Brothers, the rolling synthesized drums, splashes of horns, and big vocal hooks capture the sound but it’s lines like “Hey go meet someone, stupid like you” that catch the spirit so well.
When TVXQ came back as a two-piece band with “Keep Your Head Down,” they came back stronger and more cocksure than ever. Left unchecked, that kind of energy is contagious. From the drum warfare working in time with the triumphant horn section to the visceral cries and grunts, everything about this song begs reaction. So give into your body and music; there is no use in resisting its lure.
As the Super Junior members have grown up while being active, their concept has matured with them. Though mostly known for their electronica-heavy singles and point-dance choreographies, the group spent most of the decade crafting a funkier, more soulful side to them, and the jazzy, falsetto festa “This is Love” is a prime example. “This Is Love” opened the door for Super Junior to become Super Grown.
miss A’s take on the girl-crush concept was nothing short of exceptional. From the firm declaration of “you don’t know me” to the gallant “so shut up boy,” “Bad Girl Good Girl” was a warning for gossips to mind their own. While it didn’t present extraordinary moments, the track’s subtlety drove its success. Also, who could forget the iconic choreography?
Rarely do we see groups debuting with two title tracks simultaneously, but Blackpink’s “Boombayah” and “Whistle” showed they were a force to be reckoned with. While “Boombayah” had all the elements for an expected YG debut, “Whistle” proved the quartet to be juggernaut rookies. Combining spoken word-inspired rhymes, acoustic guitar riffs, and a mesmerizing whistle motif, the minimal hip-hop track was a breath of fresh air among the year’s releases.
What happens when you pair up two of SM’s most talented, young dancers? Electricity. The way Ten and Taeyong bounce off of each other and complement each other in both dance and vocal ability is so effortlessly seductive and entrancing.
If the word “diva” wasn’t already a perfect fit for Ailee until then, with “U&I” she left no doubts. Co-written by Shinsadong Tiger (who crafted iconic K-pop hits such as T-ARA’s “Bo Peep Bo Peep” and 4Minute’s “What a girl wants),” the song showed that, besides being a vocal powerhouse, Ailee is also capable of commanding the stage with just as much style.
— Ana
50. “Some” by Soyou & JunggiGo, 2014
“Some” centers around the “some” phase of a relationship in which each person is developing feelings for the other but are unsure of its reciprocity. Its dreamy falsettos, head-nod inducing beat and relatable lyrics broke records and became an essential to any karaoke night.
Park Bom’s sugary voice never really sounded out of place amongst the overall ferocious vibes of 2NE1’s songbook. But watching her have her own moment in “You & I,” a ballad that showcases her vocal range and her unique delivery, was definitely a needed thing. In late 2019, a revamped and emotional rendition of the song performed by Bom during her participation in the reality show Queendom proved that, almost a decade after its release, the song still has the power to bring people to their softer side, especially with the touch of nostalgia added by Bom’s very own presence, dearly missed by her fans.
As Pledis Entertainment’s first boy group, NU’EST did not disappoint with their debut. “Face” set the tone for what it meant to be an urban electro band, playing with vocal distortions and tasteful dubstep breaks without managing to lose their voice.
I can’t believe it took until 2018 for a capella to make its way into the lead single of an EXO track, but it was well worth the wait: “Tempo,” with its bed squeaky approach to groovy, alt-R&B dance track and its lush, layered vocals, was the perfect packaging for the boy band’s artistry, feeling all at once like something brand new and something wholly EXO.
Riding the Latin crossover trend, Super Junior released “Lo Siento” featuring Dominican-American artist Leslie Grace. While many K-pop groups dabbled in adding Spanish words or phrases in their songs, none went to the extent that “Lo Siento” did by actually having full verses sung in Spanish. The song merges the tropical styling of Latin pop, smooth guitars, dance, and hip-hop, creating a perfectly balanced representation of both its Latin and Korean roots.
THIS! This is just what 2019 needed and GOT7 served it. Just when we thought GOT7 was done for the year, the seven member group released “You Calling My Name” leaving fans in a frenzy of emotions. This time, the group delivered a well contemporary mix of R&B and funk. The fluidity and transitions between genres within the song and sultriness in each members voices is absolutely memorizing. The maturity that transcends this song (and the rest of their album) and an addictive beat that makes one “oh and ah” on repeat. Is it fair to say that this is a great part two to their 2015 masterpiece that was “If You Do?” You’ve come a long way boys and this was the exact glow up we needed to wrap up the decade.
No one needed another tropical house song in 2017, but we all really really needed Winner’s. “Really Really” is their entry to the music trend, and while they went on to put out more singles of a similar variety, none had a hook as straightforward or a buildup more climactic as this one.
516 plays it said on my iTunes by the end of 2012. 516 plays solely on my iTunes for a song and a group that never appeared on my list before. SISTAR’s “Alone” happened and I was hooked. The vocals, falsettos, and rap were all on par and blended well with one another. Each member had a distinctive role for their parts, and it notably showed. The sorrowful and loneliness in their voices were able to depict a story of what happens when one gets left, the grief, heartache, and withdrawnness that you’re left with, was surely felt through this song.
It’s hard to say what makes “Spring Day” most special: the lyrics, the melody, the production, the vocal performance of the members, or the memories that the song brings up, as built by the group with their fans. “If I was a snowflake, I could reach you faster” is easily one of BTS’ best lyrics. But, sonically speaking, the entire track evokes just as much poetic despair. Starting with a sentimental hook, and ending with an “oh oh oh” choir that became a memorable concert-closing, the song is amongst BTS’ classics. Until today, almost three years after its release, “Spring Day” refuses to leave the Korean charts, and brings fans from all over the world to tears.
A dark and enigmatic love song, “Galaxy” brought Ladies’ Code back to the spotlight after some years of hiatus. It also did so within one of the decade’s most interesting and brilliantly crafted instrumental landscapes, mixing jazz influences in the choruses with lush sprinklings of trance in the verses. The circumstances surrounding this comeback were, of course, tragic, but also triumphant nonetheless. I’ve always been a bit perplexed as to why this song never received the critical and commercial acclaim it deserved. Still, it lives on as one of the most musically unique and soulful comebacks K-pop has ever seen.
— Kushal
40. “Easy Love” by SF9, 2017
You know a song (and group) is worthy when a group of people who have different music taste, can agree that said song belongs on not only the top 50 song K-pop songs of 2017, but it was in ninth place. Remember that time, Kultscene? Like others out there, I wish I had discovered SF9 sooner, but am glad “Easy Love” was what lead me to them. One of my favorite things about this song is that although it’s a song about a break up, it was still much alive. Granted, the members are expressive in showing their own emotions on heartache through the song. The instruments are soft but the beat keeps you entertained and vibing, making you too busy to be sad.
Many were skeptical when Wonder Girls returned with a new lineup and concept, but these ladies proved that they aren’t K-pop legends for no reason. Going from a dance group to an instrumental band is a huge feat but they did it with style. The opening electric piano chords suck you in and transport you to a nostalgic delight of ‘80s synth-pop. Between the posh nonchalant singing to the more upbeat chorus, “I Feel You” is the perfect mix of retro style and JYP flare.
It’s been six years since ZE:A graced us with “Ghost of the Wind” and it still remains a mystery how the underrated group have not received their breakthrough moment yet. Under the creative leadership of producer Duble Sidekick, the hit favored orchestral strings and operatic backups over the group’s previous reputation for questionable autotune. It was a step in the right direction, and, after peaking at number 21 (the highest for any ZE:A songs) on Gaon, the charts would have to agree.
Though it may be called “Red Light,” this f(x) classic is a full blown “go for green” when it comes to listening experience, to the degree that you’ll never want it to come to a stop. An explosion of sounds —it starts with a phone ringing and there’s a tick-tock percussion guiding much of the bass-driven melody— the act’s final song with its original five-member lineup is all at once haunting, quirky, and a true testament of pop perfection that goes nowhere expected yet still lands at the perfect destination.
The world wasn’t ready for “The 7th Sense” when it dropped. More than a song, “The 7th Sense” is an insanely bass heavy spell that bewitches the listener with the myriad of different sounds, vocal tones, rap flows, and more on its overall dream-like soundscape. It’s incredibly seductive and mysterious, and unlike anything else in K-pop before or even after it. Not to mention the choreography is simply… insanely intricate and artistic. Three years later, “The 7th Sense” is still largely not given the attention it deserves, being one of the most perfect songs to have ever come out of SM Entertainment.
When you got a compelling melody and strong vocalists, you might not need much more than one steady beat to produce a good song. In “What is Love,” the line “Except you, everything is in slow motion,” besides being the best lyric of the song, could very well describe its vocals in contrast to the longstanding instrumentals. The strength of the song is, definitely, leaving room for the competent members of EXO to shine.
“Love Shot” ended 2018 with a much needed bang. Its slick grooves and stacked vocals effortlessly blend into its 808 bass and eccentric synths while adding an edge by including a gunshot before the chorus. The track’s crescendos to full intensity with Chanyeol’s and Sehun’s raps leaving listeners breathless as it shifts back into its reggae-infused melody. “Love Shot” reminded us of EXO stands in its own league when it comes to melding unconventional sounds.
After Wonder Girls’ disbandment and leaving her long-time record label, Sunmi ventured off and grabbed herself her first solo No. 1 on the Korean charts with “Gashina.” The song delivers trop beats, sassy vocals, and a whining chorus that is strangely appealing, not to mention killer dance moves that everyone was emulating.
No matter where you were or if you liked K-pop or not, you knew of Taeyang’s song “Wedding Dress.” The song was the successor to the single “I Need A Girl,” but seemed to rise well above in the popularity ranks. The R&B song was delivered beautifully by Taeyang’s smooth voice and the sorrowful lyrics just pulled at your heartstrings.
Much like its lyrics, “Hush” builds intensity with each verse. Starting with soft vocals, the track builds into a mid-tempo dance track equipped with guitar interludes that offer a twist to the song’s coy lyrics. Reverting back to its slow beginning, “Hush” ends on a gentle note reiterating the anticipation their holding in for an admirer.
— Nnehkai
30. “Up & Down” by EXID, 2014
Dropping in late summer 2014 with a strange (and annoyingly low-volume) music video, EXID would prove themselves worthy of industry-wide attention with this bouncy track. Written about the difficulties of trying to understanding a lover’s intentions and interests, the song quickly jumps from L.E.’s slow-then-fast, breath-defying raps to Hani’s seductive pre-chorus. It then sticks the landing on the bright, belt-heavy chorus sung by Hyerin and Solji, the stylings of which would become a staple of EXID’s music going forward. The track shows us not only the power of a well-filmed fancam can be, but also the overlooked talent of some K-pop groups that only sometimes get to see the spotlight.
For only a warm-up single, “Oh NaNa” did a perfect job at neatly packaging and trademarking the KARD brand into one that promises contemporary sounds and a good time. The sensorial experience from the airy, dancehall synths further augmented by shifts between masculine and feminine energies produces an almost romantic quality that can only be enjoyed by a co-ed group with a gifted production team.
MBLAQ’s crowning achievement, “Smoky Girl” is a glossy, utterly satisfying ode to momentary club romances. It is predicated on the smallest of details. Thunder’s slight coo right before the opening dance break, an ever evolving beat always giving the members time to move, Mir’s forceful rap over a four on the floor beat. Each element is part of the romance but equally they are a reminder of the transient nature of love at the club.
It’s only natural Black Eyed Pilseung would create his masterpiece with Twice, the chaotic nature of his production style becomes laser focused when paired with the anxieties tied to modern technology. Vocally, Twice feel at ease, they throw parts to one another without a hint of drag. Ultimately, it all revolves around the vocal performance of the decade by the unlikely Momo.
Summer romance is reimagined in what is possibly Red Velvet’s most adored track to date. Heart-thumping basslines, dreamy sighs and a titular earworm allude to the serendipitous feeling of love. The quintet’s sweet vocals accompany the song’s effervescent atmosphere as they compare their favorite summer flavors before deciding their favorite flavor is you.
The best outcomes come from having little to no expectations. And that’s not to say that a subunit formed by JB and Yugyeom of GOT7 wouldn’t be interesting, it’s that nothing could’ve prepared us for just how damn good it would be. Jus2 tapped into JB and Yugyeom’s affinity for R&B and paired it with their stellar performance backgrounds by way of deep house. “Focus On Me” is a slick, sultry, ethereal, and delicious R&B marvel —the most sophisticated and grown we’ve seen from any GOT7 member, both as a concept and musically.
It was late January of 2018. Would IKON have known ahead of time that they were about to drop what was about to be the song of the year with “Love Scenario”? This song became a sensation, you just couldn’t escape it. It truly became an anthem and could be heard in much of Seoul, South Korea. Whatever business you owned, this song must’ve had played at least once a day on your speakers. But it didn’t stop there. If you had access to the internet, it was almost guaranteed that wherever you were on the internet, especially YouTube or Korean related websites, there was always at least 1-2 “Love Scenario” video listed as suggestions —most of them dance covers (a range of all ages and all ethnic backgrounds). This song did exceptional well with the younger audience, elementary and middle school students. It had an easy tune and chorus to follow. If you didn’t groove with it right off the bat, there must’ve been one point in 2018 (or even now), a song so mellow and cheerful, how could you not enjoy it?
Everything about this smooth synth and rock-fueled dance track exudes a sense of drama and sleekness, reflecting KARA’s dynamic at this point in their career, when they were one of the top female acts in the Asian market and were showing the world how they could mature in the spotlight while still keeping their distinct, addicting style.
“A.D.T.O.Y.” is 2pm down to a T. Lush R&B vocals, sex and sexiness at the forefront, and questionable dance moves that we hate to love. Even without knowing what the song is about, the anguish and longing for a lover jumps out and hits you right in the feels. Who hurt 2pm for them to be pouring out their souls on this song? Whoever you are, thank you for the art you inspired, but let’s hope Hottest never finds you.
“If You Do” was a turn away from the bright, hip-hop driven songs of earlier GOT7, and no one seemed to mind. The dark tone of the song was a product of the light synth notes and heavy bass lines and then was elevated by the sorrowful vocals and deep rap verses. This song marked the beginning of GOT7’s evolution into the artists that they are today.
— Katherine
20. “Eyes, Nose, Lips” by Taeyang, 2014
You can always count on Dong Young Bae, better known as Taeyang, to produce a pass-me-a-kleenex kind of ballad. “Eyes, Nose, Lips” was not only about his break-up with actress Hyorin, but it’s a song of admittance. Admittance to the wrongs that manifested during the relationship and the painful memories that then haunted him, something we’ve probably all gone through or know someone who has at some point which makes this all the more empathic. It was a song that showed the truth behind its words not as a cover up but as a belated apology, something you don’t hear too often, as love/break up ballads get sugar coated. Not only did “Eyes, Nose, Lips” see success on the charts and became the song to perform on Korean music songs, but the outcome was also beautiful, as Taeyang and now wife Hyorin are in a blossoming marriage.
With “I Got a Boy,” Girls’ Generation ensured that 2013 would start off with a bang. A lot has been said about this song, from its musical scatteredness to its bombastic confidence, but critics and fans alike have rarely noted how well this track fits into the larger Girls’ Generation narrative. Here you have a girl group who has already mastered almost all K-pop concepts on the earth putting them all together, mixing them chaotically into one song to, as Tiffany said, “put it down another way.” The song would serve as a turning point in the girl group’s career—from then on, there’s no telling what kind of music they would drop next. And the uncertainty added to the excitement. It was definitely Girls’ Generation, and we were all just living in it.
As veterans of the idol industry, Shinhwa has experimented with several musical styles throughout the years so it didn’t come as any surprise when they dropped “This Love” (the voguing still has me shook) in 2013 off of their eleventh studio album. Although it leaned more towards Western musical style, it still has a lively and catchy beat, reminiscent of club-esque music which can be refreshing every now and then. The simplicity of it all made it easy on the ears, even if it’s more of a dance track, especially with the memorable chorus. How can you forget “we live for this love” when it’s repeated 11 times? Hm, 11 “love”’s for their eleventh album? Could there be some sort of correlation? But that aside, despite the members are approaching their 40’s, they continue to show us that they still got it going on. The appeal is truly real and it’s safe to say, once legends, always legends.
For anyone who has had a long day today or feel especially defeated, please, listen to “Breathe.” Listen to Lee Hi’s warm words of consolation over the beautifully sad twinkle of ivory keys. Listen to them even when they become desperate and when instrumentals weep. Be mindful of the frisson sweeping over your body or the tears that stream down your face the same way raindrops zigzag window panes because everything the late composer and songwriter just said about how things will be okay and how you did a good job is all true.
Around the end of 2014 and through 2015, pop & EDM songs with a sax hook were a big trend in the U.S. and South Korea. BTS, however, was clever enough to ride the trend in a way that would stand the test of time. RM opening the song with “Welcome, is this your first time with BTS?” couldn’t be more propitious, as “Dope” can indeed work as a great introduction to the group: provocative lyrics over catchy instrumentals, creative choreography, and a strong commitment to their brand. Like Jungkook sings in the song’s bridge: “This is BTS style.”
Versatility is Red Velvet’s very own concept, with the “red” representing their quirky and upbeat songs, and “velvet” representing their smoother songs. “Bad Boy,” however, took the concept to a new level. The glamorous and captivating R&B tune was an interesting moment of Red Velvet’s career, in which the velvet side borrowed a bit of the red, while also bringing a new and sassy color that fits the group’s palette in an incredibly natural way.
The very fact that this track ranks so high on our list serves, if nothing else, as a reminder that 9MUSES was one of the decade’s most underrated and underserved acts. 9MUSES is “burning for love, love,” and don’t doubt them for a second—they are very much on fire. A sensual track about longing for a lover, “Wild” is 9MUSES at its utter prime—a group of powerful vocalists who execute difficult belts and harmonies with ease, complete with multiple rap lines and impeccably synchronized choreography. It’s a shame that this song—in all of its melodic, high BPM glory—was not a chart-topper around the time of its 2013 release. Still, it will live on in our old iTunes libraries and playlists in the decade to come.
Many associations can come to mind when listening to “Move” or watching its music video —especially if you’re old enough to have known the golden era of Michael Jackson and Prince. And while such grandiose associations would actually be a compliment to Taemin, they don’t make “Move” less unique. Echoing the drums and basslines of new wave music from the 80’s, along with a sophisticated R&B-influenced melody, the song is an ode to the beauty of the human body (no gender in particular) in motion. But “Move” is not just a song; it’s a moment, a testament of an artist fulfilling a unique layer of his potential, in a way few others – if any – could do. With his magnetic aura shining through every detail of the song, the style with which Taemin leads it is just unmatchable.
Most groups endure a couple years of trial-and-error before they produce their representative song, but for EXO that arrived to them only a year after their debut. “Growl” is different because, unlike its prequel “Wolf” or any other of their releases, it possessed a winning stylistic consistency and an unmistakable repetition. That immediate beeping, tonal motif which kickstarts the song is the crux of “Growl,” supporting the hook and hammering that passage in even when it is no longer the refrain. It’s original and memorable enough as to define EXO’s best year when they were at the height of their fame, when they were complete.
Once again in this list and in BTS’ musical journey, we see the group giving their touch to a trendy sound (tropical house and moombahton, which were huge in 2016), and instantly taking away its ephemerality. “Blood, Sweat and Tears” speaks of temptation, lust, sin, and guilt. As for the vocals, special praise must be given to Jimin, whose voice is, paraphrasing the song’s lyrics, “sweeter than sweet,” but also sensual and bewitching, which makes it perfect for a song like this. But, actually, all members and creators involved did an amazing job on the song, which makes it easy to understand why it was a major turning point in the history of BTS. It was their first track to sell one million copies in their home country, and marked the best week ever for a Korean album on Billboard. And it would only go up from there. Fallen angels might have been amongst the inspirations of “Blood, Sweat and Tears,” but what followed it was, actually, ascension.
— Ana
10. “Lucifer” by SHINee, 2010
SHINee’s “Lucifer” draws on the brief biblical story of the angel Lucifer, who met his demise through narcissism and pride. The BeBe Rexha-penned track compares an entrancing whisper to Lucifer and explores the feeling of being trapped in attraction. “Lucifer” effortlessly entwined SHINee’s signature sound and electro-dance. It’s confined geometric choreography and engrossing beat catapulted SHINee into their niche. The quintet explored the vastness of electro and its subgenres establishing them as prominent figures in the genre’s revival. Through “Lucifer,” SHINee set the tone for the decade’s releases challenging artists to push the boundaries of concepts, presentation and vocal colors.
— Nnehkai
9. “Shine” by PENTAGON, 2018
“Shine” is placed in PENTAGON’s trajectory as an embodiment of the two facets of their most expressive year. On one side, it was the group’s biggest hit. On the other, it was their last single to feature the rapper and songwriter E’dawn. Listening to the song, though, there’s hardly room to think of the sad side. “Shine” was neither the only nor the first K-pop song of 2018 to go for the mid tempo hip-hop piano style, but it was definitely the catchiest and most fun.
— Ana
8. “I Am the Best” by 2NE1, 2011
After offering the melancholic and relatable “Lonely,” 2NE1 set out to deliver the stuff of K-Pop legends in June of 2011. While this song has been written about time and time again, it ages with grace, becoming increasingly iconic with each “Top 100” or “Best Girl Group Songs” list it makes. From Dara’s bright and bouncy verses to CL’s “billionaire dollar baby,” 2NE1’s four distinctly different personalities fit together perfectly on this track, showing us that there are many sizes, sounds, and shapes that knowing one’s self-worth can take. More than anything, “I Am the Best” cemented the fearsome foursome as one of K-pop’s most globally relevant acts, beginning to open doors alongside a handful of other second and third generation K-pop acts that would ultimately give the genre the massive global following it wields today. K-pop legends indeed.
— Kushal
7. “Call Me Baby” by EXO, 2015
The epitome of EXO’s R&B-infused classic boy band styling with some new jack swing thrown in for good measure, “Call Me Baby” is a song that grooves along to brassy horns and the members’ artful, layered vocalizing that showcases each singer’s distinct tone even while creating a cohesive sound for the group. As the sonic sequel to their megahit “Growl,” this later track perfected the musicality of that song and expanded on it, creating something that was immediately iconic and will be a song to be sung throughout the ages.
— Tamar
6. “The Chaser” by Infinite, 2012
Two and a half years into the decade and K-pop had no reason to be worried. There had been countless hits from many legends of the industry and an ever creeping but strong international fanbase. Then “The Chaser” happened. “The Chaser” felt like an explosion not just for Infinite but for K-pop as a whole. Infinite and Sweetune dragged everyone into the new modern era with a song that defines the decade. Sweetune’s synths were well worn even by then, but they never felt so alive as they did on “The Chaser.” Layers of them cascade over and over throughout the track, building a heightened sense of drama that they would also never quite replicate. This was thanks to Infinite themselves, and in particular thanks to Sunggyu and Woohyun, the two best dramatic voices in the game.
— Joe
5. “Expectation” by Girls’ Day, 2013
There’s perhaps nothing brand new about the exuberant sexiness of this electro-pop track, but Girls’ Day’s complete dominance of “Expectation” makes it one of our favorite tracks of the decade. Throughout its entirety, the song is the very definition of an earworm, with the taunting “ooh, ooh, ooh,” raising expectations at the very start of the song and leading into its dramatic, oftentimes coy, verses, only to pull back its restraint during the pre-choruses, before leading into the explosion of the titular refrain. Towards its end, the song features a dramatic EDM build, which is blended with the members’ building vocals, turning the song from being merely a fun dance track into a prime example of Girls’ Day’s talent as singers. Paired with a music video that features their now-iconic suspender dance, “Expectation” is an experience quite unlike just about anything else out there and still has us playing it on repeat years later.
— Tamar
4. “View” by SHINee, 2015
SHINee re-envisioned dance music’s influence in K-pop with this LDN Noise produced track. The track consists of easy-going aura that aligns with the liberty displayed in its video as the quintet embark on mischievous adventures across Thailand. Tapping into garage house and retro subharmonics, “View” focuses on fluttery vocals with amusing adlibs against its deep, recurring beat. “View”’s legacy lies within its undeniably impressive vocal delivery and its ability of merging the elements we loved from their debut track “Replay” with the tensity they’ve developed since. “View” is a refreshing moment for the group, foreshadowing their continued exploration into retro-inspired releases.
— Nnehkai
3. “Be Mine” by Infinite, 2011
“Be Mine” catapulted Infinite into the K-pop stratosphere and they haven’t come down since. Throughout the decade, Sweetune and Infinite were a winning combination that could do no wrong. The group’s amazing and diverse vocals do well to not get lost or muddled in the dynamic synth notes and bold bass beats while the furious rap verses at the end close out the song, stamping their mark as heavy hitters in the K-pop industry.
— Katherine
2. “Fiction” by Beast, 2011
Many songs by Beast own KultScene’s members hearts, but collectively we all agreed that “Fiction” is the one that everyone enjoys across the board. With its lyrics equating love to a work of fiction, the song fittingly incorporates the scritch-scratch sounds of someone writing on paper into the melody, starting off the song with the effect before turning into pounding beat and haunting, synth and piano melody. Collectively as a group during the chorus, Beast is expressive and despondent about the song’s narrative, while during each individual verse and rap sequence, each man melodically pushes the song further towards perfection as he expresses the anguish of “Fiction.” Though lists like this may be based around individual tastes, it’s hard to deny the fact that “Fiction” is a classic.
— Tamar
1. “Step” by KARA, 2011
If there’s a song that one can point to and say “That’s what K-pop’s about,” that would be “Step” by KARA. It checks all the boxes for what makes a song and its music video “K-pop.” An electric and brassy club banger, check. An alarmingly colorful and vibrant music video, check. An earworm hook perfectly paired with a memorable point dance, check and check. Sweetune defined an age in K-pop when the experimentalism in the production was unhinged and uninfluenced by a global appeal that followed set music trends, making “Step” is one of his crown jewels. There’s a sense of bliss that comes from listening to “Step”: you may or may not know what the lyrics are about, but the combination of all its parts just makes you feel damn good and happy.
A lot has happened since the decade started, on and off of the stage. From ever-evolving music trends to the disbandments of classic groups to global successes to tragic losses, including that of KARA member Goo Hara. As we step (wink, wink) into 2020, it’s essential to look back at what, at its core, makes K-pop great: Fun. And you don’t know fun until you’ve let loose and danced to “Step.”
What was your favorite K-pop song this decade? Share your picks and thoughts in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.
https://kultscene.com/wp-content/uploads/2019/12/BEST-SONGS-OF-THE-DECADE.jpg10051434KultScenehttps://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngKultScene2019-12-22 22:16:292019-12-24 11:35:25The 100 best K-pop songs of the 2010s
James Lee is taking control of his career and doing things on his own terms. The former bassist and keyboardist for the Korean rock band Royal Pirates is exploring variations of synths and visuals as he brings his music Stateside. Having spent his life performing in rock bands, Lee is using his expertise in producing, writing, and singing for his new projects.
Last year, the singer released his first solo EP “The Light” thanks to a successful Kickstarter, detailing his journey through recovery after a restaurant’s windowpane crashed into him leaving him with a severed wrist in 2015 while living in South Korea. Despite five surgeries and painful physiotherapy, Lee was unable to regain proper function of his hand ultimately leaving his position in Royal Pirates two years later. Following “The Light,” Lee linked up with NEKO, Amber Liu, and more artists for his following singles.
To ring in his new career endeavours, Lee embarked on his first Stateside tour alongside rock band Fyke and Kevin Woo, former lead vocalist for K-pop boy band U-KISS. Lee also teamed up with Woo for their first collaboration “Falling.” Originally released in August, the pop track explores a missed chance at love and an unsuccessful attempt at moving on.
While its lyrics are melancholic, the music video displays a relentless desire of sabotage. The music video, released on Oct. 26, opens with a bloody Lee before cutting to him unsuccessfully delivering a speech to a blushing bride and groom. From there, chaos ensues as Lee and Woo disrupt the wedding with fire, chainsaws and commotion. “Falling” features cameos from Lee’s family and YouTubers Mike Bow and Linda Dong.
In Lee’s follow-up single “Losing It,” the crooner opens up about his mental health during his rigorous rehabilitation from a life-changing accident in 2015. Backed by pop-synths and subtle bass, the track’s somber lyrics and emotional delivery redirected listeners from “Falling”’s comedic moments. In sharing his struggles, Lee hopes those suffering from PTSD know that they are not alone.
Since speaking candidly about his injury over the past few years and redirecting his career, Lee is looking forward to making more feel-good tracks. The singer partnered with Thai-German based singer/actress Janine Weigel for an upcoming track scheduled for release on Nov. 22.
Lee took time from his busy schedule to chat with KultScene via email about new music, support, and his future.
You and Kevin completed touring together recently. How was sharing that homecoming with him?
“It was so much fun to be able to play shows with one of my best friends. We all had the same energy and just wanted to make sure the shows were fun for everyone. I hope we are able to do it again in the future!”
How does opening this new chapter in your career feel?
“I’ve been working on other artists’ music, and I feel so lucky that I’ve been able to build a career this way, but I would also like to release my own music consistently. I hope that this chapter leads to more opportunities for better music. I also want to be the best version of myself that I can be, and this feels like the right direction.”
Initially, “Falling” was released in Aug. What made you decide to release the song and music video at different times?
“At first, we weren’t sure if we would have the budget, but a company called Mydailylive.com graciously stepped in and helped us out! We also had to shoot some pickups, and I was traveling quite a bit, so I had to wait until I got back to LA to film the flamethrower scene.”
Where did the concept for “Falling” come from? What was the process like?
“Everyone knows that feeling of falling for someone, whether it be a slow drip or unexpectedly finding yourself in love —so, lyrically, it was really easy to write. I’ve also been in rock bands all my life, so the arrangement was fun for me to write. I also knew that the contrast between Kevin’s voice and mine would give the song more depth —and obviously, he killed it.”
“Falling” has dark comedic moments in it. How do you feel about the memes coming from the music video? Do you have a favorite?
“The memes were the best part. I loved seeing my fans excited and proactive about the video, and the fact that there were so many memes shows that the video had a lot of interesting moments. My favorite was a clip of Kevin singing, ‘I keep coming back every time,’ but the top of the image had the words ‘My Acne,’ basically calling Kevin a pimple lol.”
How did the blow torch and chainsaw become incorporated into the video?
“That was actually the director’s idea (Brad Wong). They just seemed like outrageous things to have at a wedding, so we thought it’d be great to throw them in there.”
How does it feel to have your parents be a part of the music video? What were their reactions?
“Anytime I can involve my family is such a pleasure. I feel lucky that they get to be part of my projects, and it’s fun for me to see their acting.”
What was the best part of working on this project?
“Creating so many memorable scenes with some of my best friends.”
Earlier this year you released “Mad” featuring NEKO and “Anxiety.” How was the journey from then to now with “Falling?”
“With NEKO (Erik Lidbom), I wanted him to take the driver’s seat because I respect him so much. Not only does he have hundreds of hits, but he is a great guy and taught me so much in such a short amount of time. I was a bit more angsty with ‘MAD’ and my own track ‘Anxiety,’ and my goal was to make something artistic that represented my journey. However, with ‘Falling,’ the goal was to also have fun, and I think we achieved that!”
Your fans have provided a large amount of support through your journey. How does that feel?
“Without my fans, my music means nothing, so I appreciate them a lot. I’m so lucky for the ones that have stuck with me.”
When will Jerry finally make his on-screen debut?
“Gotta get him in a video ASAP!”
What plans do you have for 2020?
“I am striving to create one new song every week, and I hope to release a new track every other week. I hope that releasing music more consistently will give my fans something to chew on, reach more people, and help me get to the level I want to be at.”
“Losing It” was written around the same time as “Mad” and “Anxiety.” What was going through your mind during the writing process?
“I spent a week in a mental hospital after my accident. The track is about how I was unable to fix the anxiety and pain. It’s really about a moment of chaos.”
How does it feel to be able to share this vulnerability with your fans?
“When I write my music, it’s like a journal, so it’s quite easy to be honest. I’m just lucky that they reciprocate and support me.”
You’ve released a lyric video for “Losing It.” Do you plan on releasing an official music video too?
“At the moment, I have no plans to do so, but I will be releasing a new track Nov. 22 featuring my friend Jannine Weigel. She’s a singer and actress from Thailand and Germany who is a killer vocalist. It’s also a feel-good track, so I can’t wait to share!”
What message do you want listeners to take from this track?
“With “Losing It,” I just wanted to share what I was going through. I know a lot of people have some form of PTSD. If you can relate when you listen, I guess, just know that you aren’t alone.”
Your music gave us a glimpse into you healing mentally and physically from your accident in 2015. What are hoping for yourself as you continue to move forward?
“For healing, both mentally and physically, and the ability to be the best version of myself as possible —and to see my fans ASAP! I love you guys and miss you!”
Be sure to check out “Losing It” and Lee’s new track which releases Nov. 22. Follow him on Instagram, Twitter, and YouTube to keep up with all his upcoming projects.
What’s your favorite song by James Lee? Share your picks and thoughts in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.
https://kultscene.com/wp-content/uploads/2019/11/James_01.jpeg8531280Nnehkai Agborhttps://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngNnehkai Agbor2019-11-21 15:29:562019-12-24 11:36:23James Lee talks working with friends, ‘Falling’ memes, & latest releases [interview]
On Episode 46 of KultScene’s K-pop Unmuted, Stephen Knight, Alexis Hodoyan-Gastelum, and Joe Palmer discuss the Korean competition TV show Queendom. We talked about our favorite performances, the groups’ performances, and more.
You can also listen to this episode, and previous ones, of KultScene’s K-Pop Unmuted on Spotify, Soundcloud, Google Play Music, and the Apple store.
On Episode 45 of KultScene’s K-pop Unmuted, Stephen Knight and Alexis Hodoyan-Gastelum welcome entertainment writer and Kultscene’s very own contributor Nnehkai Agbor for the first time to the show to discuss their favorite September 2019’s releases. Our picks include Dreamcatcher, TWICE, and ONEUS, to name a few.
