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Best K-Pop Music Videos of 2018

January 10, 2019/in Features /by KultScene

One of the most important aspects of any K-pop single is its accompanying music video, and though 2018 is over, it’ll be a while before we’re over the MVs released by Korean artists throughout the twelve month period. Taking a look back, the KultScene team took a look at what exactly makes one music video better than another, and several writers shared their perspective on why one K-pop MV or another from last year is superior and memorable in its own way.

“IDOL” by BTS

Doesn’t matter if you look into BTS‘ music, videos, performances, fan-dedicated released content or even the fandom-driven activities on or offline. Whatever it is, there is always so much going on that you might either get confused or fascinated, but never bored. The music video for “IDOL” is no different. Filled with dozens of references (some that only fans will get, some that only Koreans or Korean culture aficionados will get), the music video plays with a lot of stereotypes that are often attached to BTS, to K-pop “idols” and just generally for being Asian men. Displaying a powerful choreography and a deliberate overwhelming aesthetic, the boys show that they don’t have a problem with whatever is it that you think they are (“idols” or “artists”). Because, at the end of the day, they are confident enough in their skins to be anything -or everything at once- while still being, above all things, themselves.

-Ana Clara

“Lullaby” by GOT7

“Lullaby” was not only a blessing to the ears but visually just as impactful. Aesthetics, aesthetics, on top of freaking aesthetics. There was never a dull moment visually or sonically throughout the three minutes and forty-two seconds of the music video. With the exception of the first three seconds, the video was never without vibrant colors, compelling backdrops or snazzy outfits. Colors aside, GOT7 kept the viewers anticipating what was to happen next with each scene, especially since each member had separate sets and themes. And although there were many individual scenes, the members always brought it back together with a unified group choreo and some fancy footwork. But speaking of footwork, the highlight of the music video definitely goes to go to Mr. Dance Machine Kim Yugyeom, as the astounding dance break and sharp moves of his solo stole the show. Even if you didn’t like the music video as a collective whole (don’t lie to yourself, you liked it), there were more than enough things about it individually that should’ve pulled you in.

-Tam

“Apple Box” by nafla

On paper, nafla‘s “Apple Box” reads like an organized crime agenda (“put the money in an apple box,” possibly referring to a common way of accepting business bribes), but in action it reveals to be much more comedic. Under the creative direction of Digipedi, the music video portrays gang activities rather facetiously – a brutal beating in one scene is mitigated through deliberately cheesy special effects and nonsensically looped clips. In another, gambling is done with apples instead of currency. A bit of a step away from the kind you’d do after grabbing a kiss918 Download, right? Ultimately, these all act as red herrings for, as the least suspecting character (a hostess perhaps?) makes off with a chest of golden apples, we are forced to contemplate the ignorance of these traditionally male organizations. Because of its quirky approach to one of film’s most enduring genre’s, “Apple Box” may be nafla’s best work to date.

-Shelley

“Singularity” by BTS’ V

Captivating in its theatricality, the music video, or comeback trailer as it was dubbed, for V‘s “Singularity” ahead of the release of Love Yourself: Tear is an exhibit of the sort of artistry that BTS has thrived on over the years. With a luxurious blue-red-purple color palette recalling that of the group’s 2016’s “Blood Sweat & Tears,” this new music video stunningly represents the struggles with one’s self and the various masks that we wear. With watery allusions to the Greek myth of Narcissus littered throughout, the vivid cinematography enhances the impactful song as V explores the lush neo soul sound. And if that weren’t enough, the music video for the song graced us with one of the year’s most inspired choreographies, giving new meaning to the idea of dancing with oneself.

-Tamar

“1, 2, 3!” by Seungri

Big Bang’s Seungri breathes life into “1, 2, 3!,” his first solo comeback in five years, with a ’50s-inspired video set in the singing and dancing world similar to that of Grease. Like the musical, the music gives insight into his character, our hotshot hero who only loses his cool once he is bewitched by the heroine, played by a stunningly gorgeous Anda. As he grabs her hand and pulls her into a swing, he sings: “When I count to three, you’ll fall for me.” An ensemble dance cast, all outfitted in mid-century modern pomps, tea-length dresses, and oxfords faithful to the era, further integrates song and video by filling out the percussive claps and the hook’s polyphonic three counts. After taking us from one period set to the next, it all comes together celebratorily at the end with a nod to the iconic dance scene from Pulp Fiction between our leads and in a single freeze frame moment, we know he was right. It’s this kind of happily ever after that can make society nostalgic for a past it never knew. Between this and the one-take style reminiscent of Broadway productions, “1, 2, 3!” just feels like an immersive experience that is more motion picture than music video.

-Shelley

“One and Only” by Go Won

Of all the videos for LOONA‘s pre-debut project, none feel as suited to and in need of its trappings quite like Go Won‘s. As the second to last girl of the month, Go Won’s “One and Only” came late into the game. And it would almost seem that she would have too many obligations to the lore to have any sort of personal identity. Instead, along with LOONA regulars Digipedi, she finds herself within it all. Unlike her lyrics, which are confident from the start, the video shows this self-discovery in action. She begins covered in shadows, trying to embrace whatever light she can, but is still afraid of the temptations of Choerry’s apple, or the chase of Yves and Chuu. It’s in the act of watching herself where it comes out. Looking and singing into a mirror, watching her shadow dance to her own song, or imagining herself a princess with a crown on her head. The 1:1 aspect ratio helps her, making each image have an obvious and single point of focus. One image, one thought. Despite this, allusions to David Lowery’s A Ghost Story from 2017, reminds of the dangers of the never ending cycles of LOONA’s own universe as well as that of our own. Go Won finds a way out of her draping, suffocating sheet but how long is it before her time comes back around and she has to do it all over again?

-Joe

“Dally (feat. Gray)” by Hyolyn

Hyolyn is a hip-hop diva in full control of her life, her body – and of your attention! – in “Dally,” the second music video released under her own label, BRID3 Entertainment. The artistic concept of the video is pretty simple – but seriously, do we need anything else when we have a team of such skilful dancers, led by a magnetic performer like Hyolyn, executing one of the most difficult choreographies seen throughout the year? In “Dally,” it’s hardly possible to take your eyes off of Hyolyn, or to doubt that she has everything it takes to keep wowing us with her self-managed works from now on.

-Ana Clara

“Now or Never” by SF9

As time passes, SF9‘s concepts continue to get more charismatic and sexier *phew, wipes sweat.* And it is totally working on their behalf. The group’s previous tracks and music videos had flavor to them but “Now or Never” really took it up a few big notches. The song and styling were both executed to perfection as the concept had just the right doses of cool, seduction, and dreaminess. The choreography was simple but alluring, and it played well with the bass. And how about that Michael Jackson homage? Classy. The cinematography was exquisite; the colors and abstract backgrounds made this music video fitting to be played at a museum. The track itself is solid but the visualization and styling gets an A+.

-Tam

“What Is Love?” by TWICE

Sometimes it pays not to take yourself too seriously, and when ruminating on the immensely philosophical question of “What Is Love?,” TWICE served us up with one of this year’s most fun music videos. Throughout it, the nine women parodied the likes of La La Land, The Princess Diaries, Romeo & Juliet, and a wide range of movies from across the globe while trying to depict what the idea of love look likes. They then paired casual scenes of the nonet chilling at a slumber party while watching the films with elegant scenes where they perform the questioning choreography, serving up one of the most fun visual experiences of 2018. Since their start TWICE has always exuded a sense of infectious vibrancy in their music videos and “What Is Love?” overflowed with that to the nth degree.

-Tamar

“Moonlight” by Neon Punch

Neon Punch‘s “Moonlight” is how you make an effective K-pop music video on a smaller budget. It’s a classic example of the genre with no real story, just the members dancing, singing, and looking pretty in random locations. Its first minute is so brilliantly made though that all those tropes feel fresh. Song and video seem to become one, as they bounce off each other, reacting to each turn. Extremely simple but great visual effects are used to make this melding feel real, as the music bends the visuals while it builds and releases. This also makes the editing feel musical all by its own which gives the video great impetus to keep moving. As the effects start to dwindle the editing keeps the same sense of pace and wonder that they had built up. The funkiest bass line of the year feels at home among these vibrant visuals.

-Joe

“Instagram” by DEAN

Sitting alone in a warehouse full of random objects, DEAN strums a skateboard as if it were a guitar. He sports a short mullet under his cap, along with generously slitted eyebrows, a (potentially appropriative) grill, a bandage under his right eye, and black overalls that cover part of his sweatshirt. Like the feed he scrolls through, he is a mess of different aesthetics and styles. “Instagram” the song is about endlessly scrolling through the app in moments of sleeplessness, reflecting our loneliness and insecurity back to us as we see others enjoying themselves on our screens, and the song emulates that.

From the warehouse room’s walls leak black paint, becoming screens that play a stream of videos and images characteristic of a social media feed. As the images spread further across the room, the video abruptly goes black. “Sometimes I feel alone, even when I’m with a lot of people,” a strange voice says in the dark. The video cuts back to the warehouse, and DEAN begins laughing hysterically, overtaken with the misery of his sleepless Instagram scrolling.

The video is simultaneously simple and complex, capturing a very unique relationship between phone and human, account and user. Using social media is repetitive and endless, an unhealthy distraction we know all too well. In bringing the feed to life in all its chaos and stress, the video highlights the emotional and psychological toll we endure in using social media every single day.

-Kushal

“Playlist” by DPR Live

“Playlist” is a colorful adventure following DPR Live as he vies for the attention of a mysterious woman. The song incorporates tribal and bossa nova beats as Live maintains his signature rhythm and swagger. While the song is a new turn for DPR Live, the music video expands the Latin trend in Korean music by including some aspects of African influence in Latin American culture through instruments and religion. From the beginning we are met with vibrant colors, gravity defying visuals and psychedelic art transitions set in a replica of a Peruvian neighborhood. Stand out moments include the shaman’s rain dance and spinning neon umbrellas during the instrumental breakdown of the song, as “Playlist” offers a glimpse of the creativity DPR Live has in store for the future.

-Nnehkai

“Kiss Me Like That” by Shinhwa

Simplicity is key and Shinhwa had that and then some in the “Kiss Me Like That” music video. The styling was sharp and neat; the linen button ups and suspenders? Crisp. Those blue silk suits? Elegant. “Kiss Me Like That” doesn’t have a pivotal climax but that worked out perfectly because it really didn’t need one. The music video gives a sense of relaxation. It doesn’t make you think or analyze. You just gotta kick back, grab a mojito, and enjoy the guitar strings. The video wasn’t over the top, just very clean, straight forward, occasionally flirty and wholeheartedly fun to watch. Shinhwa’s just really out here living their best life on that ship though. Next course of action, petition to have Shinhwa do a yearly cruise with fans (like New Kids on the Block)!

-Tam

“Egotistic” by Mamamoo

Kicking off with a guitar riff, tropical plants, and neon buildings that add an Old Havana-like vibe to the video, Mamamoo is bold in aesthetics throughout “Egotistic” as they issue a warning of a lover scorned. How can anyone forget the intensity Hwasa’s stare-off with a jaguar?
The Flamenco inspiration is apparent in the core of the beat of the song, the choreography, and the flowy dresses the ladies wear in the video. Their take on Latin-inspired tracks plays up the girl crush concept Mamamoo has become known for with fiery makeup, confident attitudes, and sexy dance moves. They also included the ultimate girl crush move: dancing in a ring of fire in front of buildings while executing a choreography filled with hair flips and and seductive shimmys. Overall, “Egotistic” captures a small portion of Latin America’s musical richness and is welcomed contrast to the highly mainstream trap beats that accompany the usual Latin trends in K-pop.

-Nnehkai

“Something New” by Taeyeon

Inspiring fan speculation and theories since it was released in June, Taeyeon’s “Something New” music video is, like the artist it belongs to, uniquely enigmatic and hard to place. Beginning on the red carpet at a ritzy celebrity event, the video quickly transitions to a hotel, where Taeyeon instigates a fight by suddenly throwing a hammer at a suited man during an elevator ride. The fighting then continues with her hotel room’s maid-turned-murderer, who leaps at the singer with a knife during a room service delivery.

It’s around this point when “Something New” begins to feel more like an action-packed spy blockbuster than a music video for an SM Entertainment artist. The scenes are fast-paced and cinematically captured, and they move artfully with the pace of the song. Most interestingly, Taeyeon takes the fights in stride, seemingly unfazed by them after they happen.

The end of the video, in which Taeyeon shoots suitcases of cash over a cliff facing the sea, is probably the subject of the most interpretation and discussion. Worth noting to most theorists is that Taeyeon has never been shy when discussing the hardships of celebrity life. Is the cash a representation of the net worth she’s built over the years? Are the fight scenes emblematic of encounters with online and offline haters? While it seems that “Something New” is an in-depth commentary on the difficult life of a celebrity, the beauty of the music video lies in the fact that it is truly up to interpretation. For dropping one of the most cinematic and mysterious MVs of the year, Taeyeon gets a nod from me.

-Kushal

What were your favorite K-pop MVs of 2018? Let us know your picks 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.

K-Pop Unmuted: GOT7’s ‘Present: YOU’

September 27, 2018/in Features, K-Pop Unmuted /by KultScene

On Episode 35 of KultScene’s K-pop Unmuted, guest Carolina Donastorg joins Tamar Herman and Alexis Hodoyán to discuss GOT7‘s new album “Present: YOU.” Of course, we talk about lead single “Lullaby” (all four versions!), other standout tracks, GOT7’s international appeal, and all things GOT7.

Please note, we said that it was the first song from a K-pop group in Spanish, but it is more accurate to say from a “Big 3” group.”

You can listen to this episode, and previous ones, of KultScene’s K-Pop Unmuted on Soundcloud, iTunes, Google Play Music, and Stitcher.

Let us know what you think of GOT7’s Present: YOU and KultScene’s K-pop Unmuted 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.

GOT7’s ‘Eyes On You’ tour in Los Angeles vs. Mexico City: a comparison

August 31, 2018/in Events /by Alexis Hodoyan-Gastelum

by Tam Huynh

Now that the waters have settled and we’ve collected ourselves, let’s talk about GOT7’s Eyes On You tour shall we? Fellow KultScene writer Tam Huynh and I were fortunate enough to attend more than one stop this time around (although she did the entire North American tour, but that’s a story for another day. In the meantime, check out when she hit up all the U.S. stops on the Turbulence tour), so we got a good understanding about how shows differ from city to city, and even country to country.

The Eyes On You tour began all the way back in July in Toronto and ran through Los Angeles, Houston, New York, and wrapped up in Mexico City on the 13^th. This tour marked a series of firsts for GOT7. To name just a few, their first arena tour in North America; first K-pop group to play Barclays Center in New York and Palacio de los Deportes in Mexico City, which was also their first time in the country; and first JYP Entertainment group to hold an arena show in Los Angeles. It was truly a monumental tour for the guys, and I’m glad I got to witness some of it.

Though the journey began in Toronto, Tam and I linked up in LA and Mexico City. For Turbulence, I also did two stops (Miami and Los Angeles), but this time around, I wanted to experience a foreign fandom. I mean, we’ve all been there; all of our baby bird hearts have broken a little bit after realizing that the U.S. doesn’t get the same concerts that GOT7 puts on in Korea or even Thailand. And though this wasn’t exactly a show in Asia, I still wanted to see the differences between Mexican and USA ahgases, especially since I had already experienced a few K-pop shows in Mexico City.

Just as a disclosure: I’m Mexican, so I wholly understand the culture and the people. I also live in Los Angeles and have attended every GOT7 show in the city. In other words, I know what I’m talking about.

But anyway, you read the title; you read my four paragraph-long ramblings. So which stop was better? Let’s examine.

Also on KultScene: DREAMCATCHER TALK CAREER ASPIRATIONS AT LOS ANGELES FANMEET [INTERVIEW]

The Members’ Spirits

by Tam Huynh

Los Angeles didn’t open the tour, Toronto did, but the boys had been in the city a few days prior to the show for interviews and whatnot. Though the performances didn’t lack energy, they did comment about having jet lag, which caused small, blink-and-you’ll-miss-it mistakes. The members also commented that they were nervous. Maybe it was due to Mr. J. Y. Park himself was in attendance or all the industry people who were also checking out the show. But during their speaking moments, most of the guys — especially Mark— seemed more shy than usual and didn’t resort to their usual antics. For this tour, they all tried their best to speak the most English –especially Jinyoung, who should already have a B. A. in English for all I’m concerned.

Mexico City was a whole different story. It was the last night of the North American leg before they hit up South America. As aforementioned, this was GOT7’s first time in the country, so most of the members gave their all for their Mexican ahgases. The fact that their first visit was at an arena seemed to also energize their moods and want to give an above average performance —which they did! Though most notably to yours truly, Jaebum —who had been all smiles all tour, especially in Los Angeles— seemed to had toned it down, especially on his overexaggerated rendition of the “Stop, Stop It” choreography. Maybe he was tired? Who knows! But the overall performances seemed tighter than in LA. “Paradise” was way more synchronized in Mexico than in LA, for example.

Also, as someone who has only seen the group in the U.S., it was odd to see them speak only in Korean and not in English. Since the members have a better flow with each other speaking in Korean, the talking moments felt a bit more genuine and as if you were watching them on their YouTube shows. Jinyoung spoke way longer and his message to fans seemed deeper since he was able to say it Korean and have a translator relay the message in Spanish. However, they all said a few phrases in Spanish, like Bam Bam saying “Me encanta el ambiente el día de hoy” (I’m loving the mood today), and Jackson having an inexplicable inside joke with himself with the nickname “Pepe.”

Setlist

by Tam Huynh

Yes, I know that the setlist was the same throughout the entire tour. However, in Los Angeles, after jamming their souls away during the encore songs “Look (remix),” “Fly (remix),” and “Go Higher,” a few of the boys huddled up and decided they were doing one more song since it was a special night —much to Jinyoung’s dismay, who was already a step away from exiting the stage. JB and Bam Bam playfully asked the audience what we wanted to hear and then said they’d do “Just Right,” which wasn’t included in the original setlist. The boys took this song to continue their usual shenanigans on stage with their dancers and the fans. The choreography was nowhere in sight.

The rest of the tour unfortunately didn’t include a bonus track, including Mexico City.

Venue

by Tam Huynh

Being only the third K-pop act to perform ever here, GOT7 played the historic venue The Forum in Los Angeles. In the last few years, it underwent a renovation which resulted in the venue being state of the art. I don’t think GOT7 has ever sounded as good as they did here —even when they did KCON LA 2017 at the Staples Center. The sound and acoustics of the arena did the members’ justice.

Palacio de los Deportes in Mexico City, however, is notoriously known as the “plaza de los rebotes,” or the rebound plaza, meaning the sound bounces off the venue’s unique architecture unflatteringly. During their speaking moments, it was hard to hear them, or the translator, since the cheering drowned their voices quite easily.

Fan Energy

by Tam Huynh

I’ve been to a lot of K-pop concerts throughout the years and have gotten to experience seeing lots of different fandoms react to their faves. But I don’t think I’ve ever experienced the same energy like in Mexico City. It was utter insanity. Fans in Los Angeles are loud, sure, and they cheer for their faves. But Mexican fans, whew, I’d be surprised if they didn’t rupture their vocal chords. Sure, I blamed the venue’s acoustics for the less than perfect sound, but the fans screams and squeals were so loud at times, that that’s the only thing you heard. This, of course, came in handy on “Look” and “Never Ever” when it came down to the fan chants. GOT7’s names echoed and bounced off the entire arena in one big roar each time. And I think the members’ noticed, for they were all smiles throughout the entire show.

Los Angeles is always an amazing show given it’s Mark hometown, and the adopted one of the rest of the members. Fans here (me included), I think, are way more chill. We dance throughout the entire songs, both in sync with the choreography or just vibing with them. Sure screams are loud and the boys feel the love, but I have to say Mexico was next level in terms of passion. Maybe it was due to it being the first time seeing them in person, whereas LA gets them at least once a year. Nevertheless, while different, the love for GOT7 was not only visible, but palpable.

Also on KultScene: K-POP MID-YEAR REVIEW: 3 DISTINCTIVE MUSIC STYLES DOMINATING 2018 SO FAR

Final Verdict

by Tam Huynh

Though the LA and Mexico City stops had the same show on paper, they were both very different experiences. For me personally in terms of which I enjoyed the most or unbiasedly thought was a better performance varied depending on the different points I went through in the piece. Was a tween fan screaming her lungs out behind me? Did Jaebum stick his tongue out enough? Did Bam Bam come out with new memes to recreate? Did I feel the bass in my eardrums?

After taking into account each stop’s highlights, I’ve come to a conclusion. On comparing the concerts I experience in Los Angeles and in Mexico City, interacting with fans of different cultures and backgrounds, and seeing the boys behave differently depending on the country they were in, my conclusion is that they were both amazing shows!

I know, I know. You may think I’m cheating, but I’m not. I may have been annoyed half of the time in Mexico over the fans’ screams, but once I put it into perspective and realized that this was the first time they were seeing their bias group, I understood them. Same goes with LA. The boys weren’t as easygoing and turnt like in, say, New York, but it had to be weighing on them heavily just how monumental this particular show was for their careers and even as representatives of JYP.

The Eyes On You tour wasn’t perfect, but it was sure as hell a good time. The boys got to highlight the songs that they got to write and/or produce and they put on a show worthy of an internationally renowned pop act. This tour proved that GOT7 is only getting started and that we can only expect bigger and greater things from them.

Check out the rest of the pictures:

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Did you attend any of the stops on GOT7’s Eyes On You tour? Let us know your experience and thoughts in the comment section below. Be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.

K-rapper ARTLOVER talks blending music & fashion, British & Korean influences [interview]

April 20, 2018/in Features, Interviews /by Ana Clara Ribeiro

The current, up and coming generation of female Korean rappers is made of versatile and open-minded women with the ability to think outside the box. And while the scenario isn’t exactly ideal for them yet, as standards for female and male rappers are not the same, it hasn’t deterred new names from joining the scene. Amongst those names, ARTLOVER is definitely one we should keep our eyes on.

The 25-year-old, whose real name she would rather not reveal, is the typical multifaceted millennial who gathers inspiration from multiple experiences to create something unique. Formerly a makeup artist who has worked with severe fashion magazines, she is now ready to show her own colours through music.

ARTLOVER’s first single “Want U Back,” released on March 2nd, is a melodic tune with a retro sound that showcases her rapping and singing skills. She worked on the lyrics, composition, and art cover design for the single, which just got a music video as well.

But music, fashion, and design are not the only amount of diversity ARTLOVER has her heart on. Being Korean and based in London, she also divides her time between the two countries.

KultScene talked with her about her first single, her inspirations, and views on being a multi talented artist exposed to two different cultures.

KS: Congratulations on your first release! Please tell us what inspired the lyrics and composition of “Want U Back.”

ARTLOVER: Thank You! “Want U Back” is about young love and the pain of losing it. I started out with a few chords on the piano and the rest just followed so I didn’t really plan it out beforehand. It just happened in the spur of the moment.

Also on KultScene: The 12 LOONA solo singles ranked

KS: How was working with Tae-Seop Lee (producer/mixer engineering; has worked with GOT7, Twice, DAY6, etc.)? How much do you usually get involved in the production?

A: I started out with Swedish writer/producer Max Billion who has worked with a lot of dance artists such as Mike Perry, Paris Blohm, and Cazzette. When we had a solid foundation we took it to Tae-Seop who then put his touch on it. I trust producers that I work with and I always give my opinion.

KS: Your stage name is quite unique. We’ve read that you designed the art cover for “Want U Back” and that you’ve worked as a makeup artist before. How do you think all these passions and talents come together when it comes to your music?

A: I would say that the practical aspect of working as a makeup artist has helped me a lot, especially when it comes to being professional and get things done. The visual aspect has always been very important to me, so it would come as no surprise that I think about this a lot when it comes to my music as well. I creative direct a lot of my videos, etc. I think that music and fashion goes hand in hand and it’s very difficult to separate the visuals and the music.

KS: Being Korean but living in London, how do you see the differences between the mainstream music scene of both countries?

A: Korean music is wilder for sure, more effects, bigger songs, and more parts. In many ways, it resembles western pop music and follow more or less the same pattern of trends, but with more ‘90s soul and more creative arrangements. People take pop music very seriously in Korea. Just as they approach other aspects of Korean society, K-pop has always been about perfection.

KS: It is natural to expect that you will at some point be labelled as a K-pop artist by some people. How do you feel about that? And how do you describe your music and style?

A: I don’t really have an issue with being labeled K-pop, as I think it helps me find an audience, especially outside of Korea. I still think that my music really stands out and doesn’t sound like anything else in K-pop at the moment. If my music was purely European or American, it’s far from certain that it would get as much attention.

Also on KultScene: Ego tripping, & not, in Korean female rap

KS: “Want U Back” sounds heavily inspired by ‘80s synthpop music. What are your biggest influences in music and your favorite artists?

A: It makes me very happy you say that, because we used mainly old synths during the recording. Max Billion brought his collection of vintage gear from the ‘70s and ‘80s so we stuck with those. I love Madonna and Cher, but my favorite artist of all time is Michael Jackson.

KS: What are your plans for 2018? Can we expect more music from you?

A: We are currently working on my debut EP that is due out in June, so that’s very exciting for sure. I’m also looking forward to playing shows.

Check out ARTLOVER’s “Want U Back” music video:

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

50 best K-pop songs of 2017: 50-26

December 22, 2017/in Entertainment, Features, MUSIC /by KultScene

While the year may be closing in a very sad and unfortunate manner with the passing of a K-pop icon, artists consistently delivered memorable songs throughout 2017. This year saw a lot of great moments from some of Korea’s most popular new acts, while newer acts also proved their worth with addicting, sleekly-produced music. Trop was the king of this year’s K-pop trends, but far from the only genre of music that saw its moment in the limelight.

Check out the first half of KultScene’s 2017 best K-pop songs list below:

50. “Circle’s Dream” by Subin

Subin is trapped in an endlessly repeating contradictory cycle in her self-written and composed single “Circle’s Dream.” She is told that she is round and that’s good, but then that it’s not. She wants to be angular, to pierce her lover, to make him feel like how he made her feel. Yet she is also trapping herself within a recurring musical structure, as an acoustic guitar plucks an incisive riff throughout the song. It is the only angular part of Subin’s song yet has no variation. Her stark synths come in late but their slow rhythm only accentuates the repetitiveness. Each element is perfectly realised to tell her story. Her voice completes it. Its soft and sweet but particular pronunciations like denggeureureu are key. This word alone combines both the round and angular sides to her. It has repetitions but in order to say it properly she still has to roll her tongue. Subin has enwrapped her whole song with the confusing ideas in her head. No solo idol has ever produced something of such pointed precision.

—Joe

49. “Wee Woo” by Pristin

If “Wee Woo” had been released at the 2012-ish heyday of Hallyu, Pristin’s debut song would be considered legendary right now. It’s barrage of shifting sounds and onomatopoeic vocals are absolutely classic. The Pledis Entertainment regular songwriter Bumzu brings a bright and breezy feel to the whole production with disco electric guitars taking the brunt of the work. This allows the girls room to deliver the most hooks in a single song EVER. Each part is so complete on its own you could take them individually and create five more songs around them. The fact that they all come together for something that doesn’t feel so monumental is the greatness of “Wee Woo.” It’s arrogant in its effortlessness all the way down to making the primary hook out of the most simple term of jowahae nol jowahae (“I like (you) I like you”).

—Joe

48. “Beautiful” by Monsta X

Monsta X’s cultivated sound and signature unruly charms finally comes together for the consummate “Beautiful.” Perhaps because it is supposed to be representative of the group’s first studio album, the single feels particularly significant. For one, there’s really nothing quite like the opening out there. Scattered with a prominent distorted electronic beat that is quickly followed up by Jooheon’s explosive raps, the real hook is not in the chorus but here in the introduction, where the task for the listeners to not mimic the unique noises or the clever near-rhymes is near impossible. The vocalists dwindle down the excitement sometimes without sounding monotonous, almost acting like the Apollonian restraint to the Dionysian madness. The constant shower of peculiar oscillations, whirs, and horns all make up the perfectly organized chaos that Monsta X is known for, and though “Beautiful” did not grant the boys their first music show win like it should have, it will always remain a tour de force in our hearts.

—Shelley

47. “Where You At” by NU’EST W

With their revival in popularity following some of the members’ appearance in Produce 101 Season Two, this subunit of Nu’est (missing member Minhyun who debuted in Wanna One) released this flashy track which stayed true to their unique music style. Bursts of electronic instrumentals are mixed with a calm piano backing track and adds a lot of contrasts to the song. It also highlights the strengths of each member, with Baekho’s explosive high notes complementing Ren and Aron’s softer and sweeter voices. JR’s rapping is as stable as ever, and he definitely shines more back in his own group. It’s wonderful to see this talented group get more recognition for their talents, and I can’t wait to see the full group back together again soon.

—Anna

46. “You Were Beautiful” by DAY6

The February release of the band’s “Every DAY6 Project” can be said to be their most successful, especially domestically, and it’s not difficult to see why. The raw emotions brought out by the members coupled with the sincere lyrics create a sentimental rock ballad which truly tugs on the heartstrings of listeners. The end of the bridge in particular, where Young K and Wonpil’s voices are layered, is such a beautiful and emotional climax of the song. Even though it appears simple to sing along to (and is apparently a favourite among other JYP singers for karaoking), the song is actually very vocally challenging due to the large range required, and the effortless way the DAY6 members sing it shows just how skilled and well-trained they are.

—Anna

45. “Tomorrow, Today” by JJ Project

After debuting ahead of GOT7’s debut with the exuberant “Bounce,” JB and Jinyoung returned as a more matured rendition of JJ Project this year and it was absolutely glorious. The two vocalists released this sweeping, introspective song about the very-millennial topic of making decisions and fearing regrets. The track provides the perfect forum for the pair to show off how well their vocals work together, with the duo harmonizing over guitar riffs, tapping percussion, and mellow synths. “Tomorrow, Today” is reflective in its warm approach to soft rock, and hopefully we’ll see more of this from JJ Project in 2018. It was a complete turnaround from their first iteration, and definitely more suited for the pair’s artistic style and capabilities.

—Tamar

44. “Don’t Know You” by Heize

Heize’s “Don’t Know You” is a very groovy song full of percussions with a slight mixture of disco, hip-hop, and R&B, which features the soloist using deeper vocals than what we’ve been used to hear from her. The overall appeal of this songs starts at the beginning of the track with the repetitive beats and the introduction of the synth drums that follow different tonalities on the record that give great texture to “Don’t Know You.” Her famous ad-libs are also present on this song as she goes from high to low tones, which are achieved by the reverbs added on the vocal track, that create great contrast between her sexy sweet voice and her solid rap parts. The harmony is very steady throughout and creates a great chill up-tempo track perfect to dance and groove to. Heize continues to show great promise with her experimental sound.

—Alejandro

43. “Tequila (feat. Hoody)” by G.Soul

One can’t help but want to book an immediate flight to somewhere like Bali while listening to “Tequila,” especially with the brutal winter quickly approaching much of the States. Hoody’s bewitching voice alongside G.Soul’s multifaceted vocals make for the perfect combo in this dancehall track, ideal for both a cookout and the club. Lyrically wise, “Tequila” might not be appropriate for all age groups, as G.Soul sings about only wanting a one night stand. But if you’re someone who’s over the generic “let’s fall in love” type of style that is prevalent in K-pop the majority of the time, this song’s for you. The lyrics aren’t candy coated or sleazy, but come off rather… inviting. This wasn’t meant to be a flashy song, which is what made it even more enjoyable. Although G.Soul wasn’t hitting those high notes (that I love so much) like he usually does, it wasn’t a lack felt by this song.

—Tam

42. “Wake Me Up” by Taeyang

It is no news that Taeyang can hold a ballad like no other, and in 2017, he gave us two great ones. “Wake Me Up” doesn’t have the same degree of emotional complexity of “Darling,” the other single from the album, but it’s its apparent simplicity what makes this song amazing and addictive. Objectively speaking, it’s a very linear song with no surprise factors when it comes to its structure. It might even seem like Taeyang doesn’t have much to say in “Wake Me Up,” but it’s definitely not because he’s lacking emotions. In reality, what we see is that he just doesn’t know what to do with them. Everything in “Wake Me Up” sounds gorgeously inconclusive and mysterious — from the airy sounds and atmospheric, echoed beats, to the lyrics that offer more questions than answers. No wonder the most touching moment of the song is when he’s constantly repeating “Is it love?” while delivering breathtaking high notes. Overall, Taeyang’s vocal performance amidst the ethereal instrumental creates just the right vibe for a song that is about love, but mostly about confusion and doubt. After so many years, you can still count on Taeyang to get you in your feels.

—Ana

41. “Honeymoon” by B.A.P

Coming out during the fall when it should’ve been a summer jam, “Honeymoon” is a delightful EDM track from B.A.P’s seventh album Blue. The whistling at the beginning of the song left the remainder open for interpretation; this song could’ve been a sweet one, much like the title suggests, or a somber one. I’m glad it wasn’t the latter. “Honeymoon” puts listeners in a lighter mood, whereas previous songs were dark and heavy, all the while still executing a clear message. “With the overflowing stars from beneath the palm tree. A film on the shining freedom and bright youth,” they sing. Through this track, B.A.P wants to remind us to live life to its fullest, fulfill your heart’s desires to its grandest and emphasises that today’s youth will be the game changer in society going forward.

—Tam

Also on KultScene: DAY6 explores love & friendship through recent ‘Every DAY6’ releases

40. “Chase Me” by Dreamcatcher

Taking the bubbly girl group image and tossing it out the window, MINX re-debuted early this year under the name Dreamcatcher. Not only did the group have a new name, but they also gained two new members and an interesting concept and sound. Taking the term re-“vamp” quite literal, the group came out with a dark and creepy concept straight out of a horror movie. The video for “Chase Me” takes references from classic horror movies like The Shining but also has cuts to choreography to showcase the girls dance moves. The song begins with pianos and then picks up at the chorus. Adding31 to the darker image, the song melded hard rock elements with a dance pop track to create something very dynamic. There’s something about the mixing of heavy rock instrumentals and feminine voices that is very appealing. Although the song sounds like it’s straight out of an anime, it is also an interesting new sound that’s refreshing to the K-pop world.

—Katherine

39. “Never Ever” by GOT7

Ever since debut, GOT7 have switched up their sound with every release, experimenting with different styles and concepts, and their first comeback of the year was no different. “Never Ever” follows in the same angsty direction as “If You Do,” yet this track mixes electronic and trap sounds while giving it their signature bubblegum spin. Vocally, JB and Youngjae can always be counted on to deliver outstanding choruses and ad-libs. But reveal of the year was that “Never Ever” is probably the song where the rap line is collectively most stable and the flows, while different, work together. GOT7 is building up a name as a dance group whose choreographies are insane, and “Never Ever,” with its glitches and heavy bass, is the perfect performance track in their building discography.

—Alexis

38. “Love Story feat. IU” by Epik High

One of the two title tracks off of Epik High’s new album, “Love Story” is a beautiful song about love lost. The steady drum beats coupled with the sometimes frantic sounding piano and, later on, the smooth orchestra creates a complex yet easy sounding melody that balances well with IU’s sweet voice and the rap verses of Tablo and Mithra Jin. Along with the concept video of a girl reminiscing about her past relationship through videos and photos on her phone, it sets the perfect setting for a song about heartbreak and loss. As expected with most of Epik High’s collaborations, the group and the featuring artist blend perfectly to portray the story being told.

—Katherine

37. “Wake Me Up” by B.A.P

A lot of the times, K-pop consists of clichéd lyrics and similar concepts. There are times when a number of artists will put out a string of songs, music talking about love, relationships and breakups. Again, the repetitiveness. Just when you feel like you’ve had enough of that sappy stuff, B.A.P appears with an eye opener like “Wake Me Up,” a track that touches on societal issues and mental health to stimulate one’s ear buds. The song has a compelling beat, a sound so strong, it’ll act as the pillar that will hold you up when one is fighting off their inner demons and struggles in life. “This is an endless tunnel, in darkness with no light. Wake me up, wake me up. I need to find myself,” they sing. B.A.P wanted to push awareness and wake up a society that looks away and pretends that issues like racism, judgement, and depression aren’t real issues because these things are very much on going and continue to be real life problems.

—Tam

36. “Palette feat. G-Dragon” by IU

As one of Korea’s most prominent artists, IU on “Palette” seems to be comfortable with her fame and life, assuring both herself and her listeners that she’s changing in ways she embraces. Her lyricism uses cute examples, from changing color preferences to hair length, to demonstrate that she, “Knows a little bit about [herself] now.” The song’s instrumentals are a more alternative play on classic, theatrical IU releases. While the trademark ticking noises and sound effects are present, the song itself is slower and wispier, updated to match a more modern vibe that she seems to have grown into. The top female star of Korean music in the past decade, IU demonstrates that she remains focused on making hits, but now, on her own terms. With the help of a strongly performed and well-placed rap break from G-Dragon, IU on “Palette” lets us further into her excited, changing young adult world. Where she goes next from here, however, we’ll be watching.

—Kushal

35. “Dinosaur” by AKMU

AKMU is known for creating beautiful music, but with “Dinosaur,” the duo really surprised us: they finally added some EDM to their music while managing to make it their own. The electro beats and synths that appear through the track’s melody seem very stripped down and almost make it feel like an acoustic electronic song. The opening guitar in the beginning of the song especially feels like an homage to their earlier music. The synthetic kickdrums that blast before the beautiful notes from Suhyun during the chorus melody and are present through the whole track, giving it an unique mystery to the track. We also get more singing from Chanhyuk instead of his typical talk-like rap, which was surprisingly beautiful. Their voices blend and harmonize perfectly with the synthetic beats that made it an upbeat chill song for the summer. AKMU really had a lot of fun creating this track and used every tool that electronic instruments can give you as a producer. The song is simple but very detailed with a beautiful, heartwarmingly catchy harmony and a light beat that is very uplifting and instantly makes you feel good.

—Alejandro

34. “Dream In a Dream” by Ten

SM Entertainment’s Station project has produced a bit of a mixed bag this year, delivering some truly great pieces of music amid a majority of lackluster ones. But “Dream In a Dream” was one of its glorious high notes. The ambient, east-meets-west styling of the song serves to relay the performance-heavy music video, which highlights Ten’s immense dance skills. Providing a soundtrack to the highly-stylized, contemporary dance video, it’s a song filled with drama and passion. But even as a stand alone track, “Dream In a Dream” delivers something truly special through its symphonic instrumentals relaying Ten’s echoing declaration of love. Lush synths and pulsating beats guide the track as it layers traditional Asian strings and into the atypically-structured melody. So far, Ten has participated in both this and NCT U’s “The 7th Sense,” two hauntingly beautiful, choreography-focused singles, and if this is the direction SM continues pushing him in, it may be the thing that could breathe new life into this era of all-too-similar K-pop male acts.

—Tamar

33. “Shall We Dance” by Block B

Ever since Zico cemented his status as a hip-hop icon in Korea, Block B has pretty much taken a backseat on the ride. And after a couple of quirky, even cutesy releases, it seemed the group had gone awry of the sounds and concept they made a name with. That’s why when they dropped “Shall We Dance” it was way more impactful. More in tune with the “trendy” sounds Zico is known to produce for his solos, the track explores different urban Latino sounds, which particularly stood out this year when artists are still releasing trop-house songs. “Shall We Dance” is groovy, smooth, and just as the title suggests, dance provoking. Being an older male group with a diverse lineup of talented members, it’s important for Block B to color outside the lines and continue to push the envelope as they have always done. And with this song, they did just that.

—Alexis

32. “Girl Front” by ODD EYE CIRCLE

“Girl Front” felt like a particularly important moment for LOONA. When LOONA ⅓ debuted as a unit they were still fairly unknown, a weird project group going about their own thing. By the time of ODD EYE CIRCLE, they had significantly grown with more people both at home and internationally taking notice. The fact that they absolutely nailed it came as no surprise to me, but how they did it was so impressive. By combining the songs of three girls (Choerry, Jinsoul, and Kim Lip) producers Ollipop and Hayley Aitken created something unprecedented in K-pop. “Girl Front” has the peppiness of “Love Cherry Motion,” the dense, propulsive beat of “Singing in the Rain,” and the electronic sheen of “Eclipse.” It’s a miracle that it all comes together to form something coherent let alone this good. The girls give it the last edge of excitement with non-stop vocals as they bounce off one another with glee, building a climax of unstoppable motion and further push forward the most exciting story of the year.

—Joe

31. “I Wait” by Day6

“I Wait” was the first release of the group’s ambitious project, which set a high bar for their following monthly singles. The opening of the song draws the listener in with somber synthesized keyboard notes and dreamy vocals. The mellow beats gradually increase to the more aggressive instrumentals of the chorus, showcasing a much harder sound than what the band has been previously known for. The song continues to bounce back and forth between a softer sound and the heavy chorus, which creates and interesting medium. The video itself isn’t really anything special but somehow still complements the song with the changing graphics and effects. Overall, “I Wait” fulfilled its purpose of drawing in the audience with a new sound, showcasing the band’s versatility and ability to deliver quality songs throughout the year.

—Katherine

Also on KultScene: 7 K-pop music styles we’d love to hear more

30. “MIC Drop (Steve Aoki Remix feat. Desiigner)” by BTS

“MIC Drop” was already a good song before Steve Aoki’s remix, but with his production, the producer added the aggressiveness that the track needed to be fully solidified as an anti-haters anthem for BTS. He did this by converting the hip-hop track into a hip-hop, R&B, and EDM infused song that made us remember the old BTS from their debut era. The track is energetic and gets you pumped up as soon as you listen to it; V’s deep voice and RM’s raps are major highlights from this record. The lyrics take a very sarcastic tone that even if they seem cocky it makes us sympathize with them. With the new added English lyrics in the chorus, the song makes everyone want to stand up against haters and face them off. BTS creates yet another ode for outcasts and bullied kids all over the world by once again taking on topics that usually K-pop bands don’t talk about.

Also on KultScene: Astro ‘Dream Pt. 02’ Album Review

—Alejandro

29. “Darling” by Taeyang

This ballad stands out with its somewhat unconventional structure and chord progression, but it’s truly beautiful and addictive when listened to in its entirety. The way that Taeyang’s smooth voice connects the various parts of the song elevates it and showcases his impressive range and ability. His raw emotions are showcased front and center here too, especially with the way the song “progresses” in intensity from verse to verse. It’s soothing and intimate all at once, and allows Taeyang to present a more honest side of himself, as compared to being a charismatic star glorified by the limelight.

—Anna

28. “Hola Hola” by KARD

Over the course of three project singles, KARD was able to develop a musical formula that worked. The tropical house and dancehall that undergirded “Oh Nana,” “Don’t Recall,” and “Rumor” provided a strong foundation for when they finally did make their official debut with “Hola Hola,” a timely and bright synthy number perfect for the summertime. Being co-ed is more than just a gimmick for this group; the exchange between tender vocals and throaty raps is the contrast listeners need to keep engaged. The chorus, on the other hand, shifts its weight onto an island beat, and while it would be easy to dismiss this sudden move as overly simplistic, the hypnotic effect is undeniable. It sweeps the carpet from under our feet and displaces us in a chimerical paradise. It is a nice recess from Jiwoo’s spunky rap midway or from any other strained moments, providing us with a sensual and personable comfort. “Hola Hola” only marks the beginning, but already the internationally beloved group has been dealt a good hand, and are making all the right plays to keep momentum going.

—Shelley

27. “Cherry Bomb” by NCT 127

Without a doubt, “Cherry Bomb” definitely encapsulates the sound of NCT127. The different mixes of genres that create a very fresh and futuristic sound create a unique style for the band that has everyone falling in love. The track starts off with a heavy bass and the repetitive “Hurry, hurry, avoid it, right Cherry Bomb feel it yum,” then goes off to Mark’s and Taeyong’s rap, with the pair proving to be the real standouts for this track, while the bridge explodes with Taehyun’s, Doyoung’s and Taeil’s beautiful vocals that melt any listener’s hearts. The song is filled with background synth noises, singed hooks, and creepy sounds that create a very chaotic but interesting track that is reminiscent of the album cover and the title of the song. It’s a classic, sassy and rebellious track and shows great direction for the boy band.

—Alejandro

26. “O Sole Mio” by SF9

Is it possible for someone who lacks rhythm AND coordination to find themselves swaying ones hips and body with precision to the entrancing latin sounds of “O Sole Mio”? This track comes from SF9’s third mini album, Knights of the Sun, only one year after their debut. Rather then SF9’s usual upbeat dance tracks, “O Sole Mio” is captivating in it’s own mellow way. The transitions between the vocal and rap lines were smooth and well-versed, building up to a tender climax without it ever being over the top. The fusion of latin pop to K-pop is still new, but, let’s be real: we all could’ve used a break from some of the generic sounds we’ve heard this year, and the fresh sound of “O Sole Mio” delivered just that.

—Tam

Stay tuned for the second and final half of our Best K-pop Songs of 2017 list, which will contain the top 25.

What was your favorite release of the year? Let us know in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.

Weekly Kpop Faves Oct. 9-15

October 16, 2017/in Fans, Playlist Sunday /by KultScene

Each week, the KultScene team writes about some of the songs and performances that made an impression over the past few days of K-pop’s busy cycle. Last week, we liked new music from GOT7, SF9, and the cast of the new television show The Uni+. Take a listen now, and let us know your thoughts in the comment section below.

“Teenager” by GOT7 (Released Oct. 9)

It’s been a trend on the last few GOT7 albums to contain a fun song written by the members where they just act a fool. On 7 for 7, said song is “Teenager.” A little bit more upbeat and hip-hop-lite than the rest of the album, “Teenager” embodies Katy Perry’s “Teenage Dream” through the male perspective, essentially telling some girl they make them feel giddy inside. I personally really liked “Teenager” because, ever since the first listen, I could picture the members going around the stage greeting fans and taking pictures with them. The feeling was only enhanced with the live performances on music shows, where they all look visibly happy and pleased with themselves (especially that darned “I can do anything if you tell me good boy” line). Like the lead track, JB wrote “Teenager,” and if anything, 7 for 7 is the first album where we actually see a bit more artistry to this JYP Entertainment boy band.

—Alexis

“O Sole Mio” by SF9 (Released Oct. 12)

People are calling “O Sole Mio” the K-pop “Despacito”, which I’m not sure it’s fair to say. I understand it’s because it has a Latin approach, but we can’t ignore the fact it has so much more than this! Even if it might be intentionally channelling the huge Luis Fonsi hit, I think it still holds more complex features. The lyrics speak in 5 languages (Korean, English, Spanish, Italian, Latin) and the instrumental blends EDM, tropical house and hip hop with a beautiful Spanish Guitar– by the way, my salute to the producer for putting the guitar instead of the now-cliché tropical house drop after the chorus. Besides, I can hear the old-school K-pop feels in the melody of the chorus. “O Sole Mio” is a mix of so many things, but they all work very well together.

—Ana Clara

“My Turn” by The Uni+ Cast (Released Oct. 13)

Perhaps not as addicting as the theme songs of either season of Produce 101, the promotional pre-release for The Uni+ is a bright batch of co-ed colorfulness put to light EDM form. AKA, exactly what the doctor ordered. The twinkling, retro-styled synth and funk elements is perhaps the most cheery form of electropop we’ve seen out of K-pop in a while, and honestly one of the most innovative sounding takes on a trend that we’ve all seen done to its depths. I wasn’t particularly interested in the show aside from a few vocalists, which I still don’t think necessarily shine in this song thanks to some flat tones, to be honest. But the melody’s production is a nice change from the trends of the moment, and feels more K-pop to me than much of what is getting put out today. Which is definitely a good thing, at least in my book.

—Tamar

What was your favorite release of the week? Let us know in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.

Weekly K-pop faves: Sept. 11-17

September 18, 2017/in Fans, Playlist Sunday /by KultScene

Mid-September has already passed, but we’ve already seen a lot of great releases from K-pop. Last week, some of KultScene’s team were enthralled by releases from members of GOT7 and iKON.

“Victim of Love” by Sanjoy feat. Youngjae of GOT7 (Ars), Stephen Rezza, and Elliott Yamin (Released Sept. 17)

Earlier this year when GOT7 was touring the country with their “Turbulence” tour, producer Sanjoy and singer Elliott Yamin connected with Youngjae through Instagram after he uploaded a cover of the latter’s song. After that, they’ve been talking up and teasing a collaboration fans have been fawning over. But the wait came to an end on Saturday (which coincidentally was Youngjae’s birthday) when Ars (his not so secret pseudonym) uploaded the song to his Soundcloud. “Victim of Love” is your classic pop, R&B hybrid in English featuring three very talented, very different artists. Youngjae, for his part (and the only reason I’m including this song here, duh), shone on the chorus and with his adlibs, though his accent came out a bit on his solo part on the song’s first verse, adding to his charm. There’s no question as to just how talented Youngjae is, but it’s heartwarming to see him branch out on his own and work on stuff well-suited for him that highlights his incredible abilities as a vocalist.

—Alexis

”Runaway” by Bobby of iKon (Released Sept. 14)

Not the biggest fan of hip-hop, I didn’t really expect to enjoy Bobby’s first solo album Love and Fall based on the styling of his Show Me The Money and The MOBB tracks, but with it’s dual identities, the new album ended up being right up my alley. “Runaway,” one of two singles, is a rock-tinged mellow track that thrives on the angst-filled rasp of Bobby’s vocals to emphasize the heartbreaking lyrics. “I have a habit of thinking mistakes are failures/I don’t wanna fail so I keep stopping my efforts,” raps the K-pop idol in the first verse. The song is heart wrenching to listen to, but there’s lilting strings that add an overall hue of positivity over the track. Hopefully, now that he’s released this album, Bobby feels a bit less like he has to “Runaway” from his problems.

—Tamar
What was your favorite release of the week? 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.

9 Things I Learned While On Tour With GOT7

February 2, 2017/in Events, Fan Account /by Tam Huynh

When JYP Entertainment debuted idol boy group GOT7 three years ago, never did it cross my mind that I’d be seeing them perform in North America on a yearly basis, let alone 5 times in a span of eight days. Wait, what? Yup, you read that right. This writer recently attended all five stops of GOT7’s Flight Log: Turbulence in USA 2017 fan meeting tour. The tour started in Miami on Jan. 21^st, followed by Washington D.C. on Jan. 22^nd, Chicago on Jan. 25^th, Houston on Jan. 27^th, and ended in Los Angeles on the 29^th. And after attending the same show five times, you pick up a few things. In my case, this is what I learned while on tour with GOT7.

[Disclaimer: I paid for my own flights, living accommodations, and show tickets. Press access was only provided for Miami.]

Idols Are Human Beings Too, You Know

We’re dealt with various cards during our lifetime, some good and some bad. What you and I experience throughout our lives might not be anywhere close to the kind of extreme and rigorous practice idols take on and live through mentally, emotionally, and physically on a daily basis. But no matter the situation(s) and how different their life may (seem to) be, at the end of the day, idols are still human beings, just like me and you. Miami, the first stop, was a clear reminder of that.

As soon as the lights hit the stage and the seven members appeared, you could instantly tell from their facial expressions that they were all running extremely low on energy. Who can blame them, though? Considering the countless back-to-back schedules they had for weeks on end prior to that nights show. Even though they all looked like they could use some sleep, well, month’s worth of sleep actually, the guys still powered through and tried their best to to put on a lively and interactive fan meet. Fans wanted leader JB to sing “Holic,” his recently released unofficial Soundcloud solo, but he wasn’t in the best condition and had a sore throat and said he’d sing it at a later time (four cities later and I’m still waiting for a live version!). Despite their fatigued start, they quickly gained momentum by their next stop.

Dab Dab & Sexy Dance

These are words that I can guarantee you will always hear at a GOT7 U.S. show, whether it be five months or three years from now. Within the last 12 months, member Bambam has gained himself the title of Dab King and undeniably lives up to that name every day. And of course, without a single drop of hesitation, introduced himself as “Dabdab” instead of Bambam at the group’s Miami stop. There’s been countless occasions where the crowd has chanted for him to dab and he’s replied with a “dabbing is so old now,” but that never stops him. Oh, but what’s better than a dabbing Bambam? The hyung-line (older members/brothers), especially Jackson, insisting on maknae and dance machine Yugyeom to do his sexy dance, is what. Even though the members are always egging him on, they still manage look away and cringe in embarrassment as soon as he starts to pop his chest. You can almost always expect a sexy dance solo from Yugyeom almost immediately after a Bambam dab-off. While Bambam and Yugyeom are continuous victims of the hyung-line, dabbing and doing sexy dances, don’t seem to bother this maknae duo whatsoever!

Derp Kings & Self Shippers

Time and time again, GOT7 has proven themselves to be the kings of making derpy faces. Whether it’s a penalty for losing a game or because they simply feel like it, just like clock work, these guys will surprise you with their infinite amount of derpy facial expressions. It was in the middle of a game during their Houston stop, Bambam aligned himself with the cameraman in the pit and started making one of many of his notorious faces to which led JB to come over and also start doing the same.

Also on KultScene: Why Experiencing GOT7’s Turbulence In USA Fanmeet May Be Better Than A Show

And just when you thought you had these guys all figured out, just when you thought you’re over being surprised with the things that come out of their mouths, GOT7 goes ahead and self proclaims their “ship” names for one another! What?! That’s so wild right? When have you ever met a group who openly talks about these kinds of things? As soon as the members mentioned it, l you could hear the fans break out into massive shrieks and then almost simultaneously hear immediate laughter on stage from the members in acknowledgement of the names “MarkBam,” “MarkJin,” and my new favorite “Parkson” (Park Jinyoung, Mark, and Jackson).

AmeriThaiKong & Jinyoung?

GOT7 is known as an international group; eldest member Mark Tuan is Chinese-American, Jackson Wang is a Hong Kong native, and Bambam hails from Thailand. Usually, if English needs to be spoken, you can count on these three to deliver and be the group’s very own translators. But wait a minute, it looks like they’ve gained themselves a fourth English speaker, Park Jinyoung. I may not know him on a personal level but Jinyoung’s always come off a studious fella; he’s mentioned his love for reading, enjoyment of studying, and wandering curiosity. That all showed as he made a conscious effort to speak in English during each of his closing statements for every leg of the tour. Jinyoung surprised the crowds with his almost fluent and strong pronunciation every time he spoke. It’ll only be a matter of time before he can hold an entire conversation [in English] with Mark, Jackson, Bambam, and even fans.

Comeback and KCON 2017

At the end of each stop, the members hinted that although they’re leaving us [tonight], we shouldn’t be too sad since they’ll be “coming back” soon. Interpret that however you will, but it has been four months since the group released and finished promoting Flight Log: Turbulence, so it’s only Korean music scene norm that they’re in the process of making another comeback. As much as we all want them to get some much needed TLC and vacation time, we’re all just as psyched about their new music (especially with all the teasing JB and Youngjae have been doing with their Soundcloud accounts). To top off it off, Mark mentioned during his speech in LA that they might even be coming back for KCON, which lead the crowd to erupt in ecstatic cheers. If all of this is indeed true, you all better start saving, like yesterday.

“If You Do” Is Iconic

In a previous review, I mentioned that “If You Do,” was GOT7’s best song to date, and 16 months later, I still strongly stand by that statement. I’ve seen them perform this song live eight times since it came out and have absolutely loved every single second of it, all the eight times. It’s no doubt that this song was an extremely pivotal moment for a lot of fans. “If You Do” transformed these seven delicate and goofy guys (which in reality they still are) into one hell of a charismatic bunch. If you weren’t a part of the fandom before this song came out, then you were definitely in when it was released. As if this song wasn’t already the creme de la creme in my life, I enjoyed it a hundred times more when Team JMJ (JB, Mark, and Jinyoung) danced to the slo-mo version of “If You Do” as part of their “random play dance” segment in Houston. Just when I thought it couldn’t have gotten any better, it did.

L.A. Knows How To Turn Up

The crowds in Miami, Washington D.C., Chicago, and Houston were loud, but L.A. easily took the cake home for the most “turnt up” crowd. Could it be that it was the last stop on their tour? Or maybe because it’s Mark’s hometown? Or even perhaps it was the fact that Elliott Yamin (placed third on American Idol, Season 5) was there and we all got to hear Youngjae sing “Wait For You” sort of as a dedication song? Regardless of the reasonings, the Pasadena Convention Center was on fire from beginning until end.

Also on KultScene: Which GOT7 Member Are You?

Although the L.A. show was shorter than the four cities prior to it, GOT7 made sure to never let there be a dull moment, whether that meant Bambam and Yugyeom dancing to “Juju On That Beat,” when Mark was sprawled out on the stage in defeat from not being able to name the correct song, or every time the members rushed over to Danny Lim, the MC for the tour, during a game, corner and surround him, causing him to burst out into laughter every time. But what really determines L.A. as the winning city? Probably when Mark got a bit choked up during his closing statement, thanking everyone for coming out, because every audience member knew how much it meant to him to be back on his home turf and being able to perform in front of his family once again.

GOT7 adores IGOT7’s

This isn’t breaking news because if you’re an ahgase (their fanclub name), then you should already know that you’re the apple of these guys’ eyes (no matter how crazy some of you may be). Fans have heard time and time again from GOT7 about how grateful they are for this fandom and for all the love and support they’ve been shown, but most of us have only ever heard these things online, as we’re watching an awards/music show or celebrating an anniversary. In reality, it’s a completely different feeling when you’re hearing and seeing something over the internet versus when you get to witness and experiencing it in the flesh. Just like anything else in life, really, you can’t get the full effect and truly tell how someone or something may be until you’re actually given that opportunity to see it upfront. There might be people out there who consider some members to be cold and standoffish, but in fact — and I’ve been lucky on numerous occasions to witness this — all seven members are well beyond affectionate and remarkably lovely people.

Sometimes when you go to any kind of show, at the end, the artist usually thanks the crowd and in some instances, they feel like empty words. But whenever GOT7 says it, especially when Jackson comments and asks things like, “Did you guys make sure you ate before coming here?”; address situations on how you need to take care of your own health and not worry about them (GOT7) because they can take care of themselves; make sure that you work on your own happiness first and then you can worry about others , shows you how mindful he is of the fans, and it’s something that sticks with you and will forever be ingrained in your head.

2017 WILL Be GOT7’s Year

Every fan wants their faves to be able to say “this is our year” and actually accomplish it. Sometimes it works out, other times it doesn’t. However, considering the firm rate that GOT7’s been peddling at, with the year only just beginning and having just finished a five city US tour, leaving us all in anticipation for a new album and future concert(s), my biased heart truly believes that 2017 will indeed be GOT7’s year. The group is headed at a solid pace to truly making it theirs.

I crunched a few numbers together and found myself running on tens hours of sleep in a span of nine days days and had flown for a total of 8,274 miles. With all of that mileage, I could’ve made my way over to South Korea, WITH a layover! But that trip can wait a bit longer. Flight Log: Turbulence in USA 2017 not only allowed me to see the extraordinary performers that GOT7 are again, but this tour also gave me the opportunity to visit cities I usually wouldn’t think of visiting otherwise. In addition to traveling to new cities and experiencing new things, this tour also gave me the chance to do one of my favorite things, and that’s to meet up and spend time with friends, both new and old! Don’t you love how music can bring people together?

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Were you at any, if not all, of the stops? Share your experiences in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.

Weekly K-pop Faves: Dec. 26-Jan 1

January 1, 2017/in Fans, Playlist Sunday /by KultScene

It’s a new year so, of course, there is new music! (Okay, but really they were mostly released last week.) This week’s K-pop favorite playlist features some old and new tunes from the likes of old-school K-pop boy band Shinhwa, JB of Got7, and rising vocalist Jin Won.

“T.O.P” by Shinhwa (Performed at MBC Gayo Daejejeon, Dec. 31, 2016)

It’s been almost two decades since Shinhwa released “T.O.P,” the first song to bring the group success after their debut a year prior. The usage of Tchaikovsky’s “Swan Lake” in “Twinkling of Paradise,” the song’s full name, gives “T.O.P” an everlasting magical aura, which puts listeners into an eternal trance. What made this performance at “MBC’s Gayo Daejejeon” even more special and raw was the addition of the live violinist. Shinhwa still oozes charisma, despite having performed “T.O.P” for what feels like an ungodly amount of times already. But no matter how many times, how many versions have been played, it’s timeless and continues to be a crowd favorite.

— Tam

Also on KultScene: 50 Best Korean Songs of 2016: Part 2

”So Beautiful” by Jin Won (Released Dec. 26, 2016)

I’m a sucker for ballads, and the moment I discovered Jin Won’s swaying rock ballad “So Beautiful” I knew I was about to be absorbed by it. Although I’ve never heard of Jin Won before, my first listen of “So Beautiful” was life changing. Maybe that’s a bit of an exaggeration, but Jin Won’s expressive vocal performance on the wintery tune is enchanting. The track isn’t just a typical ballad though, as it features slight quirks like resonating wails and record-like scratches. Jin Won appeared on a season of Superstar K, and I for one would love to see “So Beautiful,” and other future releases from him, featured on the soundtracks of Korean dramas.

— Tamar

Also on KultScene: Best Korean Albums of 2016

“Holic” by Def. aka JB of GOT7 (Released Jan. 1, 2017)

2017 hadn’t even begun in the western hemisphere and GOT7’s JB, using his artist alias Def, dropped exactly what fans have been asking of him for years: solo R&B tracks. Out of the three uploaded to his Soundcloud account, “Holic” stood out for not using a rapper nor relying on the hip-hop elements to resonate. Instead, in “Holic,” JB captivates the listener with his heartfelt yet incredibly sexy rendition of the song. And while JB is never not immersed in his feelings during GOT7 performances, here is a new side to the singer that fans knew he had in him, but had never been able to put on full display in the group’s musical repertoire. “Holic” further proves that JB is an R&B singer, and that if given a chance, he’d kill it. Hopefully, he’ll continue uploading more solo songs, for he’s too good to stop now that we got a taste.

— Alexis

What was your favorite song from the last week of 2016 and the first day of 2017? Share your picks and thoughts in the comment section below and be sure to subscribe to the site. Follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.

Best Korean MVs of 2016

December 29, 2016/in Entertainment, MUSIC VIDEOS /by KultScene

Music videos, or MVs, and K-pop are practically synonymous at this point, and it’s rare for a song to do well without an accompanying music video. Hundreds upon hundreds Korean MVs are released each year: sad ones, happy ones, indie ones, blockbuster ones, short ones, long ones, etc. There are Korean music videos that that make no sense, and ones that have the Best Plot of the Year and others that are just visually attractive. The KultScene staff saw a lot of great MVs in 2016, and we now present you with our personal favorites.

“Selfish & Beautiful Girl” by Block B BASTARZ

After a year and a half, Block B’s subgroup BASTARZ finally made a comeback. And while they released a couple of singles that didn’t really live up to last year’s hype, the music video for “Selfish & Beautiful Girl” made up for it. First off, it’s very appreciated when K-pop acts release music videos with an actual plot. Add that it’s quirky and fun, and you have a winner. Following the lyrics about a selfish girl the narrator is in a relationship with, the storyline follows this girl and how she annoys her neighbor for being unruly. She disrupts his sleep because she’s dancing to a Just Dance-like game. In this video game, the BASTARZ members are the characters, with each member representing a style in the song’s tempo change; from disco to hip-hop to pop. Moreover, the actress — bless her soul — while a bad dancer, her tattoos and piercings were a different sight for a K-pop video girl, but interesting nonetheless. In a time when all Korean music videos started to look the same thanks to many acts using the same directors, “Selfish & Beautiful Girl” found an ingenious, amusing way to follow the groove of the song perfectly.

— Alexis

“Blood Sweat & Tears” by BTS

Creative director Lumpens has been working with BTS ever since their debut, but their collaboration reached its pinnacle by far with the visually pleasing and highly produced music video for “Blood Sweat & Tears.” You do not have to be an art history buff to appreciate the various nods to Michelangelo and Pieter Bruegel, of which whose sculptures and paintings all depict a fall from grace. Nor do you have to understand, or even know, Hermann Hesse’s Demian, the 1919 work that inspired their second full-length album Wings, as seen by the use of recurring bird motifs and even direct quotes from the text. Every aspect serves to further ideas of temptation, freedom, and escapism that the song and the album collectively convey, thus nothing about this six-minute music video is done out of pure aesthetics. Of course, that is also not to say that it cannot be enjoyed for face value. There’s an undeniable homoerotic subtext to the plot, which is at once political and indulgent. Other cinematographic choices, such as the various uses of crimsons and other warm hues, are jarring yet arresting. This music video successfully projects the extravagant lifestyle we all wish we had, while warning us against the dangers of seduction, overall leaving room for lots of potential analysis.

— Shelley

“Carnival (The Last Day)” by Ga-In

Like the song itself, Ga-In’s music video for “Carnival (The Last Day)” is a celebration of life and death. Approaching death in a way few artists in the world would, Ga-In and her director Han Sa Min depict a joyous while reverent look at passing. This is all seen through some of the most interesting images K-pop has ever seen, particularly Ga-In’s funeral and her angelic ascendancy during her procession. Bright pastels dominate, fireworks explode in rainbows, and Ga-In dances with her umbrella as if the all the weight has fallen from her shoulders. The melancholy only remains with the living as we see Ga-In’s former lover pay his respects. Yet, maybe it is his memories we see of their time together: even he is choosing to see the qualities of life rather than the tragedy of death.

— Joe

Also on KultScene: Top Korean Music Videos of 2015

“One of These Nights” by Red Velvet

The Korean title of Red Velvet’s first single of 2016 is “7th Day of 7th Month,” referencing the Korean lunar holiday Chilseok and its tale of separated lovers. But rather than depicting a romance-driven storyline, the music video for “One Of These Nights” is a bit of a mystery. Bright colors contrast with dreary sets, the members are surrounded and flooded by water, and there is what appears to be an ethereal, woodsy afterlife where some members don white, the traditional Asian color for post-mortem shrouds. But the video’s subtle references to 2014’s Sewol Ferry accident, which took the lives of over 100 high school students, makes “One Of These Nights” all that more poignant: references to the Sewol and the tragedy appear throughout the sets, while the five Red Velvet members appear to take on abstract portrayals of the victims and survivors. It’s an ambient, thought-provoking, and altogether beautiful work of cinematography.

— Tamar

“Hard Carry” by GOT7

The entirety of GOT7’s “Hard Carry” music video is strikingly attractive; from Jackson’s sleeveless outfits and quick one-two, his “let me just casually lift up my shirt” scene at the beginning, to a white room filled with lively green (and not so lively brown) pine trees. Even when it was dark and you could barely see the members faces and all that is visible is the fire lit up behind them, it’s visually appealing. No to mention the neon lights during the dance scenes are captivating. Overall, the videography, combined with the meaning of the lyrics, portrays the effort one must take to “carry” the team, as seen in the the scene where all the members dive into the water in order to “save” Jinyoung. However, more than being solely visually attractive, the music video together with how they employed the lyrics into the theme is a proper representation of what GOT7 is all about: teamwork, helping each other out to strive collectively.

— Tam

“11:11” by Taeyeon”

While not the regular dance-visual overload that K-pop fans are used to, Taeyeon’s “11:11” succeeds at quite the opposite — fitting the somber, sentimental nature of the song perfectly. Shots of Taeyeon and her anonymous significant-other are filmed beautifully against fading sunlight, flashing lights, or pale white walls. They accurately frame the song’s sentiments, which deal with the end of a relationship. The song’s warm, delicate nature is captured perfectly by frames of Taeyeon sleeping in a thick white sweater, or laying in a fluffy king-sized mattress sprawled out next to the waves. Along with “Rain,” “11:11” seeks to alter Taeyeon’s image. Instead of group-leader dance-pop star, Taeyeon is now a serious, musically-oriented soloist, and one of Korea’s most successful at that. With its autumnal color scheme and brilliant visuals, “11:11” depicts both Taeyeon and the emotional impact of a breakup in a creative and memorable way.

— Kushal

“Décalcomanie” by MAMAMOO

If Zanybros are producing a music video, you know you’re in for an optical treat. MAMAMOO’s video for “Décalcomanie” is visually stunning and tastefully (considering the edited version and not the original) done, considering the video is full of visual metaphors for a woman coming into her sexuality. The girls start off being attracted to the man in their respective scenes, and as the desire between both of them grows, they kiss and then… fruits explode (if you don’t understand that metaphor, you can ask your parents). The girls untie their blindfolds to symbolize loss of innocence or coming to fully see/understand their desires and feelings. The mirror scenes and the mirrored images also play a nice homage to the title of the song, which is the French word for a technique that transfers an image or pattern from one medium to another. In other words, imprinting on another or making a copy. Aside from the bit of controversy that surrounded the original version, which resulted in a horrific scene depicting sexual assault getting removed from the music video, the video for “Décalcomanie” shows off the group’s femme fatale concept that they wanted to portray.

— Katherine

“I Am You, You Are Me” by Zico

Known to be a hard-hitting rapper, Zico ventured this year into R&B ballads and showcased his vocalist chops by releasing “I Am You, You Are Me” at the beginning of the year. So what called for this unforeseeable change in style and concept? Love. Love turns the bad boy into a good guy. Right off the bat in his first verse after the opening chorus, Zico sings I only ever listened to hip-hop/Now I’ve turned acoustic, setting the tone for the song. “I Am You, You Are Me” is about being in the lovey-dovey phase in a relationship when the couple starts emulating each other. The music video, in brief, is aesthetics galore. Zico displayed his trendy and colorful style, and in order to go with the theme of the song, the lead actress dressed exactly the same or similarly to the rapper to equate how they mirror each other. The setting, a convenience store, allowed a beautifully diverse color palette in the photography, from pastels to neons to neutrals. The overall aesthetics of the music video — dreamy with an electric tinge — paired perfectly with the equally tender yet lustful song. Not so tough now, right, cookie?

— Alexis

“Secret” by Cosmic Girls

Recently directors have been getting better at making the standard idols sing and dance towards camera in pretty settings more interesting while not losing the essence of that. Kim Zi Yong in particular has been great at this thanks to his visual effects skills. His highlight in K-pop is clearly “Secret” by Cosmic Girls. The video shows the 12 original members summoning new member Yeon Jung in their own unique ways. The quality of animation and sense of scale Kim brings to it is the best of the year and a quality befitting these otherworldly girls. Not to mention it’s drop dead gorgeous at every turn. Also, I’m sure everyone can agree that the shot of Cheng Xiao growing her wings is the coolest thing ever.

— Joe

“Re-Bye” by Akdong Musician

The dramatic “Re-Bye” music video by Akdong Musician, or Akmu, as they’re known, is a fun film-noir music video that fits the pair’s theatrical melody. In a year when many Korean music videos seemed to be lacking true plots in favor of seeming more avant-garde, “Re-Bye” fits a murder-mystery into its four-minute music video with an old-school flair. It’s a bit Sherlock Holmes meets Baz Luhrmann both in plot and color palette– they may as well have been singing the “Elephant Love Song Medley” from Moulin Rouge— and it’s absolutely delightful to watch. The sibling duo is supremely talented as musicians, but their youthful quirkiness in music videos like “Re-Bye” adds another element to their appeal.

— Tamar

“Skydive” by B.A.P

Who needs James Bond or a Quentin Tarantino film when you can watch a B.A.P’s blockbuster-like 10 minute music video for “Skydive?” The members gave subtle hints on their social media platforms and in their individual teasers prior the release that this music video was going to be the most intense music video, if not even more intense than their 2013 video for “One Shot,” they’ve ever done. That within itself was enough to have all their fans, known as Babyz, on edge because, really, what can be more extreme and vivid than the members engaged in a robbery, shoot out with some thugs, and then the sudden betrayal? “Skydive” not only incorporated yet another robbery, but an all ARMED robbery, with shots ringing left and right 35 seconds in. There’s a kidnapping/hostage situation, murder, and, yes, even more betrayal than the first time around! The anticipation was nonstop, every second of this video had one gasping for air. Because it was constantly scene after epic scene, you’d probably have to watch it several times to fully grasp each and every detail and hints that would later on give away the true culprit. This music video could’ve gone all sorts of wrong, but due to the amazingly shot cinematography and the members superb acting, “Skydive” was totally badass.

— Tam

“One More Day” by Sistar

SISTAR made a risky move with the music video for “One More Day,” their collaboration with Europop songwriter and producer Giorgio Moroder. Not only did the quartet not appear in the video, but the video’s protagonists were two female lovers, and the plot touched upon abuse. Now this may not be a big thing in Western cultures, where LGBTQ+ are somewhat prominent in entertainment and lifestyles, but in South Korea, the majority of the population still consider it a taboo subject. Now the fact that the female leads kill the abusive boyfriend may not be the best representation of the LGBTQ community, it does portray the love story in a dramatic matter and the dangers of an abusive relationship.

— Katherine

“Cheer Up” by TWICE

It’s no secret that TWICE dominated 2016, from album sales to song popularity and everything in between. They even topped our best Korean songs of 2016 list. But what is the source of their success — how did TWICE become the dominating girl group of 2016? At least in my opinion, it’s their music videos. From Jihyo’s cheerleader character to Chaeyoung’s cowboy outfits, the “Cheer Up” music video worked to create vibrant and colorful characters for each member, establishing each one as unique and worthy of individual attention within the larger group framework. With the music video’s changing lenses, there’s something for everyone — Dahyun is poised and regal, Tzuyu is beautiful and elegant, and Momo is badass and sexy, just to give a few examples. The creative direction of this music video highlights TWICE’s biggest strength as a group — personality. The “Cheer Up” music video sent the K-pop world a message loud and clear: TWICE, in all their beauty and stage personality, is here to dominate. And in 2016, they certainly did.

— Kushal

“Forest of Skyscrapers” by Neon Bunny

The only indie artist on our list this year (despite being a more well-known one), Neon Bunny clearly had an advantage when it comes to what she can depict. Given more time and presumably more freedom, director Kim Zi Yong delivered another video for the ages with “Forest of Skyscrapers.” They brought together a number of cinematic influences to comment on modern South Korea’s stagnant population. The sprawling neon cities of Akira and the ephemeral love stories of Wong Kar Wai come to mind as Seoulites try to navigate their lives. It suggests a sort of confusion, a literal kaleidoscope of colours and mind-numbing visuals. However hard they try to get away, speeding down highways on a motorbike, it seems impossible. The irrefutable pull of the neon monolith is punishing.

— Joe

Also on KultScene: Music Video Director Ian Gallagher on Working with Neon Bunny, Co-Directing WINNER

“Fantasy” by Fei

Torn between innocent and hypersexualized, K-pop idol stars are essentially built to fulfill audiences every “Fantasy” through their music videos and performances. 2016 outed Korean pop stars, or idols, as a “healthy” form of pornography, but nobody took it as far as Fei of miss A, who appears in her music video as a virtual peep show dancer. Her blatant, slightly shocking, approach to the topic of sexualizing women comes across as refreshing in an industry that makes numerous attempts to cover up the maturity of its stars. The music video for “Fantasy” is overtly sexual throughout, literally turning Fei into the object of desire for a male viewer, and things get all that much more interesting when virtual Fei comes to life, strips, and takes things to the next level just as the screen cuts to the title card. The video for “Fantasy” is beautifully shot, extremely sultry, and subversive of the industry’s narrative towards female stars.

— Tamar

“Emptiness” by MADTOWN

MADTOWN made an expected (but delightful) change by switching up their music styling and concept when the group released a rather mellow, mid-tempo ballad paired with the chic black and white music video for “Emptiness.” It showcased a tranquil and melancholic atmosphere, the polar opposite from the swaggy and high energy we’ve seen from the group in past videos. In order to match the song’s delicate melody, the music video was muted down a bit, hence the simplistic, clean choreography. MADTOWN’s elegant portrayal of their moments of despair and grief can lead the viewers to suddenly feeling the anguish and sorrow themselves, even if they were feeling happy go lucky prior to watching “Emptiness.” There are moments during the music video that makes one want to clench their chest, due to a sudden surge of heartache. It’s dramatic, but that’s just the effect of the music video.

— Tam

“The Eye” by INFINITE

When you’re preparing to watch an INFINITE music video, there are a few things you can be sure to look forward to: a whole lot of drama and a totally awesome dance break thrown in for good measure. The lyrics of the song suggest that a painful memory (of someone) is trapping the members like a hurricane (or “Typhoon,” as the Korean in the title suggests). And when they think they found peace, they are right in the eye of the storm, still surrounded by the painful memories. The video takes it to another level: L appears in a depressed or dire situation and is then transported to a state between realities where he is confronted by the other members who all represent different emotions. When each member interacts with L (who represents Sadness), the action represents him going through that emotion: Hoya represents Hate and aggressively pushes L, then turns into Woohyun, who represents Regret. All of this happens while L is moving towards a light, which may or may not represent death. In the end, L has the courage and resolve to return back to his reality and live. Director Hwang Soo Ah does a great job creating a complex, philosophical, and intriguing plot that keeps the viewers invested till the very end.

— Katherine

“All In” by Monsta X

Monsta X’s “All In” did wonders for the group in many ways, enabling the group to diversify their hackneyed hip-hop concept. With the music video, the septet deviated away from dance-based music videos to one with actual substance and narratives. Opening with the dystopian ending scene in which the members seem to be either running to or away from something, the video employs a nonlinear mode of storytelling that was not present in their previous videos. Admittedly, because the music video also deals with two storylines — one feautring Shownu and one surrounding Hyungwon and Minhyuk — it is very easy to miss certain nuances upon initial viewing. But even after watching it for the nth time, gleaning for said nuances, we cannot guarantee that all our questions will have an answer. The biggest mystery probably is the one surrounding the relationship between Minhyuk and Hyungwon’s characters, who mutually exhibit homoerotic tendencies especially towards the end in which Minhyuk drowns himself in the tub with Hyungwon while holding hands. The beauty of it all is exactly how director Dee Shin leaves many threads up for interpretation, allowing fans to engage in open-ended discourse and conjecture theories of their own. It’s been a rather popular form of storytelling as of late in K-pop, but is still nevertheless engaging and effective.

— Shelley

“Whistle” by BlackPink

With colorful settings, bright outfits, and memorable choreography, BlackPink‘s “Whistle” stood out in its ability to quickly establish the new group’s personality and musical style. Taking after their YG predecessors 2NE1 and BIGBANG, BlackPink quickly utilizes edgy and eye-popping visuals — Rosé casually sitting on both the Earth and cars buried in sand, Jisoo sitting cross-legged in the middle of three open doorways, Lisa’s hot pink turtle-neck contrasting with her blonde-blue hair — to make the group seem hardcore but also personable. Not to mention, clips of the group driving a car in circles wearing bandanas and baseball caps serve as the video’s main recurring visual element, further establishing the fun badassery concept. And, unlike other girl group music videos this year, “Whistle” boasts a notable lack of smiling, a subtle yet incredibly important aspect of the video. The group instead focuses on giving us the edgy smolder or mischievous glance, once again reinforcing the group’s personality in every closeup shot. The “Whistle” music video clearly sets BlackPink up for success — it sends the immediate message that, if you liked any of the edgier girl groups of K-pop eras past, you’ll love BlackPink just as much.

— Kushal

“The One” by EXO-CBX

Though technically not a music video for whatever reason — SM Entertainment prefers the term “special clip” — EXO-CBX’s music video for “The One” is just too golden not to include on the list. For the first time in an EXO production, the boys, or at least Chen, Baekhyun, and Xiumin, are able to show a different, more silly side to them as they dress up in ridiculous, mismatched clothes and act foolish. EXO’s leader Suho makes a cute cameo as well, filling in for just about every role from Yakult vendor to sanitation worker. Unfortunately, SM missed an opportune moment to cast him as the female love interest as well, which would have given the video a bit more cohesion. Nevertheless, everything about this is still hilariously good fun, and none of the humor comes off forced. At times, Suho even seems like he is going to burst out laughing himself. The video milks the comedy until the very end, where it cuts the accompanying music off before letting it finish completely, leaving a dancing Chen to sing alone and shifting the camera angle to make it seem like we were filming them the entire time. EXO-CBX’s “The One” is just the personal and playful break from the usual self-serious routine that they, and we, all need.

— Shelley

“Hold My Hand” by Lee Hi

While musically we didn’t get exactly what we wanted from Lee Hi’s much awaited comeback, the music video for “Hold My Hand” was near perfection. The aesthetic of the music video was a kawaii explosion, and a beautiful one at that. The pastel color palette, together with the 8-bit graphics, tied in perfectly with the romance and dreaminess of the song and lyrics. It’s all too sweet — just as Lee’s serenade. Plus, the inclusion of her doo-wop backup singers as her side kicks were a cute, quirky touch. Bright, multi color music videos have been a trend for quite some time now (thanks, Digipedi), but “Hold My Hand” managed to give something tried a lovely spin. From Lee holding hands with the camera to the styling to the real and 8-bit backgrounds, it all comes together to create this delightful, little heart skip that makes us all feel young and in love again.

— Alexis

What was your favorite Korean music video 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.