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

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.

Ego tripping, & not, in Korean female rap

 

korean female rappers rap women cheetah jessi yoon mirae tasha tymee

In rap music, ego tripping is the attitude of an individual who brags about themselves in a display of confidence and high self-esteem. Despite not being a necessity for rap lyrics, the confident swagger of ego tripping is definitely a part of hip-hop culture. When it comes to Korean hip-hop, it’s not uncommon to see men rapping about how amazing, rich, and successful they are but, when it comes to the ladies, ego tripping is not as well received in K-hip-hop.

Probably the most relevant female names in Korean rap right now, Jessi and Heize, illustrate very well how Korea feels about female rappers. They both rap, sing, write songs, and have been contestants on the female rap competition show Unpretty Rapstar. However, their styles are very different, and it’s this difference that may explain why Koreans prefer Heize’s music over Jessi’s.

While Heize’s music has more R&B elements and her delivery is a softer rap style with sentimental lyrics that stays away from the more abrasive side of hip-hop, Jessi’s music varies between melancholic ballads and hard-hitting rap anthems. It is on those raps, though, that Jessi showcases the figure that made her become a reference of a “tough unnie” (or ssen unnie in Korean, like her single by the same name), a confident and intimidating female with strong opinions, who raps unapologetically about her skills, looks, and overall awesomeness.


Also on KultScene: This is NOT a competition, Jessi slayed her Los Angeles show

Jessi’s outspoken behavior on the first season of Unpretty Rapstar in 2015 gave her huge success among the global K-hip hop audience. But all of this popularity hasn’t translated into sales for Jessi, at least not in Korea. Her latest mini album, Un2verse, was released in mid-July, and ranked number four on the Billboard World Albums chart a month later, but only reached number 64 on the Gaon Album Charts, the chart of the best-selling albums in Korea.

On the other hand, while we’re writing this in late-August, Heize’s latest mini album /// (너 먹구름 비) is at number 47 on Gaon, even though it’s been almost two months since it was released. Her current single off the album, “You, Clouds, Rain” featuring Shin Yong Jae, is charting at number three at the moment on Gaon. The first single from the album, “Star”, achieved an all kill (a number one position on all of the most relevant Korean charts); this is something that has never happened to any Korean female rapper before. Ever!

Another female hip-hop artist worth mentioning is Yoonmirae (also known as Tasha of MFBTY), the Queen of Hip Hop in Korea, who is kind of an exception. Like Heize, she has reached number one on the charts, —but only with pop ballad songs released as OST for TV dramas, similarly to how Heize’s only peaked with less softer tunes; proving that even though hip-hop itself is a vehicle for empowerment, displays of boasting and self-confidence from Korean female rappers are not as well received as songs that focus on vulnerability and romantic relationships.

Yoonmirae, for example, has paved her way as the most relevant Korean female rapper mostly due to songs in which she raps about her personal struggles as a biracial person in Korea. She became an icon of resistance, representation, empowerment, and freedom for women and multiracial people. Even though she’s also an amazing singer with a delicate voice, it’s her rapping what made her the legend she is, though none of those rap tracks topped charts. Yoon is a strong, fierce woman; she has a bass in her voice when she raps, she curses, she does ego tripping all the time, and she has absolutely no fear or shame to sound cocky.

However, even with all these features and history, Mirae’s most famous solo rap tracks are “Memories” and “Black Happiness,” which, in spite of having straightforward and sensitive lyrics, are ballads. Meanwhile, songs like “Pay Day” or the tracks she released with MFBTY, her hip-hop group with her husband Tiger JK and Bizzy, in which she shows more confidence and brags about her power and confidence, sometimes even confessedly ego tripping (“Oh yes I’m ego trippin’ / Middle finger I’m flippin’ / Oh yes I’m chain heavy / So much ice, look how I’m drippin’”), are never as successful as her softer songs.

Other female rappers who have similarly released ego-trip tracks have also seen minimal success: In “Gucci,” Jessi boasts about driving her own car, being “self-made,” speaking “nothing but the truth,” and having a “gangsta attitude.” In “Cinderella,” Tymee, another Unpretty Rapstar contestant, calls herself “hip-hop god mama” and “rap queen.” In “My Number,” Cheetah, who won the first season of Unpretty Rapstar brags about how being “a TV show champion” made her “a rap star, a celeb, and part of the fashion people.

What do all of these songs have in common? They were released by bold spirited women who are greatly talented and with considerable notoriety in Korea. Everyone knows who Jessi, Tymee, and Cheetah are. They’ve all been prominent figures on Unpretty Rapstar, and they have thousands of followers on social media. But did their singles sell as well as Heize’s? No.

jessi los angeles show concert belasco jessica h.o

And that’s not due to their lack of skills. Cheetah and Jessi were, respectively, the winner and runner up on season one of Unpretty Rapstar and are largely respected as rappers, being called on to participate as guests on rap competitions or features in songs of male rappers quite often. Tymee has one of the most long-lived careers as a female rapper in Korea, being respected as an underground rapper way before turning into E.via, who was sometimes mocked by her controversial concepts, but still praised for her rap skills after switching over to her Tymee name.

Heize, for her part, is a talented and well known rapper too. She was even on Unpretty Rapstar as well. So, basically, what distinguishes her from the ladies we mentioned above is the fact that her style is way more focused on her own fragility and emotions towards sensitive aspects of life and love.

It certainly is not due to the lack of sonic appeal of each woman’s songs either, since all the previously mentioned tracks follow the same hip-hop trends we’ve been hearing in male rappers’ songs on the music charts. It may just be that South Korea isn’t ready for a chart-topping abrasive female, opting for the more sentimental side of these hip-hop artists.


Also on KultScene: ‘Unpretty Rapstar,’ crooked or boost to female Korean rappers?

We’re not going for any girl-hate here, but why is Heize’s music easier to consume than music released by women who have no pudency and are not ashamed of taking pride for their qualities and achievements? Are people not comfortable with women ego tripping?

And this is not an isolated trend to Korean hip hop. We can see this mirrored in K-pop as well, where the resurgence of cute K-pop girl groups have pretty much annihilated the ones with a stronger and empowering concept. (But that’s a story for another time…) It’s simply important to note that this is not something that exists in a vacuum.

So why is this happening? It may or may not have something to do with personal taste in South Korea, where coffee house music reigns, or maybe even with cultural factors. As foreign fans, it’s easy for us to point out the sexism and patriarchal values that explain why a man is most likely to achieve success and respect for bragging about himself than a woman is. But it also may be disrespectful, and imprudent, to single out Korean culture since we’re not Koreans.

The fact that Heize stands between Korean rap’s hottest names is indeed something to be celebrated, but the ideal scenario would be to have other female rappers join her. The problem is not a lack of talented female MCs, so why not?

The female rappers we previously addressed are nothing but a few examples of women who are just as deserving as Heize or any other male rapper that is on the charts right now. If Jessi, Tymee, Cheetah, or Yoon Mirae were men, or if they had stuck to a ballad-ish emotional concept, they would certainly sell better in Korea. It’s unfortunate they haven’t been able to reach the success Heize has at the moment by being themselves. And while Heize’s success is well deserved, the larger theme is that some people are still intimidated by strong, empowered females. But, whatever the reasons for their confidence and ego trips be a limiting factor for success, it’s undeniable that persisting on their truth and sticking to their personal preferences regardless of how they’re seen is an act of resistance from these ladies —and that alone is something worth of great respect.

What are your thoughts on female rappers that ego trip? Let us know your picks 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.

‘Unpretty Rapstar,’ crooked or boost to female Korean rappers?

Rap music in Korea has gained acceptance in recent years to the point where it’s earned space in mainstream culture, primarily through an increase in rap-focused reality shows. But while male hip-hop stars have begun becoming major players in Korea’s entertainment industry, women aren’t doing quite as well.

In the past, Korean rap has been filled with male artists. Women generally appeared only as members of OG hip-hop crews such as Uptown and Honey Family. Nowadays, we get to see more female rappers in Korea, but still very few compared with the hegemony of male rappers on charts, and awards and T.V. shows. But to say that Korea lacks good female MCs would be a false statement. So why aren’t they getting the treatment they deserve? Shows like Mnet’s Unpretty Rapstar highlight the issue.

Some contestants themselves are more problematic than others, but the larger evil is the show’s format rather than specific individuals. Unpretty Rapstar could be a platform for female empowerment, and instead, it appears just to be usurping it for ratings.


Also on KultScene: ‘Unpretty Rapstar’ is Sexist & Promotes Girl-On-Girl Hate

The first season aired in January 2015 and was not only a local sensation, but also appealed to audiences overseas. The second season aired in September 2015 and brought even more attention to more female rappers. The third season aired in July 2016, and ended up catching less attention for the quality of performances and moreso for forcing beefs between the contestants. Not that there wasn’t drama in the script of previous seasons; battles and diss tracks are a common thing in rap music and the hip-hop movement, but compelling women to take it more personally than they are willing to is a whole different thing.

In first season, for example, Tymee said multiple times that she had no problem with Jolly V and no desire to continue fighting her. But it was suggested through the show’s production that the two do so. Season two similarly did not waste opportunities to pit Heize and KittiB against each other on numerous occasions. Moreover, KittiB was constantly body shamed by the show for her curvier silhouette.

On the positive side, the show has contributed a lot to reveal unknown talents and gave more opportunities to female rappers who already had a solid career or were up-and-coming. However, the premise itself is problematic. It leads one to wonder whether a segregated space for women to rap in would be needed if they already had equal opportunities to showcase their work regardless of their gender. Women are able to appear on Show Me The Money, the male-dominated equivalent of Unpretty Rapstar, but few have made it to the final rounds.

Moreover, it’s not only the need for all-woman competition show that is questionable; the execution of the concept doesn’t help much either. This year’s season had less of a focus on the talent and experience of the contestants and instead veered towards focusing on and maximizing the drama between contestants. More often than not, it centered on their physical appearances — far more than it had during the previous two installments.

It is hard to take a show like this seriously when we see legends like Miryo (former member of hip-hop group Honey Family and current member of girl group Brown Eyed Girls) competing next to artists like Kassy, who is actually a singer that occasionally spits a few bars on her songs. Or when we see Grace, who gained more screen time due to charisma and creative outfits than actual talent.

Is that all women are for? To serve as entertainment?

And since we mentioned Miryo, it is relevant to say that even though, apparently, she was there because she wanted to, her presence on the show only serves to support the thesis that Unpretty Rapstar fails to help the cause of female union and empowerment. Kept in due proportion, Miryo is like Tymee (contestant on Unpretty Rapstar 1) and Gilme (contestant on Unpretty Rapstar 2): a talented and respected rapper with enough history to be on the position of a mentor, not a contestant.

Except for Yoon Mirae (who’s au concour in any discussion about female Korean rappers) and some underground legends such as Choi Sam, Rimi, and Sleeq, almost every female rapper with considerable notoriety in Korea has already been on Unpretty Rapstar. When you unite the majority of female talent as competitors, especially considering that these competitors will be judged mostly by men, what you’re saying is that you don’t have women talented enough to be on a position of power, which is false.

Let’s take the winner of Unpretty Rapstar 3 as an example. The very fact that Giant Pink was inserted into the show after being unfairly eliminated from Show Me the Money 5 is problematic.

Watching the cast of Unpretty Rapstar 3 performing on Show Me the Money 5 already gave viewers an idea of what was to come. Just like during Unpretty Rapstar 2, when Truedy got more bars on the group song and was favoured during the entire competition until she won, Giant Pink played a similar role in season 3 by receiving prominence on a performance featured on the same competition she was previously discarded by, as if they wanted people to be happy for her to be reigning on a female exclusive competition though she wasn’t “good enough” to make it in Show Me the Money. It continually reinforces the “you’re good for a girl” ideology; good enough for the girls, but not quite up against guys.


Also on KultScene: Which ‘Unpretty Rapstar’ Contestant Are You? [QUIZ]

And, of course, Giant Pink won, even though she failed multiple times during the competition.

What’s being questioned is not the contestants talent; that’s arbitrary. Both Truedy and Giant Pink are very competent rappers, but the main thing is that it is hard to believe Unpretty Rapstar 3 didn’t intend for Giant Pink to come out as the winner since the beginning. The whole scenario suggests that she would only be able to succeed as long as she did not try to be as good as a man.

The same could be said about Ash-B, a fierce girl with amazing flow who also got eliminated early on on Show Me the Money 5 for no perceptible reason, that she was a woman. She later got reinserted into the third season of Unpretty Rapstar after failing during the second season. This time, Ash-B did much better and went much farther on the competition. But the concerning remains: if she is so qualified, why didn’t they let her show all this talent in a competition that is supposed to be for rappers of any gender?

It doesn’t help at all that women can only get attention when they are seen competing against each other. Instead of criticizing women, we should be asking ourselves why is it that they cannot get appropriate opportunities to showcase their work outside of the little arena in media designed for females only?

With that said, the benefits gained from participating in Unpretty Rapstar can’t be ignored. It got Cheetah and Yezi to be featured as judges in another rap show; KittiB signed with Brand New Music, being now the only female solo act amongst names like Verbal Jint, San E, and P-Type; Heize got an all-kill on music charts with her single “Star” in Dec. 2016; Jessi’s career finally took off after more than 10 years in the business. Those achievements certainly would have been less likely to happen if those ladies hadn’t been on the show.

Will women in Korean rap ever have the respect and success they deserve? Will they be put in spotlight in situations different than forcefully battling their congenial or serving as entertainment? We sure do hope so. While we wait to see about a fourth season, we can surely say that 2017 has potential to be a better year for female rappers and that’s, in a way, thanks to Unpretty Rapstar.

What are your thoughts on Unpretty Rapstar’s portrayal of female rappers? Share your thoughts in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.

Weekly K-Pop Faves July 11-17

Weekly Playlist

Every weekend, KultScene’s team of writers put our heads together to highlight some of our favorite releases from the past week. This Weekly K-pop Faves playlist has a lot of variant styles and features recently released singles by Heize and Dean, M&D (aka Heechul of Super Junior and Jungmo of Trax), and GFRIEND.

“Ulsanbawi” by Kim Heechul & Kim Jungmo (M&D) (Released July 12)

A few days after I casually told someone that I felt it was a pity K-pop hadn’t spread more of Korea’s homegrown sounds, SM Entertainment’s resident (loveable) fools released a brand new trot song. “Ulsanbawi” is actually a trot-rock hybrid created by Super Junior’s Heechul and Trax’s Kim Jungmo (mostly Jungmo). It’s not a song I’ll listen to every day but its release is definitely something that K-pop fans should be aware of thanks to Korea’s long history with trot (the title is also innately Korean- it references a mountain range.) Heechul, who is also a member of of the Super Junior-T trot subunit, shines on the song with his overwrought vocals paired by Jungmo’s electric rifts. It’s not SM Entertainment’s usual MO but I’m definitely a fan. (I.O.I/DIA member Jung Chaeyeon stars in the music video, so there’s also that fun bonus of seeing Heechul act like a vagrant bum.)

— Tamar

“And July (feat. Dean, DJ Friz)” by Heize (Released July 17)

I wasn’t here for “Shut Up & Groove,” but Heize and Dean’s newest collaboration “And July” is a step up. On this new release, Heize’s vocals aren’t as piercing as the first song and the synergy between her singing and rapping are balanced better. Dean, as usual, kills his verses and I’m here for anything that includes his “Ooh’s,” which is a standout in the song, to be honest. The lyrics, I assume, probably talk about a romantic relationship, but the interactions in the music video between the two artists looks more like a petty war between siblings. It’s cute, but if the lyrics are romantic, then it’s a bit weird. Nevertheless, it’s an easy, mellow listen and I’m glad Heize is slowly finding herself as an artist.

— Alexis

“Navillera” by GFriend (Released July 11)

They’ve done it again! GFriend has brought out another catchy bop to continue the summer K-pop rush. While I wish it stood out a little more compared to their other releases, I’m pretty satisfied with the way it came out — as always, GFriend is powerful and strong, but catchy and innocent at the same time. It’s good to see them bringing out their charms in a song that can easily be left on repeat for days on end. “Navillera” tells the K-pop world that GFriend has their own trademark style among girl groups. While other groups have been trying to ride the “GFriend reign,” none of them compare to these girls. GFriend is here to stay, in both their K-pop relevance and their musical style.

— Kushal

Share your picks and thoughts in the comment section below and be sure to subscribe to the site and follow us onFacebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.

5 Songs to Get You Ready for ‘Unpretty Rapstar’ Heize & Truedy’s Los Angeles Show

unpretty rapstar truedy heize los angeles la show k rap korean hip hop

After starting more than a few highly talked about feuds, performing in major stages like 2015 MAMA, and coming out with some of the hottest collaboration tracks of the year, there’s no denying the popularity and influence of the hit show Mnet “Unpretty Rapstar.” Whether we’re talking about season one or two, there’s no doubt that both installments showcased a lot of talented female rappers that are slowly becoming household names. It was only a matter of time before these acts made their way to the US where they’ve also established a fan base.

The first “Unpretty Rapstar” contestant to hold a show in Los Angeles last October was Jessi. But while we still have to wait for that season’s winner, Cheetah, to pay us a visit, the latest winner Truedy and semi-finalist Heize are set to host a K-Pop Club Night in the City of Angels. The two rappers will perform at the Conga Room inside the LA Live on January 22. Tickets are already on sale through Powerhouse and they’re $35. However, this is a 21+ event — sorry kids!


Also on KultScene: This Is Not A Competition: Jessi Slayed Her Los Angeles Show

Unlike Jessi or other “Unpretty Rapstar” participants, Heize and Truedy hadn’t had a long career before appearing in the show. Despite this, the tracks that they have released, either independently or because of the show, were fire. So let’s revisit a few of their songs to get us hyped and ready for the show.

“Don’t Make Money” by Heize

Among the songs in the semi final, Heize’s “Don’t Make Money” is one of the best. With the concept in mind — Heize telling her family not to make money because she’s going to provide for them — paired with the pump up beats make it the perfect song to turn up to.

“If It Wasn’t for Music” by Truedy

Truedy started off the season strong, and that’s how she rapidly landed a feature one of the first songs. And if Verbal Jint being the producer wasn’t awesome enough, season one’s winner Cheetah also featured on the track. Interestingly, Truedy’s old school flow fits perfectly with Vebal Jint’s clean and modern sound. As a result, “If It Wasn’t for Music” offers a perfectly balanced throwback feeling.

“I Know” by Heize

Based on the fierce and sexy image Heize portrayed on “Unpretty Rapstar” and what she repeatedly said throughout it, we’ve come to associate it her with a harder concept. After all, she wants to be the first female rapper signed to Illionaire Records. So imagine our surprise when we came across “I Know,” a song where she sings more than raps — and is not bad at it. On the contrary, “I Know” is a chill song to sway. It’s unlikely that Heize will perform this track on the concert, but even so, we dig it.

“Bandz Up” by Truedy

Compared to her first win track, “Bandz Up” produced by Dok2 fits her hard image better. On this track, we can honestly say Truedy spit fire and showed that her style fits more traditional hip-hop feels rather than something more experimental.

“My Boyfriend Thank You” by Heize

While Heize was still on “Unpretty Rapstar,” news broke that she had dated fellow Korean rapper Crucial Star. Is this song about him? We’re not quite sure. However, we do know that this song resembles Crucial Star’s laid back flow and soft beats. With Heize’s soft and girly vocals, “My Boyfriend Thank You” is also a feel good song.


Also on KultScene: Artist Spotlight: Crucial Star

“After I’ve Wandered a Bit” by Heize

As previously mentioned, Heize and Crucial Star used to date, so it makes sense that two rappers who share a similar style and flow would collaborate. The end result is “After I’ve Wandered a Bit,” a song about taking a break from a relationship. Even if the theme is a bit somber and the rap is serious, Heize’s voice at the chorus gives the song an overall bittersweet feel.

“Pride (feat. Gummy)” by Truedy

Ultimately, Truedy was the season’s winner. And with her crown came the last featuring song, which was a collaboration with singer Gummy. Even if Truedy didn’t produce it herself, “Pride” was tailor made for her, with it’s bouncy, old school hip-hop feel.

Which of these songs are your favorite? 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.