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It’s time to stop infantilizing K-pop idols

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By Shaazia Ebrahim and Fatima Moosa

One of the greatest impacts of the global pandemic and sweeping social movements against police brutality and for Black Lives Matter is the questioning of the celebrity. As a society we have increasingly been questioning the role of the celebrity and how much power we, as fans, attribute to them. K-pop idols are not exempt from this conversation. 

Throughout pop music history, groups and bands have formed close relationships with their fans. Pop artists around the world owe a lot to their fanbase and interact with fans in various different ways. They release new music and special merchandise, hosting concerts and releasing special interviews, documentaries and films specifically targeted at fan audiences. This is doubly true for K-pop, as fans and the idols they stan share a unique relationship, built over years and through different media narratives. That bond is a large part of the allure of being a K-pop fan for many. 

It’s been long understood that K-pop artists interact with their fans differently. K-pop idols are particularly deferential towards their fans, and just about all K-pop groups and idols have special names for their fans. Idols have been known to write songs specifically for their fans. They interact with their fans through online platforms and in real life through fan meets and concerts. In turn, fans give their all for the artists they love, through things like time, action, and money spent on them to help further their presence in the world. 

But this relationship is not always positive. K-pop fans are fiercely protective over their favourite idols and only rarely hold stars accountable for problematic behavior.

On K-pop Stan Twitter especially, there is sometimes a tendency to ignore criticism against idols. Fandom in general closes ranks and defends their faves by attacking the critic. This is accompanied by a need for those fans to “protect” the artist, fearing what it will mean to the artist if they find out about this criticism, or what the repercussions will be. 

Often artists are subjected to harsh comments and hate. New music, content and even public behaviour from idols are scrutinised by internet users and rival fans. This hatred can and has had severe consequences on the artists subjected to it. 

But for fans, there is a responsibility to identify and distinguish between valid criticism as opposed to the hate and unnecessary criticism. Just because something is not positive, does not automatically make it hateful or toxic criticism. 

Often, when some fans call out their faves’ problematic behaviours they are labelled as antis. There’s no arguing against the fact that within the K-pop industry and K-pop fandoms, anti fans are a big thing. Antis are people on the internet who find every fault with artists they dislike. They are often part of rival fandoms and will dig up any questionable actions idols or groups have taken in order to discredit them. Antis are also known to usually bring forward these harmful types of information before a comeback or any such important event within the group, seemingly attempting to negatively impact conversations. They can also threaten idols using social media. 

Also on KultScene: K-POP ACTIVISM MUST GO FURTHER THAN FANCAMS

But every criticism leveled against an artist is not an attack from an anti. Idols should not be protected to the degree where they don’t end up taking responsibility for their problematic actions or even understand why their behaviour is wrong. 

By labelling any and all criticism against their faves as being the work of antis, fans are in danger of absolving them from taking responsibility for their behaviour. Well-meaning enough in its intention, by constantly making these excuses, fans could actually be infantilizing their idols.

The most common definition of “infantilization” is treating someone like a child, even if they no longer are. When fans treat their idols like someone who needs to be protected from all the ills of the world, this kind of behaviour can be seen as infantilization. Another way this manifests is when fans presume to know what their faves are thinking or meaning with a particular action. 

This can be seen in the way some fans responded to BLACKPINK’s use of a statue of a Hindu deity as a prop in their music video of “How You Like That.” During Lisa’s solo scene, she is seated on a throne with a statue of Hindu deity Ganesha on the floor beside her. Hindu fans demanded an apology from YG Entertainment saying that Hinduism is not an aesthetic and that it’s disrespectful to place a deity on the floor, trending things like #mycultureisnotyouraesthetic and #YGApologise. With the uproar, YG eventually edited it out, but didn’t publicly acknowledge the issue.

Some fans defended Blackpink saying the group has no control over what they wear or the staging for their music videos, with some even harassing Indian and Hindu Blinks. Fans accused those calling Blackpink out as antis, dragging the group so their own particular favorite groups can shine. These Blinks trended #YGPROTECTBLACKPINK imploring YG to protect Blackpink from “defamation” and “malicious tweets”. 

Blackpink have been accused of cultural appropriation before and each time fans defended them without considering nuances. In the video of “Kill This Love,” for example, Jennie wore a Bindi and Maang Teeka and Lisa wore box braids.

Another instance of this behaviour happened when AB6IX’s Youngmin was caught drunk driving in June 2020. No one was seriously injured during the incident but Youngmin left the group following the incident. Some fans decried this decision and expressed their sympathy for Youngmin.

But his actions could have had serious repercussions. If he was old enough to drink alcohol and drive a car, then it is evident that Youngmin should take responsibility; whether that means leaving his group is up for debate. The same act of taking responsibility and changing his ways would be expected of any person of his age, and fans should be more aware of this, rather than trying to defend their favorite stars’ wrongdoing. 

BTS member Suga was also recently the centre of attention. Some online users pointed out in his latest mixtape, he used cult leader Jim Jones’ sermon to introduce his song “What Do You Think?” The cult leader has been associated with the mass murder-suicide of 909 people, and for preying on Black people in particular. While BTS’s company, BigHit Entertainment later issued an apology and removed the sampling, many fans defended him and felt that it wasn’t necessary. 

Fans also excused the sampling saying that Suga meant to criticise Jones in the song, infantilizing the artist by framing his own creative endeavor in their own perspective, regardless of the actuality of his feelings.“If you don’t know why he used it then shut up pls, literally causing unnecessary hate to bring good people down That way of sampling speech to mock someone was used by hip-hop artists many times before,” an ARMY reportedly tweeted, offering an interpretation as defense, regardless of the artist not saying such. 

Fans regularly provide similar excuses for idols engaging in problematic behaviours, especially seen when K-pop idols engage in culturally insensitive behavior at best, antiBlackness at worst.

Also on KultScene: WHY K-POP IDOLS SHOULD SUPPORT & ENGAGE WITH BLACK LIVES MATTER

Recently, Stray Kids released an episode of their variety show, Finding SKZ: God Edition. During the episode the members dressed up in various costumes with Hyungin wearing thick red lips and a curly-haired afro wig. This look donned by Hyungin seemed to be an imitation of Michol, a character which has been criticised for being a Blackface caricature. 

But fans took to social media to say he was putting on a caricature of a Korean cartoon character called Go Eunae. They also said anyone calling Hyungin’s “look” racist don’t understand Blackface.

Others took to social media to explain that saying those caricatures were racist and shouldn’t be explaining to Black people what Blackface is. 

This isn’t the first time the issue’s come up, and fans reacted this way: similar excuses were made for EXO-CBX when Baekhyun applied lipstick to Chen’s face, making his lips extra huge, in what looked like Blackface. Chen then said that he looked like Michol.

Hyungin and Stray Kids later addressed the issue. They posted on Instagram a message saying: “Yet, we are still lacking in many things and we are trying our hardest to become better. We would like to apologize to anyone if we have stepped on a rake. It was never our intention but due to our lack of understanding.” However, the initial reactions from many fans showed he isn’t even allowed to be accountable. Instead, fans seek to explain his behaviour away saying that this is something he grew up with.

Given how entrenched racism and antiBlackness is globally, it is especially important to hold idols accountable when they are displaying behaviours that perpetuate racism and anti-Blackness. Criticism and conversations, not denial, is needed. 

It’s important to question how fans hold their idols accountable. Fans must be aware that their faves are adult human beings, capable of making mistakes and repenting like any other. Idols’ problematic behaviours going unchecked is a reflection of an uncritical and complicit society. When idols engage in behaviour that harms certain groups of people through cultural or religious insensitivity or racism or when they engage in irresponsible behaviour, they must be called out. Their platforms mean that their actions can be detrimental to marginalised groups and set harmful precedents for their younger or more dedicated fans. This is not to harm, it is to help them grow and avoid hurting others in the future with their behavior.  

This is particularly important as we support movements like Black Lives Matter and #MeToo. Celebrities have the power to amplify or derail these movements given the platform they have. But more so, fans have the platform to overpower these important movements if they consistently defend their favs without consideration for the impact of idols’ actions. 

Want to support Black people and Black-led movements for justice? Donate to the TGI Justice Project, sign this petition demanding justice for Toyin Salau, follow/donate to the African American Policy Forum (donation link here), and learn more about many calls to action here.

KultScene is a writer-driven website dedicated to creating a platform where diverse voices’ takes on K-pop can be heard. If you like this post and would like to see more by helping support KultScene’s writers fund, please email us for more details.

The 12 LOONA Solo Singles Ranked

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Finally after a year and five months, the very last LOONA girl, Olivia Hye, was revealed. It’s a testament to the time and effort put into the project that so many people were eagerly anticipating this moment and the moments still to come. LOONA has given us probably the most interesting debut roll out in K-pop (all music?) history, considering that twelve girls were rolled out over that year and a half through twelve solo singles, 4 sub-unit singles (with more to come), and countless fan theories about what it all meant. To look back on this all before the last unit finish out the debut project we ranked the twelve solo singles.

12. “Around You” by Hyunjin

Hyunjin has the undesirable position of starting us off with her solo track “Around You.” Produced by Lee Juhyung of Monotree, “Around You” is by no means a bad song. Its reverberating piano refrain is in fact a gorgeously simple riff to build a song around. It is helped along the way by some more crisp stabs of the keys and glances of guitar details. Structurally the track falters though. By moving towards a more conventional chorus and adding more parts “Around You” loses the fragility of its opening. That frailty worked wonders with Hyunjin’s equally weak voice as she sang of her foolish patience, and if it had remained small and instead gone for a big change at the climax it could have held onto that power longer. This begs the question though, could Hyunjin have even been able to pull that off? I guess we’ll find out with LOONA’s debut.

 

11. “Love Cherry Motion” by Choerry

Choerry is the member of LOONA who exists on all sides of the Mobius. To the uninitiated that just means she can interact with any of the other members right now. She’s also one of the most energetic of them all and musically both of these traits are very clear in “Love Cherry Motion.” Her bubbliness comes through right from the beginning and makes the song as fresh as it should sound for the summer. Its pre-chorus delves into deep bass EDM territory and finally culminates with Middle-Eastern style synths to change things around. Switching genres on a whim is an overdone staple in K-pop at this stage and “Love Cherry Motion” feels like LOONA was pandering to that. Without her story, the song would be just another version of that. Producers Ollipop, Hayley Aitken, and Kanata Okajima do handle it well though. They let the darker sound take over for the bridge before transitioning back into the softer side with an ease they seemingly wanted to avoid at first. They tell the story of Choerry’s flexibility in the story of LOONA but also how it feels for a young girl to fall in love.

10. “One and Only” by Go Won

The last few girls of the LOONA project were unlucky in that they had to live up to increasingly high expectations. It’s a somewhat unfair prospect given that the solo songs as a whole are meant more as calling cards for the particular members rather than singles built to chart. Go Won’s “One and Only” is, like her, slight and mysterious. Produced by Darren “Baby Dee Beats” Smith, “One and Only” is shimmering but simple synth pop. Go Won delivers an equally simple vocal in variety of ways amid the synths and processed drums. She half-chants half-raps her wonderful feelings of self-love brought on by the moonlight, raising her pitch with each line, mimicking the ascending synth; Go Won’s self-love is simple but comes from hard, repetitious work. But, apart from the bridge, “One and Only” undergoes essentially zero structural changes. It is straightforward to a fault, the song doesn’t really have to go anywhere, but that’s because Go Won doesn’t either. She is happy being her one and only.

 

9. “Eclipse” by Kim Lip

Kim Lip changed it all. From the opening chords of “Eclipse” and Lip’s more mature voice, it was clear LOONA were starting off on a new path. “Eclipse” grows with impassioned ease, building an eclectic bed of sounds through which Lip can sing between. Even from just the music video she was by far the most natural performer, blatantly a girl the group could be built around. Produced by Daniel “Obi” Klein and Charli Taft, “Eclipse” was a new style for LOONA with a silky variety of synths. The bridge is a moment to savour, fingersnaps and gorgeous vocals slowing things down to reveal the depth of what Kim Lip can do. Over time however, “Eclipse” grew somewhat tired. It feels too busy in comparison to LOONA’s more simple moments and not busy enough compared to what the ODD EYE CIRCLE girls would do after her. Its impact came from its surprise factor but couldn’t hold attention much longer after that.

8. “Egoist” by Olivia Hye feat. Jinsoul

Closing out the solo cycle of LOONA was Olivia Hye and her song “Egoist.” Olivia enlisted Jinsoul to feature as well as taking on her future bass sound. “Egoist” is a less volatile and unfortunately less interesting take on what Jinsoul previously displayed, though. The production, by Artronic Waves, LAB301, and Pablo Groove, is filled with great and varying details, from the repurposed whistles to the always growing percussions. Olivia can’t quite match the song for personality though. She is at first cold, and from among bassy moody synths and piano she sings of a broken relationship. She’s hiding her feelings, and in their place she only shows pain. As the song moves forwards, stronger more expressive synths take over from the piano. They lift Olivia not to express her emotions but forget them. She learns to love herself but unconvincingly so, leaving the song a bit lacking.

Also on KultScene: WJSN’S “DREAMS COME TRUE” MUSIC VIDEO & SONG REVIEW

7. “Everyday I Love You” by Vivi feat. Haseul

LOONA’s sole Chinese member Vivi faced a similar challenge as Hyunjin, failing to make her song strong enough to stand alone despite her weak voice. For this, the LOONA team went for a throwback vibe. On “Everyday I Love You” Vivi reveals her feelings through hushed, breathy vocals over some quintessential 90s beats, while synths shimmer as a guitar nervously plucks out an accompaniment. Everything comes together for an exciting chorus. In the absolute highlight of the track, the aforementioned guitar slides to introduce the chorus, it’s a cliched technique at this stage but that is precisely why it works so well. Horns join as Vivi pushes her small voice to high pitched delights. It’s one of the most simple but fun moments in all of LOONA’s discography.

 

6. “Vivid” by Heejin

LOONA began as they meant to go on, with Heejin and Monotree releasing “Vivid.” As an opener it is odd but no less polished than everything that followed it. “Vivid” is a brash confident offering from Heejin. Her voice goes up and down with ease, as she inflects her words with a cheeky rasp over filtered brass and piano. Her ease as a vocalist and acting in the video were a clear warning that these girls were here for serious business. At first watch I thought she was a new soloist, completely ready to take on the likes of Lim Kim with a more youthful quirky take. But even knowing that she is only one small part of an unknown whole doesn’t change how good this was though.

5. “Heart Attack” by Chuu

Vocally none of the girls quite matched Chuu in terms of personality on their solo tracks. She teases us at first, leaving small breaths between each line as she gradually rises to the chorus. As soon as she reaches it though, she drops the intensity only to rise it towards the end once again. From there she doesn’t have a chance to breathe, showing some of the biggest vocals LOONA has seen, with raps and adorable little “ooh oohs” for added color.” Ollipop and Hayley Aitken return to the LOONAverse to once again bridge gaps between the girls. Here they bring back the orchestral elements of LOONA ⅓ but don’t shy away from more modern beats and details. They weave a variety of horns, pianos, and synths around Chuu’s voice, constantly challenging her to one up herself. She matches them step for step and they come together brilliantly on the climax, letting go of any restraints that might have been holding them back.

 

4. “New” by Yves

Yves bit the apple and led LOONA out of Eden with her solo track, “New.” Similar to Kim Lip she opened her era with supreme confidence, showcasing strong vocals and dancing as she easily performs to the retro stylings of Brooke Toia, Daniel Caeser, and Ludwing Lindell; it’s 80s synth pop through a modern lens. The production is deceptively simple, with just synths, a beat, and Yves’ voice. In the first verse, the beat doesn’t fully reveal itself at first, starting with just finger snaps and a bass drum but in the second one, an ascending high hat is added, slowly rising to the chorus. Those same few elements are used in the chorus and to great dramatic effect: the synths are heavy and satisfying, and Yves’ vocals airy but totally under her control. This magnificent drama tells a story of self-confidence, a tale that Yves acts out with such sincerity.

Also on KultScene: K-POP UNMUTED: JAZZ & K-POP

3. “Singing in the Rain” by Jinsoul

Behind the languid chorus of “Singing in the Rain” lies LOONA’s most complex song to date. Jinsoul’s luscious future-bass track (produced by Caesar & Loui) juggles a number of sections, all of which come together in the end to crushing effect. It opens with the most exciting and varied drum beat I’ve heard in years, and slowly rises and falls. The complexity is helped by her vocal range, as she was the first one to rap and sing in her song giving “Singing In The Rain” an edge when it comes to the second verse. A different pre-chorus is also added for the second chorus, lending the song a surprising, driving intent. It’s essentially a series of overlapping and intersecting circles, growing in intensity with every new one added. The track culminates with the genuine Hollywood euphoria Jinsoul had been looking for. “I used to be untouchable and dangerous” she sings, suggesting a wicked unpredictability to her.

2. “Kiss Later” by Yeojin

No track was helped more by Monotree and LOONA’s dedication to using real instruments and orchestras than “Kiss Later”. Yeojin’s solo is a Broadway musical-inspired pop explosion that really fits the young girl’s voice. It starts off with a soft, shimmering melody, and Yeojin uses her tinny vocals to great effect before the song crashes into a frenzy of strings, horns, and percussion. It’s such a satisfying pay-off, and lends the rest of the song an unwavering kinetic energy. The music blends masterfully with Yeojin’s voice as she likes to talk-sing at times, even as she playfully follows the pointed details of the track with great strong syllables. As the youngest member of LOONA, her anxieties are rendered almost like a game. She understands that there are adult concepts at play and can avoid them, but doesn’t, and still has the most fun out of anyone. There hasn’t been a song in the last few years that quite matches “Kiss Later” for fun on every level.

 

1. “Let Me In” by Haseul

Ending LOONA’s first year was Haseul, with her soft voice whispering confusion of her identity on “Let Me In.” The song is the key to understanding the first five girls of LOONA, a track that rejects common pop rules in favour of building a unique world. Written and Produced by 오레오 [Oreo] and arranged by 웅 킴 [Oong Kim] “Let me in” is a purely orchestral song with no regular beat or modern instruments. Among this Haseul restrains herself at first. Her voice, pitched beautifully high, tells of a love so strong she feels like she is becoming one with her lover. These joyous feelings are highlighted by stunning musical details, including the tweets of a piccolo, delicate pulls of a harp, and, most of all, the strings that constantly change. It builds a sense of history made believable thanks to Haseul tiptoeing right up to her range; her voice is strong but vulnerable. Overall, Haseul and “Let Me In” define the identity struggle that the whole LOONA project was about. On the cusp of womanhood, these girls felt the push and pull of various paths and this song contains the dangers and joys of all those paths.

How would you rank all of LOONA’s solo singles? Let us know 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.

The story of LOONA: The first five girls

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As most of you will know by now, LOONA are one of the hottest up and coming properties in all of K-pop. Managed by Blockberry Creative, a subsidiary of Polaris Entertainment (Ladies’ Code’s company) their hook is that starting from October 2016 they have been debuting one girl per month with a plan to launch the full girl group when all 12 members have been revealed. It is a tease that is lasting over a year and will, according to the company, culminate at the beginning of 2018 when the group debuts. The financial and time commitment is impressive but naturally, it would be nothing without quality work behind it.

Of the girls who have debuted so far it’s easy to split them into two groups. The first five, Heejin, Hyunjin, Haseul, Yeojin, and Vivi represent an innocent image. The most recent trio of Kim Lip, Jinsoul, and Choerry have more mature images. From the outside they seem fairly interchangeable so what really makes this whole endeavour work is the music. The sounds of the individual girls each build a particular world for them and their respective groups. Each one tells a small part of a bigger story with a distinct personal touch so that when you listen to them as a whole these ideas come out naturally.

The first five girls of Blockberry Creative’s ambitious girl group LOONA represent not just the past but their potential. The quintet were painted with feminine images while their music was all imbued with classical touches. Each track is connected to the past in some way either through its style or the nature of its production, as they began to create a timeline for the story of LOONA.

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

On October 4th 2016, the music video for “Vivid” by Heejin was released. Before the music even starts there is the sound of a record spinning as she is immediately positioning herself in a previous time. What follows is a bold and brassy pop stomper. The music is grounded in physical instruments; the brass, piano and drums are pretty much all that’s there. Aside from a couple digital effects towards the end, they all sound live as well. This give the song a physicality that is the main factor in creating the sound for these girls. Heejin is painting the world she wants to see as a LOONA member, “Fill me with many colours, red, orange, yellow, green, something highlight.” She sets the stage when we didn’t even know there was one.

Hyunjin was decidedly more simple. Her song, “Around You,” is a cold piano-led ballad. She quietly coos about waiting for the boy she likes, hoping he will notice her but not expecting anything. There’s a sense of history to the way the piano reverberates, Hyunjin’s frail voice as well seems hurt. “I’m still not brave yet, So I’m leaving silently again,” she finishes the song with. Not only are the instruments acoustic but their sparseness creates a tone that is equally dense with feeling. There’s a sense of mystery that goes along with this history too that builds with each release. The mystery of these girls’ past but also of what LOONA as a whole will be.

This feeling doesn’t come from just the fact that the instruments are not electronic though. The styles LOONA used in the following releases were decidedly retro to counteract this. Chinese member Vivi’s “Everyday I Love You” is an adorable 90s throwback complete with a perfect overexposed video. The synths used are light, twinkly, and very in much in with the time of the setting in that they don’t actually do all the heavy lifting. They are accompanied by keyboards, brass, and a guitar, whose slide before the chorus is the clincher. It does extremely well to sidestep cringiness toward something that feels totally genuine and nostalgic. Vivi’s airy vocals sing “Like a fool, I’m thinking of you, And another day passes.” Vivi is trapped waiting for something. The nostalgia of her music is a barrier to her true feelings and prevents her from moving forward.

The first two sub-units of LOONA, Heejin and Hyunjin’s “I’ll Be There” and LOONA ⅓’s “Love and Live” use 80s sounds for their retro stylings. “Love and Live” has shimmering synths that combine so well with the orchestral work. The production is top class but that same classic feeling comes through. On “I’ll Be There” it’s the electronic drums. Their satisfying rolls and snaps recall the heyday of 80s electro. The lyrics for both are again about either waiting or missing a boy or wanting to prove they are good enough to be there for him. However hard they try, the girls can’t seem to get to a place of comfort with their emotions.

Also on KultScene: Text to Text: DIA and Terrence Malick’s modern romance

Youngest member, Yeojin, didn’t go with a particular time period for her sound but has a musical style familiar to anyone listening. “Kiss Later” begins with a soft, shimmering melody, Yeojin uses her tiny cutesy voice to great effect before crashing into a frenzy of strings, horns, and percussion. At only fourteen years old, Yeojin’s time waiting for love is somewhat similar to the other girls but different in intent. Being so young, her present is not like the other girls. They wait thinking of their past while she needs to wait on account of her past is not so distant. She asks the boy to wait instead. For LOONA she is the suggestion of a future that can move forward. While the other girls seem to be almost apathetic at this stage as they look towards the past, Yeojin is still excited about moving forward.

Her Broadway style song is particularly apt thanks not just to its classical nature but its timelessness. The music matches her excitement while its history is the natural fit for her current state. She is growing up and her story is an appealing enigma.

The final song of the first five girls does not bring the mystery to a close however. LOONA ⅓’s second single, “Sonatine,” is in fact titled “Unknown/Mysterious Secret” in Korean. They jettison standard pop rules in favour of an almost purely orchestral track. The string work is beautiful and helped by a Latin breakdown and small synth parts. The vocals of Heejin and Haseul are strong while Hyunjin and Vivi provide a necessary layer of vulnerability. The girls yearn for a future despite its path being unknown, yet their songs remain stuck in a sonic past they are comfortable with. It’s not a contradiction so much as they are waiting for someone, or something, to come find them, finally seeing that “A new world will be opened to us.”

Before this dramatic ending, however, someone already put out an orchestral song and did it without any electronic interference. Haseul, the proto-leader of LOONA, was the third girl with her song “Let me in.” Haseul’s beautifully restrained voice plays alongside piccolo tweets and delicate pulls of a harp. She sings about feeling like she is literally becoming the boy she loves, she is hesitant but eventually concedes to the relentless pull of the rising moon. The music provides the sense of history for her story and connects Haseul not just to her past but to nature as well. “Will I be you? Will you be me?” she asks, confused about this sudden love and change of her identity. As the girls wait impatiently, Haseul is already deep in love, to the point of losing sight of herself. She represents a possible future for each of them. A chance for them to become one with their love, a chance for all these disparate girls to come together.

When going for such a grand scheme as LOONA are, their approach was the perfect one. Building a believable fictional world requires a lot of time and effort put into details that are not always obvious. If they had gone with the same concept without this sort of music it still would have been an incredibly interesting project. What Polaris have done is create something you could almost touch, a world which these girls truly inhabit. This is all thanks to the physicality of the music. Put them in a playlist in order and listen with a good pair of headphone. The minutiae of songs like “Let me in” become even better and songs like “Everyday I Love You” which was one I ignored for a bit are given new life.

At this stage though, we only knew five girls (that has since changed). As stated in “Sonatine,” the future was still a mystery and few clues were left to what it was. The song itself does provide one final important clue though. As the strings swell to a close, the tiny synth details become a bit clearer. The final few sounds we hear are undecipherable but undoubtedly electronic. As it fades slowly out, the future (or present) of LOONA is quietly suggested.

What’s your favourite LOONA song so far? 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.

Weekly K-pop faves: November 14-20

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Each week, KultScene’s writers highlight a few recently released songs from Korea that we’re big fans of. The middle of November has surprised us a bit and we picked some music featuring acts like KNK, Super Junior, Buzz, and upcoming girl group LOOΠΔ.

“U” by KNK (Released Nov. 18)

I’m about to make a bold statement, but it’s one I’ll stand by until the end: KNK is the only worthwhile 2016 male debut group. With their newest release, “U,” the quintet further establish what’s been clear from the get go: they’re really not doing anything new in K-pop, but what they do, they do it well. Angsty and powerful performances, tight choreographies, and killer visuals; what’s not to like? We all joined the K-pop fandom for some variety of these reasons. “U” is a dance track reminiscent of, like everything else they do (no shade!), TVXQ. It’s a solid piece, and like KNK, it’s not breaking any molds or offering anything new, but it’s good nonetheless.

— Alexis

Also on KultScene: This is the hardest K-pop quiz ever

”Sweet Dreams” by Kim Heechul & Min Kyung Hoon (Released Nov. 19)

Super Junior is known for their dance hits and main vocals, but I’m probably one of the few people in this world who think that most K-pop fans out there are sleeping on how good Kim Heechul is as a vocalist. Over the years, he’s released several collaborative tracks with popular rock vocalists and “Sweet Dreams” with Buzz’s Min Kyung Hoon is another solid rock ballad that emphasizes just how good Kim Heechul is as a vocalist. Plus it’s a really emotionally-wrought rock ballad that deserve multiple listens. The music video, featuring the pair, Twice’s Momo, and the cast of Knowing Brothers is comical and heartbreaking, and the perfect vehicle for this song. The video also was preceded by a teaser image that spurred many rumors of SM Entertainment featuring a same sex couple in the video, so watch closely for the quiet love triangle.

— Tamar

”I’ll Be There” by Hyunjin & Heejin of LOOΠΔ (released Nov. 16)

Exciting new girl group LOOΠΔ continues to tease their debut. While a group with 12 members, only two have so far been revealed and they already have three songs and music videos out. Their latest track “I’ll Be There,” a duet between the two known members Hyunjin and Heejin adds another element to what they have shown already. It’s a synth-infused disco bop that showcases a more fun, energetic side to them. No info is out yet but it also sounds like it continues their collaboration with producers Monotree. Whether Digipedi did the video or not is harder to tell. Given these three releases I am getting seriously hyped for LOOΠΔ despite the time it seems to be taking to debut them all.

— Joe

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