One of the symptoms of the churning waters of 2016 in K-Pop was the comparative evaporation of full album releases from big players in the industry. Whereas every previous year I’ve done this countdown has brought a reliable salvo of well-polished, high-variety SM releases – usually led by f(x) – and a breakout LP or two with strong devotion to a decidedly non-Korean concept – think IU’s Modern Times or Wonder Girls’ REBOOT – 2016 had neither. If your first thought is that this might translate to a bloodbath of competitive mini-albums, you’d be right, as hedging bets seemed to be the name of the game for the big Korean entertainment companies this year. Luckily there were still some real gems spread throughout the year for fans of longer form K-Pop, and you can find my favourites below.
For the purposes of this list a mini-album is a release between four and seven tracks long, while a full album holds eight or more.
. -◊-◊-◊-◊- VR BEST OF 2016 DISCLAIMER This list represents my opinion only. I am not asserting any kind of superiority or self-importance by presenting it as I have. My opinion is not fact. Music is a very personal thing and if you actually agree with me 100%, that’s strange. Fun, but strange. Respectful disagreement is very welcome. -◊-◊-◊-◊-
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MINI ALBUMS
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5. The Velvet – Red Velvet
I’m just such a sucker for clearly defined concepts when it comes to albums of any kind, so Red Velvet’s The Velvet was always going to have a bit of a leg-up in a crowded year for quality K-Pop minis. As a follow-up to last year’s energetic, off-kilter The Red, the idea behind The Velvet is to show off the softer, more conventional side to the quintet that is in theory build into the group’s very identity. And for the most part, it pulls the idea off, with only the robotic rhythm of Cool Hot Sweet Love there to indicate that this is even the same people who did The Red. While some may find the lower tempo and less experimental flavour a bit boring, if the 90s warble of lead track One of These Nights is any indication of the kind of song we’ll get in the future from this half of the Red Velvet discography, I’m in. And that’s before I mention Rose Scent Breeze, the most glorious instance of cheesy, karaoke-friendly ballad goodness I’ve heard in a long time. I have screamed out the chorus of this song on late drives home more times than I care to admit.
Wow, five years of listening to K-Pop. I’m not sure how to feel really.
When I first discovered the increasingly wide genre back in 2012, talk of a “five year curse” was prevalent – the idea that K-Pop groups, especially female ones, seem unable to stay together for much longer than half a decade. And though the supposed rule has hardly been exact in its application, 2016 is sure as hell going to be remembered as a year of falling dominoes in the world of K-Pop groups. In the same year that the Brown Eyed Girls celebrated an unprecedented full decade without a member change, the likes of Miss A, Kara (for real this time), 4Minute, Rainbow and 2NE1 – all of whom were in top form when I started out – bit the dust. Other big acts lost important members (B2ST) or finally shuffled off to their mandatory military service (Bigbang), in the process well and truly solidifying the shift in Korean music generations that arguably started in 2014. The landscape is now almost unrecognisable from the days of Gangnam Style.
Of course some things never change, and history is bound to repeat. Though there are more successful soloists, more acoustic guitars, more rappers and heavier EDM beats around than ever before, K-Pop’s affiliation with cutesy girl group concepts returned in a big way in 2016 – especially among mid-tier acts – with barely a trace of the often-tacky “sexy” stylings of the last few years. And while we’re on the subject, it’s kind of a cool novelty to see each of the Big Three Korean entertainment companies bringing a properly successful female group to the table at the same time. That arguably hasn’t happened since 2012, at the tail end of the Wonder Girls/SNSD/2NE1 glory days. Now we have Twice/Red Velvet/Blackpink, and they have cute/weird/cool covered quite well respectively.
But I’m not here to write a dissertation; I’m here to count down my top 15 favourite K-Pop songs of the year, and there are a lot of different kinds of tracks to cover. So let’s do that, for the fifth time on Vagrant Rant.
No more than one song from a group/solo/collaboration can be eligible for this list, and it only takes into account songs that have a corresponding music video and feature Korean language lyrics. Every aspect of the release, visual and otherwise, is considered, but overwhelmingly the audio comes first.
. -◊-◊-◊-◊- VR BEST OF 2016 DISCLAIMER This list represents my opinion only. I am not asserting any kind of superiority or self-importance by presenting it as I have. My opinion is not fact. Music is a very personal thing and if you actually agree with me 100%, that’s strange. Fun, but strange. Respectful disagreement is very welcome. -◊-◊-◊-◊-
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15. Last Dance – Bigbang
I hope you’ll allow me a sentimental entry to kick things off.
Bigbang may be a YG Entertainment act, and true to their label they tease fans regularly with releases that don’t actually release for months or years after they are first mentioned. But they’ve been around in some way or another, without any real hint of breaking up, for ten years, and the gigantic quintet has given us a lot of fine memories. So on the eve of their mandated military service they released, alongside two other pretty decent songs, this heartstring-puller, and its emotional impact feels earned. Last Dance gives Bigbang a contemplative track that feels rather, shall we say, final, particularly alongside its brooding MV. There ain’t nothing wrong with it musically, though, providing plenty of Bigbang staples like growling Daesang/smooth Taeyang vocals, a bassy T.O.P rap and a soaring chorus that ends with a definitive full stop. Good luck to ’em. .
Another year, another dual-pronged countdown for the uncommon – and much appreciated – K-Pop album fan. If you’re reading this you’re probably either looking for some recommendations to expand your music horizons, or you are in very, very deep with Korean pop music. Sometimes the flashy K-Pop surface singles aren’t what you feel like listening to, and you want to see what weird and wonderful B-sides/album compositions are out there in the K-Pop world.
Well the good news is that 2015 was just as good a year for Korean albums as it was for the MV tracks, and I’m here to give you my opinion on some of the better ones. This time around, you might actually be able to listen to these in full, because 2015 wasn’t just a big year for K-Pop albums in terms of quality, but in terms of accessibility.
That’s right, the advent of Apple Music back in June was a pretty sizeable game-changer for album fans living outside of Korea. Due to the California giant’s insane worldwide reach, most K-Pop releases make it onto iTunes, and that phenomenon translates to Apple Music streaming availability almost one-to-one. So if you have a membership you can now browse the delights and the duds of K-Pop’s longer form to your heart’s content. For real.
As usual the list is split into two top fives – one for Mini Albums (your EPs, basically) and one for Full Albums, which qualify when they contain eight or more tracks (like LPs, yo). Also, there are a couple of albums that would have made this list – Big Bang’s MADE and iKon’s Welcome Back – had their labels not insisted these releases “aren’t complete yet”. So I gave them the benefit of the doubt for next year.
. -◊-◊-◊-◊- VR BEST OF 2015 DISCLAIMER This list represents my opinion only. I am not asserting any kind of superiority or self-importance by presenting it as I have. My opinion is not fact. If you actually agree with me 100%, that’s weird. Cool, but definitely weird. Respectful disagreement is most welcome. -◊-◊-◊-◊-
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MINI ALBUMS
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5. Pink Funky – MAMAMOO
MAMAMOO’s early momentum continued in 2015 with a huge number of individual member collaborations, MV releases and infectiously energetic live performances, and they backed it all up with a strong mini-album that can sit nicely next to their incredible debut EP. The songs plug into MAMAMOO’s duelling styles with panache, leading off with brazen brass loops and Moonbyul hip-hop on Freaking Shoes, sailing through squeaky synths on Um Oh Ah Yeh , syncing up with their flagship retro concept on No No No and then hitting it out of the park on the Sunday afternoon jam Self Camera. Even the comparatively generic ballad A Little Bit and the hook-lite Esna vehicle Ahh Oop! are improved by rounding out this fun sophomore effort.
It’s really difficult for me to keep up with K-Pop these days. The scene moves through songs, groups, soloists and promotion cycles as fast as ever, and as I keep harping on about this week, I have far less free time these days to take any of it in. I thought I might need to drop the music out of my life in order to keep doing the other things I enjoy throughout 2015, but luckily I didn’t have to, thanks to a little podcast called This Week in K-Pop (plug time), a twice-monthly audio show put together by two Americans living in Korea that showcases and critiques new K-Pop releases of both mainstream and a slightly lesser-known nature.
Combined with a meaty morning and evening commute, this meant I was able to keep building my usual K-Pop single countdown list throughout the year, and even do so from a wider pool than ever before. As a result I actually had a full top 15 ready to go way back in early August. From then on, it was a bit of a headache to decide what new additions would leave and what would stay, leaving me with possibly my most carefully constructed list since I started doing this three years ago.
By and large, it was the beats that defined 2015’s Korean pop music output. After a constantly tumultuous, frequently uninspired, often dull and occasionally tragic 2014 for the Korean popular music industry, 2015 proved that the wildly successful, still-young subsection of world music was more than capable of reinventing itself and delivering surprises. K-Pop’s so-called “identity” is now more difficult to categorise in Western terms than ever, as it continues to stretch its tendrils into heavier contemporary EDM backing tracks, quirky samples and widely spreading subgenres while refusing to back away from the ’90s-inspired idol group structures, creative knife-point choreography and insanely high production values that have defined it from the very beginning.
Short version: K-Pop was back in a big way in 2015.
As always, no album B-sides or non-Korean language songs from K-Pop artists are eligible for this list – generally only songs with MVs (music videos) appear, even though that meant I had to scratch some really good Infinity Challenge/Unpretty Rapstar songs this year. As always I have taken said MVs into consideration when ordering the list, but ultimately the song itself is the biggest contributing factor, and I tried to keep that in mind at all times. Also, this year I just went ahead and made my previous “unwritten rule” an official one – no more than one song from an artist or group can make it on. Now I’ve waffled on long enough, so let’s watch some K-Pop videos.
time that . -◊-◊-◊-◊- VR BEST OF 2015 DISCLAIMER This list represents my opinion only. I am not asserting any kind of superiority or self-importance by presenting it as I have. My opinion is not fact. If you actually agree with me 100%, that’s weird. Cool, but definitely weird. Respectful disagreement is most welcome. -◊-◊-◊-◊-
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15. Wiggle Wiggle – Hellovenus
We might as well kick things off with the earliest song of the year to appear on this list – It dropped on January 8th 2015, hot on the heels of a viral video featuring the girls of Hellovenus practicing a dance cover of Jason Derulo’s Wiggle. And despite how opportunistic and cynical the move was, it resulted in an incredibly catchy song with a thumping club beat that would set the stage for similar bass-dominated hits in the year to come.
And yeah, this isn’t the “real” music video, because the actual one is easily of the tackiest, cheapest quality, most poorly edited MVs I have ever seen (it’s here if you really want to watch it). .
The first of two concerts I’ll hopefully be writing about before the end of the year! This post got long…
Well what a treat that was.
In the world of K-Pop, there are few bigger acts than Big Bang (Is that the right way to write it? I’m never sure – Should it be Bigbang? Or BIGBANG, even? Let’s just go with the way that makes the most English sense). Debuting nine long years ago, the YG Entertainment flagship group has been consistently at the top of the K-Pop consciousness for a while, and has amassed quite a considerable reputation in the Western music world as well. Outside of PSY and perhaps Girls’ Generation, there isn’t a more widely recognised K-Pop name than Big Bang. Just about every solo release from the group’s five extremely busy members is met with pandemonium by fans, and when all five get together, well, that’s something else.
So it was a big enough deal when Big Bang announced earlier this year that they would be coming out with their first release(s) as a group since 2012. I never expected that in their subsequent world tour announcement, Australia would be included. Yes, the country ritually ignored by the big name Korean music labels, especially since the relatively disappointing – though still loud and passionate – attendance at 2011’s poorly-marketed K-Pop Festival. Yep, the arrival of Big Bang on our shores for the first time – for two rapidly sold-out shows no less (and a reactively added third) – is probably going to be pretty significant for Korean pop music fans down under going forward.
But never mind all that. Big Bang’s second Sydney show, which I was lucky enough to attend alongside five friends, was just a really good time.
Yep, it really happened.
I’ve been to one K-Pop concert before – B.A.P’s Live on Earth tour appearance in Sydney last year, and it was a lot of fun. But this was next level. Yeah, that’s mostly because Allphones Arena is a much bigger and more technically impressive venue than the Big Top, of course, not to mention Big Bang has more money to put into a spectacular show than B.A.P does. The boys from YG have also been around for far longer, and have built their name up over a sizeable body of work. G-Dragon, T.O.P, Daesung, Seungri and Taeyang are walking legends in their field, and they wouldn’t have had to do much to send the beyond-feverish crowd into raptures. Yet if you ask me, they matched their much younger colleagues in just about every way on stage, turning what was already a major event into one hell of a night.
That’s it – It’s happening. I’m finally going to start reviewing K-pop albums. Perhaps not regularly, mind you, but any reason I may have had against doing so in the past is starting to look a bit arbitrary in light of how little content I’m able to get up on this blog these days. Sometimes if an opportunity appears, you have to take it. And people should know about such brilliance as this. People. Should. Know.
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Released: August 2015
Label:JYP Entertainment Genre: K-Pop -◊-◊-◊-◊-
It’s not enough for the album to sound like the 1980s, it has to look like them, too.
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TRACK LISTING
1. Baby Don’t Play 2. Candle (feat. Paloalto) 3. I Feel You 4. Rewind 5. Loved 6. John Doe 7. One Black Night 8. Back 9. Oppa 10. Faded Love 11. Gone 12. Remember
1980s pop musical tributes may not quite be a dime a dozen at the moment, but they’re certainly in vogue. When someone as big as Taylor Swift decides to emblazon her polaroid-inspired album artwork with the title “1989”, you just know a trend is in motion. Synth hooks, big bass and full-ham electronic mixing are all back and you don’t have to look very hard to find them, as this entertaining 2014 list from Pigeons & Planes paints clear as day. And that’s amazing, because the musical quirks that define a “1980s sound” are pretty damn fun, particularly when used skilfully. Trend or no, I’ve always got time for a good 1980s inspired album.
REBOOT, the aptly named, long-awaited comeback piece from one-time Korean supergroup Wonder Girls, is a very good 1980s inspired album.
I’m not going to lie – this is a list I do mostly for my own amusement, as I know that K-Pop fans who actually devote the time to listening to albums are kind of scarce. And yet, if you’re reading this, then you are either one of those rare people, or you’re at least curious. In any case, please make yourself at home, sit back and relax as I present to you my ten favourite major album releases in Korean pop music over the course of 2014. In my humble opinion there was a decent amount of good stuff to be found this year.
The list is split into two top fives – one for Mini Albums (essentially EPs) and one for Full Albums, which qualify when they contain eight or more tracks.
. -◊-◊-◊-◊- VR BEST OF 2014 DISCLAIMER This list represents my opinion only. I am not asserting any kind of superiority or self-importance by presenting it as I have. My opinion is not fact. If you actually agree with me 100%, that’s spooky. Respectful disagreement is most welcome. -◊-◊-◊-◊-
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MINI ALBUMS
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5. Holler – TaeTiSeo
I’m sure it isn’t an original expression of opinion to say that the only thing holding up the overall quality of Girls Generation’s non-Japanese album output over the last several years is the work of TaeTiSeo, also known as “What happens when you distill a nine-member group down to its three best / most complementary voices”. Indeed the second album from the SNSD sub-unit is a strong sophomore effort that only falls short of their 2012 debut Twinkle by virtue of having one less track. Holler sees Taeyeon, Tiffany and Seohyun harmonise their way around a handful of vocal showcase songs that push their range and certainly do no harm to the future prospects of these three superstars of Korean pop. The mid-tempo ballads are there, as expected, but Holler also ratchets up the tempo more than Twinkle did, resulting in the highly enjoyable Stay, Eyes and Adrenaline, not to mention a general ‘all seasons’ feel.
Trust something like K-Pop to make me nostalgic for 2012, of all things.
The ancillary troubles that dogged the Korean pop music industry throughout 2014 are well documented in K-Pop circles, and while I have no interest in writing a full-on postmortem, there’s little doubt these troubles had at least some effect on the amount of quality stuff released throughout the year. As once-big acts found themselves on the way out and the mid-tier labels attempting to profit from this got caught in a game of follow-the-leader, the resulting stretches of ho-hum releases stretched on for quite a while.
But this is K-Pop, and you can always guarantee such a high volume of output from all the gazillion labels these days that some of it is bound to be worth listening to. 2014 was no exception, producing some good quality singles worth celebrating, or in this case, counting down!
No album B-sides or non-Korean language songs from K-Pop artists are eligible for this particular list – generally only songs with MVs (music videos) appear. The visual nature of K-Pop means I have taken said MVs into consideration when ordering the list, but ultimately I made this list via an IPod audio playlist, so the song itself is the biggest contributing factor.
time that . -◊-◊-◊-◊- VR BEST OF 2014 DISCLAIMER This list represents my opinion only. I am not asserting any kind of superiority or self-importance by presenting it as I have. My opinion is not fact. If you actually agree with me 100%, that’s spooky. Respectful disagreement is most welcome. -◊-◊-◊-◊-
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15. Jackpot – Block B
K-Pop is a lesser entity overall without the crazy creative energy of Block B, so it’s a very good thing indeed that they are still around after all the label dramas of last year. Block B’s new home, Seven Seasons Entertainment, seems even more willing to let Zico and the boys loose on whatever concept tickles their fancy than Stardom was, and as a result we get things like Jackpot. Somehow both high-energy and creepy at the same time, the song leverages a carnival atmosphere to thrilling effect. Yes, the change-up for the chorus is jarring, but I have no doubt that was part of the plan, and that post-chorus is just so infectious. Block B is alive, manic and well. .
I’ve been both busy and ill this last week, which is never the best combo for this blog, but here we go now.
It was the experience I felt I had to have. After almost three years without such an opportunity, last weekend I finally made it to a full-on K-Pop concert (That incredible late 2011 K-Pop extravaganza came a few months before I cared). Though my enthusiasm for the genre probably peaked last year, when I came pretty damn close to attending a similar event before it fell through, I am by no means done with appreciating K-Pop and even if I was, I have bought so many albums and written so many words about it already that to move on without having seen it live in its purest form would have been a real shame.
Enter TS Entertainment and their always busy headline act, six-member male group B.A.P.
Also known as “A K-Pop World Tour That Actually Includes Australia – Wow.”
Sydney’s Big Top in Luna Park was packed for the May 10 performance event and there was a surprisingly decent contingent of older and male fans getting into the swing of things (I had expected an almost completely teenage fangirl demographic in the crowd and was happy to be proved wrong). As I mentioned in a K-Pop countdown two years ago, B.A.P’s musical output does tend to have a more universal appeal than most male K-Pop groups, so perhaps I shouldn’t have been so surprised. Continue reading →
Day three and we move back into the K-Pop sphere with an article written by one third of the K-Pop dance cover group ZISSPop (check them out on YouTube) who also happens to be my sister.
Also, a quick note: Unfortunately tomorrow I won’t have the means to post anything, so Guest Week will technically go on one day longer this time around.
—Written by Krispy—
—Edited/formatted by Vagrantesque—
Hello, all. I am Krispy, sibling of Vagrantesque. Some of you may know me from ‘ZISSpop’, my K-Pop dance cover group. I have a special interest in both dance and Korean culture, so K-Pop is sort of my forte, given that it includes a generous portion of both. The following article details what – in my opinion – have been some of the best and worst decisions in the Korean Pop Music genre thus far. This includes relevant factors such as fashion, music taste, choreography, skill and group dynamic; not just music. If you know nothing about K-Pop, you probably won’t really know what I’m talking about, but feel free to give it a read anyway.
OK, what?
I tried to choose and rank these objectively (which meant getting rid of all my bias’ and fan-girl conceived opinions). The result was quite a lengthy and detailed analysis of various components within K-Pop. If you do not agree, I hope that you can at least enjoy!
– – – KRISPY DISCLAIMER – – – The following article represents my opinion only. I am not trying to say that my opinion is the way to go, nor am I trying to claim that mine is the only one that matters, nor that I am the best. Although a lot of the following information is factual, my opinion is not fact. I do welcome your opinions, but please don’t bully me. Ty.
The Seven Worst decisions
7. Doing a second ‘Growl’ clip.
A collection of EXO’s close ups in the 2nd video for ‘Growl’.
Look, do I want to be that guy who complains about seeing extra EXO footage? No. But it just seems to me that SM’s second rendition of EXO’s Growl was a touch unnecessary. The first video had already gone viral because of how unique it was, with its smooth camera work, its complex choreography and the fact that it was (supposedly) all filmed in one single take. So why would you divert people from that? (Inb4 ‘fan-service’ and ‘for the money’). Don’t get me wrong, I love EXO as much as the next guy (probably a little more than the next guy), but to me they just take the simple first video and jazz it up, add some special effects, put a little more makeup on the blokes and force them to repeat the choreo in front of a snazzy background (and without the 360 degree camera action that made the first video unforgettable!) Call me old fashioned, but I am just a fan of some good dancing, and EXO showed a new level of skill in that first Growl clip that will set them apart from other K-Pop groups for the foreseeable future (even if only for that shot of Kai dropping his hat and then swiftly picking it up and stepping back into the choreo without blinking an eye).
Vagrant Rant 