[Gayo Daejun 2012] Part 2: The Consolation Prizes

Like I said yesterday, Gayo Daejuns allow for a wide variety of performances. With the sheer number of acts, the most relevant of which show up on all three shows, there are bound to be performances of all kinds. Like any year, there were performances that were boring, there were those that were really bad and painful, there were those that completely blew everyone else out of the water, but there were also performances that were somewhere in between. Performances that could have been good, performances that had good ideas, execution, or staging, but which didn't have everything. They were good, but not good enough.

Which is why this year, aside from picking my over-all favorites, I'm handing out two kinds of "consolation prizes" so to say, to the performances that had their moments, but were outshone by better ones. First, with so many special arrangements done over the course of three shows, there were bound to be those which really brought something new to the table. And second, I'll be listing the five performances that I saw so much potential in, but which didn't really completely pull through.

Shall we?

The Best Arrangements

KARA - "Pandora" (SBS)
I really liked "Pandora" to start with, so I really liked how they kept this re-arrangement simple, adding some more oomph to the song, but retaining the elements that are both familiar and likable. It's probably the most simple rearrangement on the list, but the thing with this is that you know the simplicity wasn't because of laziness or lack of time. It makes sense, and it gives the song something as opposed to just adding to the chaos. I also really like the dance break -- there's substance to it, but it's also very graceful. If they had delivered this better, it would've been a stand-out performance of the night, really.

Super Junior - "Sexy, Free and Single" (SBS)
After their KBS performance, honestly I was put-off Super Junior's Gayo appearances this year. Every year we get some sort of retrospective of everything they put out since "Sorry Sorry". I know "Sorry Sorry" was a really good song, because it was and it opened so many doors, and I'd take it over "Sexy, Free and Single" any day, but it's not 2009 anymore, plus they've incorporated it in later performances already -- can we move on? This is a 2012 Gayo Daejun, not a 2009 or 2010 or 2011 one. Which is why I liked their SBS arrangement much more. It was pretty sloppily sung, but I liked the arrangement because it gave the song a different kind of dimension, and it's fitting for a group of Super Junior's seniority/stature. You can tell they prepared for this, and you can tell that people made an effort to make this arrangement work. It also made the hook a lot less annoying that it is, for which I'm forever grateful.

Ga-In - "Bloom" (MBC)
This was a nice change from the original performance, which is really perky in a kind of innocent way (but still really good), but I wouldn't really say it's unexpected. The arrangement matches Ga-In and her personality as a performer really well because it gives the song this more mature kind of sexy that you didn't see in the original arrangement. What I really liked about this though was the fact that even if the nature of the elements they chose mass it easy for the song to just stay in one place and not go anywhere else, this performance still has dynamics to it -- verses are ever so slightly urgent, and the chorus has a very graceful, but confident explosion. This is the kind of lie-low arrangement that wouldn't have worked if one, the arranger was lazy, and two, Ga-In couldn't sing. And thankfully, neither happened.

Potentially Good Performances

Teen Top - "Be My Girl" + "Going Crazy" (KBS)
This could have been a good performance, because the song choice was really good -- perky enough to liven up the atmosphere -- and I kind of liked the remix of "Going Crazy", but the delivery fell short. I was reading through my notes from when I first watched this performance, and after watching it a few more times, I still think the same:

The vocals were going back and forth between sloppy and painful, the only reason why the belting was successful was because it was more of screaming than singing. And underneath all the jumping and movement, their presence was pretty mediocre and more manic than energetic.

I'm all for graceful performances, and being too stiff on stage is bad too, but when you perform you need to put some guts into it as well, no matter how fluid the movements. I get the feeling that they were going for that effortless fun vibe, but all I got from the choreographed parts were limbs flailing around with little purpose, and sub-par vocals. Which is really a pity.

SM The Performance - "Spectrum" (SBS)
To tell you the truth, I was actually pretty bored throughout the SBS Gayo, more than I was during the KBS. There was so much going on, but hardly anyone actually delivered, so I ended up just "leafing through" majority of the show at first. But then SM The Performance showed up and they literally made me peel my eyes away from my computer and on to the TV. Which is surprising considering the fact that this is supposed to be more of a dance group and I'm more of a music person. However, two things made me notice this performance (aside from Yunho, of course) -- the song, and the delivery.

"Spectrum" is an amazing, glorious song to start with -- you have all these beautiful elements that really make the song soar, and then you have this melody that lies low during the verses but does the soaring at the chorus. Beautiful. It's the kind of song that you really can't not dance to. Believe me, the only reason why I can stay still is because I'm too busy concentrating on the performance. And then, you have these SM dancers, most of which you hardly notice in their respective groups because they're too busy trying to make up for the weaknesses of their bandmates. Of course some of the people in this project group are significantly weaker than others, but the ratio of useful to less useful/useless is much, much better. These are people who know how to carry themselves on stage, and people who know how to carry even more people than they do here, so naturally they'd do a good job performing. As far as the vocal distribution goes, SM hit the nail on the head for the third time -- people like Taemin and Yunho, people with actual voices, got the solos, and everyone else was multi-tracked. If this had been sung live, and done just as well as it was, this would be on my list of best Gayo performances, but since it wasn't it'll have to settle for potentially one of the best.

Mystic White - "Mermaid Princess" (SBS)
Like I said yesterday, the only project group song I liked was the Mystic White one, because it was fresher than the others, and the production was really good. It had substance as a recording, but it fell short as a performance. It was okay, but the vocals were weak, and the chorus, which I really liked, was delivered sloppily. The entire performance was boring and frail, which is the complete opposite of the characteristics that made me like the song in the first place. The substance was gone, and it's like the entire performance was watered down. In a bad way. Which is really a pity because it was a really good song.

KARA - "Pandora" (MBC)
When I first saw this performance I was still high off the amazing SISTAR one, and even then I thought this had a fighting chance against that gorgeous rock version of "Alone". The remix was confident and I really liked it, and the staging was great (despite the dancing guy) with the crowd of backup dancers that they really made use of. It was a fun way to present a song as good as "Pandora", so obviously I was on board. But then they started singing and they weren't singing live. I guess my ears are partially thankful that I didn't have to hear their sub-par vocals, but honestly, I hate that they didn't even get the chance to try and do it well. What if they had done it well? Even if I doubt it'll happen, KARA is bound to hit it right some time. There were so many good elements, and they were all disregarded by the fact that this ended up only half a performance.

*Note: So apparently, KARA were not lip-synching, but to me that just means that this was even worse than I initially thought it was. Usually, when vocals are too perfect to be humanly possible, at least without studio tricks, or when less obvious auto tune becomes obvious, or when the shape of their mouths don't correspond to the note they're hitting, the performance is lip-synched. Which kind of makes this "live singing" even worse because the only reason I found out that they were singing live was one, someone commented below, and two, I heard them breathing. Yeah sure the backing track makes everything nice and even, but both KARA and the sound guys are at fault -- the sound guys for turning the backing track too high, and KARA for not making an effort to sing over it when it's pretty clear that the backing track is ridiculously loud.

DBSK - "Catch Me" (MBC)
I was really disappointed that DBSK didn't get anything new for this year's Gayo Daejuns, because this is the first year they spent closing all three shows and yet all they had with them was some random intro and the same backing track they've been using since September. Their performances this year were a total waste, not only of their talent, but of "Catch Me" and everything that could've happened. Here you have two performers who literally jump through hoops and fire for a living, and do it well, with a song that's elaborate enough to spruce up even more, and nothing was done. I mean they sang and performed really well, with presence and conviction, but they did that on smaller music shows too -- Gayo Daejuns are supposed to be special. I chose their MBC appearance because it started out really, really good, and when I heard the opening bars of "O - Jung. Ban. Hap." play, my jaw dropped in surprise and awe. That's the kind of reaction I wanted to have for the entirety of the all three performances, but then "Catch Me" came on and things were normal again. This could've been so much better because if anyone can carry a challenging arrangement, it's these two.

And I'm two days late, but that's it for 2012! Again, thank you so much for sticking around despite the rocky start last December. Time to concentrate on 2013!

[#9] DBSK - "Catch Me"

From: "Catch Me"
Format: Full-Length Album
Released: September
Territory: South Korea
Previous Best of Appearances (of current line-up): #3 -"Before U Go" (2011) / #1 -"Back To Tomorrow" (2011)

At first I was a little hesitant to put "Catch Me" on the countdown, and in the top ten at that, because I know there will always be people who question my taste. But then, at the end of the day this is a list of the songs I enjoyed the most this year, whether or not my taste corresponds to the majority. So "Catch Me" is here, at #9.

I like "Catch Me", I liked it the first time I heard it, I liked it when it accompanied me throughout hell week last semester, and I like it now that I'm writing about it. In DBSK fashion, the song is chaotic -- there are so many different things going on at the same time and they all come together for this almost ridiculously epic... thing.

The melody is gorgeous. The verses are urgent but graceful, and the chorus is really intense while being catch and sing-able. Despite all the synthetic and computer-generated elements running around, the melody is human, and it's beautiful to boot.

But what I like the most about the melody is that you know this was made for people who can sing -- the chorus is higher than the comfortable male range, and less competent idols will ultimately forget the singing and end up just screaming through the entire thing. Not Yunho and Changmin. The melody does a phenomenal job showing off just how vocally competent the two are, whether live or recorded.

The production on "Catch Me" is extremely strong -- it evens everything out and gives a sense of richness to the very sharp vocals and thin synths. The arrangement of the melodic parts is spot-on -- the instrumentals lay low and let Yunho and Changmin's confident vocals carry everything, but when it's time to explode, they really explode.

Ultimately, "Catch Me" works because Yunho, Changmin, and everyone who contributed to the production of the song, stood their ground. And that really makes a difference -- because like I always say, it's very easy to tell when an act genuinely likes what's going on, and when the delivery is half-hearted. Like for example all the synths and the dance breaks between, they're all over the place, but it's more like "Okay. Dance break. Synths. Now. Go." and not "Uhhh, dance break -- o...kay?". "Catch Me" is as far from shy as it can possibly get -- it's not just confident, it's brave. And that kind of brevity, and everything else that comes with it, deserves to be noticed.

[#28] DBSK/Tohoshinki - "ANDROID"

From: "ANDROID"
Format: Single
Released: July
Territory: Japan
Previous Best of Appearances: #1 - "Back to Tomorrow" (2011) / #3 - "Before U Go" (2011)

Writing about DBSK has always been a challenge for me, because if the ideas don't just all flow out like they usually do, I'm stuck try desperately to find new ways to explain why I think their talent and their mastery of the material they deliver makes them an outstanding ground. At the end of the day, what really matters to DBSK is the fact that regardless of their material, they always manage to carry it outstandingly.

"ANDROID" is no different. I genuinely like the song to start with (even if I know other people don't), and their delivery just makes it even better.

I like how the song as a whole could've sounded so gritty and rough because of the nature of the melody, and how the contrast between that and the synth-laden instrumental could have been -- but the song turned out neither. The vocals are as smooth as smooth can get, half because of their treatment, and half because of the nature of Yunho and Changmin's voices, and instead of fighting the rest of the song, there's a balance to all the elements.

It's not a gritty song, but it's a very sharp one. Changmin's vocals and the melody at the chorus give it this sharpness that's strong enough to resist being buffered by the very rich, antiseptic nature of Japanese production.

DBSK/HoMin gearing up for US Promotions?

Below is a press release sent out by an American PR agency:

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K-POP KINGS TVXQ DEBUT INNOVATIVE VIDEO FOR "CATCH ME" CHOREOGRAPHED BY TONY TESTA

Known throughout Asia as the "Kings of Korean Pop and Hallyu Wave" and "Dong Bang Shin Ki" in their native South Korea, K-pop trend-setters TVXQ are bringing their dynamic sound and style to American audiences. Managed by SM Entertainment the same agency that shot Girls' Generation to the top, this progressive duo of U-Know Yunho and Max Changmin are widely considered one of the leading acts in today's global K-Pop movement, due to their visionary work and fiercely loyal fan-base.

The epic and highly stylized video for TVXQ's debut US single "Catch Me" marks the next chapter in the highly influential band's artistic evolution. Featuring choreography by the world-renowned Tony Testa (Michael Jackson, Janet Jackson), the clip showcases the duo's signature moves, including their epic "hulk dance" inspired by the acclaimed action flick The Avengers. Watch here: http://www.youtube.com/watch?v=PfUlE2LlGro

"Catch Me" was recently featured on Live with Kelly & Michael, and is the lead single off TVXQ's new album of the same name. Upon its September 26th release, the album swept Korea's weekly Hanteo Chart for three consecutive weeks (September 24th ~ October 14th). The full album is currently available for download at the iTunes music store: http://itunes.apple.com/us/album/catch-me/id563873137


Later this year, TVXQ will embark on their first solo world tour. They will kick-off their first leg of dates on November 17-18 in Seoul, South Korea -- those two performances sold out in less than 3 minutes.

CONNECT WITH TVXQ
http://tvxq.smtown.com
http://www.facebook.com/tvxq
http://www.youtube.com/tvxq

SHORT BIO
TVXQ which is an acronym for Tong Vfang Xien Qi (also better known as Dong Bang Shin Ki) means "The Rising Gods of the East". TVXQ! is one of Asia's most successful acts and has been labeled as "Asia's Stars" and "Kings of the Hallyu Wave" for their immense success and contributions to Korean pop. They have two official fan clubs in Korea and Japan, known respectively as Cassiopeia and Big East. Cassiopeia notably earned a Guinness World Record in 2008 for its size and is said to be one of the largest fan clubs in the world. TVXQ's 5th Japan Arena Tour 2012 - Tone sold out in under one minute with a record of 550,000 total attendees.

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If you've ever looked through blog archives, you'll know that before I converted to K-Pop (and brought a couple of my blogger friends along), I blogged mainly about British and American pop music. 2008/2009 was also a time when online PR firms were beginning to go in full swing and ferociously pushing content to bloggers, so I was put on a fair number of mailing lists.

To this day I still get countless e-mails from PR firms of various size and influence, most of which I do read through to see if they'll be relevant to what this blog is now. Most of the time the content I receive doesn't fit, and so you can imagine how surprised I was when I got this press release from an agency I've been in contact with for over five years now, because it more than fits in with this blog's direction. I guess my background has given me the opportunity to be one of the first to find out if ever K-Pop acts try and break the US, like I have now.

However the press release above doesn't directly state any solid facts like date, place, release format, so please take it for what it is, and what it is alone. That is, until anything is confirmed.

There are a number of important points to take note of with this press release. First, this came from a US-based PR agency that deals with acts like Coldplay, Yuna and Keane, among others. This press release, I assume, has been sent to bloggers who are either based in the US, who have blogged about American music, or are in circles that deal mainly with Western releases. That alone means that SM may very well be bringing Yunho and Changmin to the US, and they're doing it through the inside -- like how they approached Japan with the original five.

Majority of the information on that press release is common knowledge to majority of us -- they're under SM, "Catch Me" is the new single, it's choreographed by Tony Testa, the Seoul concert sold out really fast, DBSK are gods and the driving force of Hallyu, etcetera etcetera. However, one of the phrases I bolded is especially interesting:

The epic and highly stylized video for TVXQ's debut US single "Catch Me" marks the next chapter in the highly influential band's artistic evolution.

Debut single? US? There are no dates on the press release, but considering the fact that apparently, Yunho talked of plans to play some shows in the US in support for "Catch Me", this might actually happen. When and how, no one knows yet.

In any case, I'll keep you guys posted, so check back here, or follow me on Twitter for faster updates. If you aren't already.

[October 12, 2012] KBS Music Bank Highlights + Commentary

Today's show was literally drowning in idol groups, though majority of them rookies/unknowns. Absent from the broadcast (at least who I'm aware of) were U-Kiss, BTOB, Stephanie (MY QUEEN) and 15&. Although big names like Secret, Ga In, T-Ara, Orange Caramel and DBSK were all in attendance. Like last week, DBSK's "Catch Me" failed to win today's show, losing to "Gangnam Style".

Video credit goes to shu35150510 and lokyan64 @ YT, other videos to follow.

84LY - "Girl Talk"
I have no idea who some of these acts on today are, 84LY included. From the performance alone, which was lip-synched (BOO KBS), they remind me of Rania's "POP POP POP" era without the intensity and slightly more obvious class that Rania have (even if "POP POP POP" was super cheap). It's okay for what it is, but too generic wit nothing

A.cian - "Stuck"
Another act I don't know, who have horrible vocals even if it's lip-synched. Yes, it's that bad. It's one thing to only sound good on a recording, but to sound painful on it? How that happened is beyond me. The instrumental is boring not because it's bare, but because the elements are generic when they need to cover up those horrible vocals more than anything. Horrid song, horrid vocals, sloppy performance. Who are these guys and why were they even let on stage?

BBde Girl - "Messing Around"
Well, at least they're singing live? This string of bad unknown group performances continues though, because these girls sound so tired, making their already non-existent vocals even more painful. You know they're trying at least a bit, but their movements don't translate well on stage, neither do they look convincing.

Mr. Mr. - "Who's That Girl"
This kind of rookie/unknown performance was more along the lines of what I was expecting from the previous acts. I mean it's not spectacular or anything and the song is pretty mediocre, but the vocals are stable where you'd expect them to be (slipping here and there, yeah) and they look convincing enough. It's just okay, but considering what came before, I'll take what I can get.

Be Bop - "offroad"
Well, they look promising. Their vocals could use serious work, especially that guy in the red plaid shirt, but for once they actually look like they enjoy being on stage, which is something that's a lot harder to learn than vocal technique. It's a mediocre song, and their vocals are painful for half the performance, but the melody matches them, and manages to mask a bit of the pain on their voices. Not bad, not bad at all. I'll keep my eye on them.

EXID - "Every Night"
Usually songs like "Every Night" tend to bore me, but surprisingly (even for me!), they managed to catch my attention with their performance. It's lip-synched and they aren't amazing performers, but they have presence. I'll be waiting for a real live performance.

Rania - "Style"
I think it helps that I actually kind of enjoy the song (no matter how YG-generic it is), but this performance was pretty good. The vocals were as on-point as they could get for majority of the song, and the attitude was there. My only complaint though is that this performance lacked emotions in their movements -- they were dancing all the right things and they look enthusiastic, but the emotion wasn't there.

AOA - "Get Out"
I still don't know how to feel about this song, whether I like it or not because it sounds like a DaVichi song-turned-drama OST sung by people from a gazillion other girl groups. And if they really did play the instruments in the recording, because you guys know how much I hate instruments being treated like props. (AND THE FAKE DRUMMER BEING SO FAR FROM EVERYONE AGAIN) It was a pretty boring performance, because no matter how the blonde girl emoted while lip-synching, they just don't have enough presence to just stand there while doing an uptempo and actually pull it off. Try again, AOA.

ChAOS - "Kiss Kiss"
Just because you're smiling/smirking on stage, doesn't mean you're enthusiastic about the performance. The song is extremely generic, and their movements mirror that. NEXT.

100% - "Bad Guy"
I remember listening to their debut release a few weeks ago, but the fact that it's a really vague memory should mean that it was't that good. The performance has put things into perspective for me though, and it's not half bad! They're clearly pretty okay performers, their group dynamic is great for a group this new, and are they singing live? I can't tell (!!). Because if they are, those are some pretty strong vocals.

SPICA - "I'll Be There"
After all the mediocre groups that came before, this is like a breath of fresh air, even if there's really only one girl who can actually sing it decently. The margin of painfulness between the most painful in SPICA and the least painful in at least half of the previous groups is huge, which in itself is a huge achievement. It's an amazing song, done with strong vocals and the right amount of attitude and enthusiasm.

Big Star - "Think of you"
Okay so maybe the dancing at the chorus was a little too enthusiastic -- it just looked like they were flailing their arms in random directions and didn't really look like an organized performance. They were pretty okay for the rest of the song though. Not brilliant, but if they work on their stage deportment, they have potential.

Jewelry - "Rhythm Ha + Look At Me"
Before anything, I'd just like to profess my love for the lead single. It has that funk that old-school Jewelry (as in original line-up) had, but upgraded - it's exactly what I would've imagined Jewelry the group (regardless of members) to do in 2012. And they pull it off. Not as strong as I would've wanted it to be, but strong enough, and ever so classy.

Orange Caramel - "Lipstick"
Words cannot describe how much I despise this song. I mean, it has three of the things I hate the most -- cheaper than cheap synth loops, cuteness, and non-existent vocals. I only started acknowledging the fact that Raina has a voice, but that all went down the drain with this song. I mean they're enthusiastic about this horrible song and all, but the ship has sunk too deep for enthusiasm to save it.

T-Ara - "Sexy Love"
Contrary to popular opinion, I don't entirely dislike "Sexy Love". Today's performance was standard T-Ara, which means they were okay performers but the song carried them so it makes everything seem better than it actually is. Which is okay, because that's what works for T-Ara, and really, the point of a performance is to make people look better than they actually are.

Ga-In - "Bloom"
IU comparisons aside, I love this song! And to make things better, I don't have to complain about bad vocals (even if the choruses are heavily overdubbed BOO) or sloppy performances because Ga-In is a demigoddess and she knows how to not only hold the audience in the palm of her hand, but control them at the same time. A strong performance of a brilliant song.

Secret - "Poison"
"Poison" is basically a rehash of "Madonna" and "Magic", which is a bore, but their live vocals for this are really good. Add that to their always-present grace and intensity, and you have a really strong performance.

DBSK/HoMin - "Catch Me"
This performance was basically a slap in the face to all the mortals who came before them. I mean really, flawless live high notes while lying down on your stomach and being raised up in the air, equally flawless vocals while break-dancing, and overpowering the already overpowering backing track? If that's not outstanding I don't know what is. Conviction, conviction, and more conviction, laced with truckloads of talent and years of experience give us a stunning performance. Best performance of "Catch Me" yet, although the only other live performance was last week's Music Bank. BUT STILL.

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Guess who's back? I've been officially free from school since Tuesday, but after I finished all my requirements I just collapsed and got sick again, which is why I haven't posted anything. A few small "announcements". First, I assume you've all noticed the sparkly new layout! yay! Second, I'm going to try and get as many posts out over the weekend, which means single of the week/weekly rundown, complete music show recaps, and maybe a few full single/album reviews. It's been so long, and I have so much catching up to do! That's all for now, I guess. See you guys tomorrow for Music Core!

DBSK/HoMin - "Catch Me"

Album number two from Twoshinki is here, and everyone's having a field day, me included. There's just so much to talk about, and so much brilliance to spread. Also, what an apt album for my "big comeback". (Best 18th birthday gift ever. EVER.)

There are so many reasons why DBSK is still my favorite group, and this is the part of the year when I'm reminded of all of them. Everything I complain about with other acts, everything I look for in a new group -- they're all patterned after what DBSK have, and what they've done.

The consensus among the people I've talked to, and read, ever since "Keep Your Head Down" came out, all the way up to just now when the album came out, is that Yunho and Changmin have carved their own sound, independent to the previous, five-piece, DBSK. Now whether people think that's a good thing or a bad thing, I have to partially disagree. On the outside, it may seem like that -- Yunho and Changmin have really traded the epic, tear-jerking, ballads, demanding SMP singles and a capella re-arrangements in favor of trendy beats, slick R&B-inspired jams, and quaint midtempos.

But is that really all DBSK was before the split? You cannot just pit "Catch Me" and "Mirotic" against each other, because not only have things changed within the group, the industry, and the standards have all changed. Every now and then we all have to remember that "Mirotic" was four years ago, and the distance between then and now is like the distance between "Mirotic" and "Hug" -- things, beyond our control, have happened.

A true identity is something that transcends -- transcends time, change, and everything in between. Moving forward means trying new things, yes, but it also means being sure of who you are and what you do. Beyond the international success, beyond the "Love In The Ice"'s and "Rising Sun"'s and the leap to "Keep Your Head Down"'s and "STILL"'s, DBSK was a group with talent that really did blow away all the competition. That's what DBSK were pushed as, and that's who they were. It was that kind of talent that made them such a versatile group, that sold them to a skeptical public, it was that talent that got them respect in Japan, and it still is that talent that keeps them right where they are, no matter how many they are.

That talent has never left, and "Catch Me", as a whole, is solid proof of that. I've been saying this a lot this year, but this is truly the formula done right -- DBSK are the epitome that statement, and they've always been. I can’t stress that point enough, which is why it will keep coming up throughout the review.

Conviction is another word I throw around a lot, and it's something Yunho and Changmin have bucketfuls of. There is a fine line between confidence and arrogance, but DBSK are right smack in the middle of it, with overflowing confidence, not overflowing arrogance. Delivery is so, so, important, especially in pop music where all the songs basically sound like each other -- it's the one thing that makes an act stand out. What Yunho and Changmin have isn't the normal kind of conviction though, what they have is raw passion. This isn't the kind that you see in how many hours they worked in the studio, how difficult or new their vocal techniques are, in how high they belted that high note, or in any of those behind-the-scenes aspects. This is the kind you see in the actual work, in the simplest of lines, the shortest of notes, this is the kind that screams "I deserve to be here, I deserve to be doing this, so I'm going to prove it to everyone, even if I'm just standing here and doing nothing." You don't find passion and conviction in what you do, you find it in how you do it. And it's that kind of conviction that gets them places.

"Catch Me", the song, really is one of the best songs on the album, and it stands for everything DBSK is, and has become. It has dynamics that go beyond a few explosions here and there and give the song texture. “Catch Me” literally jumps through hoops and fire, but it doesn’t do it alone -- it takes you with it.

The intro is beautiful -- that piano line is heavenly, and Yunho sounds amazing -- it gets you ready for the pending brilliance, which is balanced out by the dubstep just before the verse. Honestly, if we were talking about the dubstep alone I would’ve hated it, and actually I do hate it alone as a loop, but you have to look at “Catch Me” as a whole, and also go back to what DBSK is. They are the formula, this loop is the trend now, but they are also the formula done right, and they made the loop fit the song, they gave it contrast and they gave it depth.

I had the first of many heart attacks today, courtesy of the verses because let me tell you, I had many more after. The conviction in Yunho and Changmin’s vocals are through the roof, and the instrumental gives it urgency and a build-up without drowning out the melody. My favorite part about it though is how effortlessly but confidently it builds up to the chorus -- it’s not obvious until you actually get to the chorus and you’re left wondering how it happened. Listening casually, you still hear all the brilliance, but the more concentration you put into it, the more your actually appreciate what you hear. Again, the formula done right.

The chorus of “Catch Me” gave me my second heart attack of the day, and it was glorious in it’s epicness. There are so many things happening during this brilliance that is the chorus, but one thing’s for sure, the vocals and the melody are the most important parts of it. It’s catchy all right, however what makes it so DBSK is that the catchy doesn’t come from the autotune or the synth loop -- it comes from the vocals, from the belting with harmonies. Belting! With harmonies! In the first chorus! Who does that?! The instrumental is stunning, with that piano line from a while ago really taking as much of center stage that it can without yanking the spotlight away from the vocals.

We get dubstep again, but this time with a sort of post-chorus melody that the two share, whose brilliance (the melody, I mean) makes the dubstep so much more bearable. This is before we’re literally flung into a very, very urgent bridge that’s so glorious you’re still hung over by the time the chorus literally sneaks it’s way in again. And if you were thinking we’d get time to breathe after, sorry to burst your bubble but Changmin skips the hook all together and goes straight for the middle 8. Which reminds me a bit of the middle 8 of “Bonamana”, until Yunho comes in and then they make this brilliant harmony that’s so brilliant I’m just gonna keep calling it brilliant until I can’t. Call it brilliant. Brilliant. No DBSK song is complete without Changmin’s scream, albeit a short one, which transitions us into a dubstep verse reminiscent of “ANDROID”, complete with a proper dubstep dance break!

Despite everything that happens in between, and basically everything happening in the song, the last chorus is just as brilliant as it was when it first appeared, tying each and every one of the elements together.

As for the rest of the album, honestly I wouldn’t call this the album of the albums of the year just yet -- “Catch Me” as an album is outstanding, yes, but for me, as much as an album of the year has to be cohesive and unified, all the tracks also have to stand firmly on their own, and there are some tracks that can’t do that just yet. We’ll see.

“Viva” is another song you have to look at as a whole and not as individual elements, because it’s such a dynamic, well-produced song when you do. The rapping at the beginning was a big iffy for me, and didn’t sound DBSK enough for me, and the first chorus was a little disjointed as well, but by the time the second chorus hit everything came together. It’s the kind of song that needs time to digest, because it’s very un-DBSK. The first time I heard this I pictured Big Bang doing the rap portions, but the more you think about it, the more you realized that they carried it the right way, and by the end of the song you’ll really want to replay it.

“Destiny” is so “Keep Your Head Down” -- it would have no problem fitting right in beside “She” and all the other midtempos. In a sense, this is the other side of the new DBSK sound, the kind of songs you’d hear from more classy lounge singers, and by now they really have mastered it. Gorgeous melody, strong vocals, and truckloads of a mix between sexy and confident.

I don’t know about you guys, but despite the title, “Like a Soap” is one of my favorites on this album. It’s cashing in on that ever-present acoustic craze without becoming a snooze-fest, mostly because Yunho and Changmin’s voices have the intensity to make it interesting. I love the arrangement on this because it’s so high-budget Disney Channel series, with the sharp instrumentals and very predicable, but still gorgeous, transitions. The chorus is so quaint in it’s being pretty, courtesy of those gorgeous harmonies and that nice electric guitar running around in the background that gives it some dimension. And also, the middle 8 and the second to the last chorus -- beautiful. If this was the theme song of “To The Beautiful You”, the world would be a better place.

The Korean version of “I Don’t Know” was one of the tracks I was really excited for, because I still worship the Japanese version (and their performance of it at Tokyo Dome was MIND-BLOWING with the screens and the dancing and the WOW), and to a certain extent it delivered. We have a Korean version of an amazing song. I still like the Japanese version a lot better though, because I loved the contrast that the graceful Japanese lyrics gave the very gritty song. The Korean version is just all grit and spunk and no grace, especially because Yunho and Changmin’s voices are more stiff and less melodic.

“Dream” sounds like a theme song for a Japanese drama. That has it’s appeal, usually when they do songs like this on tour, but this is the kind of song that even if Yunho and Changmin are really good at carrying songs, it’s been done so many times before and it’s starting to get boring. I mean I love my string sections and perky melodies, and I love “Like A Soap”, but this is all cliche and no DBSK whatsoever. Except maybe for the first chorus which is gorgeous because it’s basically just Changmin singing (very well) with minimal instruments.

This is the part of the album where it’s SM-ness begins to show, because “How Are You” is the second boring song in a row we get. I mean it’s and okay song, and it’s a lot better than all the other boring SM songs everyone else gets because of the delivery, but the standards are higher for a group with more talent, because more gets wasted if they get a boring song. It’s also obvious in their delivery that the two of them are kind of not in it, because they’re starting to sound bland. Maybe not bored yet, but one more bad song and I might have to go storm SM.

“Getaway” is like what “Gulliver” should’ve been. You know, without the painful growling? I’m not the biggest fan of “Getaway”, but it’s pretty obvious that Yunho and Changmin approached this song with technique, and care for their voices. Growling is never a good thing, unless of course it’s done right. And I think anyone can recognize good growling from bad growling -- if your throat starts getting itchy and your ears start hurting, the person growling is probably in pain too. Fortunately for us, Yunho has technique, so the growling is half-singing, half-rapping, as it should be. I like the melodic parts, and I like how they really took advantage of the fact that this is Changmin’s forte. That middle 8 is brilliance.

Everyone has been freaking out over “I Swear” since it came out, because Changmin wrote it for Cassiopeia (awwwwww!), and it’s a very pretty song, yes, with a gorgeous and really good arrangement. Also, if Changmin was the one who put in that gorgeous drum line into the second verse -- you’ve been taught well. It’s very subtle in it’s being pretty, but for me it’s the subtlety that keeps it as just pretty and not beautiful or stunning. And that works for some people, plus the fact that it’s a nice break from the very intense, stand-out songs, a break that isn’t a snooze-fest. But then it kind of lost it when everything came in together at the end, because you have these very conflicting instruments like the drum kit and those cymbals which do not, for the life of them, sound good together. Changmin has the gist of it, but he needs more work in terms of the nitty gritty.

“Gorgeous” sounds very album track -- it’s a good song that just blends into a bunch of more striking ones because even if it’s well-done, it’s very one-dimensional and lacks a wow factor that isn’t the singing.

As this album comes to a close, I realize that my stand-out favorites are the first and last track, because really guys, how can you not worship “Good Night”? It’s like the song you play after “Before You Go” because you’re still high from it but need something to ease you back into the real world. Slowly. Very slowly. Those verses are heavenly -- not just beautiful or stunning or brilliant -- heavenly. The sharpness of the chorus gives a really nice contrast to the instrumental, and those beautiful solo lines that follow. And I just died at “have a good, good night”, as well as those ad-libs that followed. The middle 8 is like the cherry on top -- I really did go to heaven and back. The attitude of “Good Night” is very nonchalant, but that’s what makes this song so good. Effortless beauty is always the perfect way to end an album.

The Best: “Catch Me”, “Good Night”
The Better: “Like a Soap”, "Viva”, "Destiny”
The Worst: "How Are You"
The Rating: 4.7/5, but 5/5 for the lead single!

NOTE: If you've noticed, my label for the current DBSK line-up has always been "DBSK/HoMin", and this review is no different. Things have changed since the last time I used this label for a major review -- majority know DBSK as Yunho and Changmin only, hence my usage of "DBSK". However, my stand on DBSK's situation, past and present, is that Yunho, Changmin, Jaejoong, Junsu and Yoochun make up DBSK as a group, so if Jaejoong, Yoochun and Junsu can't call themselves DBSK because the other two aren't present, then Yunho and Changmin have to be identified as the other fraction of DBSK. I recognize the fact that Yunho and Changmin are called DBSK because they are the other fraction of the original five-piece DBSK who remained under SM, but I also recognize the fact that there was a point when DBSK was not just the two of them.

Weekly Rundown: Surprises all around courtesy of SPICA, U-Kiss, Rania, and THE GODS

So if you guys have noticed, my "experiments" have been making things shorter and shorter, and that's mainly because I want to keep blogging, but there's only so much I can do without self-destructing. So, this weekly rundown will be on trial hopefully for the next three or four weeks. Basically what I'm gonna be doing is briefly talking about three or four of my favorite releases. Yup. It's not meant to be a complete replacement for proper single, or album, reviews, but an addition. If ever I do manage to write a full review in the near future.

What that said, shall we?

SPICA - "I'll Be There"

I remember SPICA as that group with lots of potential to do well, brought down by the fact that "Pain Killer" was a snooze-fest. I saw the talent when it was in front of me, but their song made them forgettable. Which is why "I'll Be There" was like the pleasant surprise of all pleasant surprises -- for a number of reasons.

First of all, it's far from a snooze-fest, bringing back those 90's Swedish-penned pop feelings in the bucketfuls, but not compromising quality. Off the top of my head, this sounds like Christina Aguilera's "Come On Over" (which I adored, by the way), laced with the girl group elements of Atomic Kitten's "The Tide Is High". And from what I've observed, majority of K-Pop fans are around my age, which means this is the music they, we, grew up with, whether it was liked or not. That alone gives this song bonus points. "I"ll Be There" captured the essence of 90's pop -- from all the standard 90's instruments and chord progressions, the emphasis on belting, all the way down to that short 90's dance break loop under the rap part. Sorry, A Pink, "MY MY" was great and all, but SPICA's execution slays you any day.

And taking off from that, the one thing I really, really love about the 90's sound they're going for is the fact that they really focused on their vocals. This is probably one of the notable few songs where neither the vocals nor the instrumental overpower each other, but you're still given that chance to really hear every dimension of the vocals. Of the harmonies. The harmonies! They're so Destiny's Child-esque, if Destiny's Child ever switched to Swedish pop.

SPICA, you've shot up to my "rookies to keep watching" list.

U-Kiss - "Stop Girl"

So what's surprising about the U-Kiss single? Well, not just this single in particular, but I've been liking their releases this year significantly more than years ago. "Stop Girl" isn't amazing from head to toe, because that hook is horrible, but it has it's moments, moments I'd gladly listen to again.

I like the over-all sound they're pushing, it's slightly more epic and slightly less cheap, but still U-Kiss at the core. I like the verses, because they make the epic but thin instrumental more rounded and give it more body, but I hate the chorus because the melody is way too sharp to the ears. The one part of the chorus that I do like though, is the last "Stop girl, in the name of love", because it was a lot more straightforward and the harmonies were a lot clearer, giving it the body I was looking for on the rest of the song.

This could be the type that gets better with time, who knows maybe come December I'll be worshipping this in it's entirety, but for now it just sounds off. I still adore those verses though.

Rania - "Style"

I must've missed something, because I see this new Rania single and there are only five girls left? Weren't there more of them? I'm kind of sad over the way Rania turned out, because while I wasn't the biggest fan of "Dr. Feel Good", the talent was there. "POP POP POP" was an okay song, but everything else about that promotional cycle was really sad. They're back this year with a YG-penned song, which is another surprise.

It's an okay song, with no big "but"'s, except for the fact that it's just okay. I like the melody, the synths are deliberately cheap and the vocals match the song well, but there's really no big wow factor. The reason why groups like 2NE1 (mainly 2NE1) can pull these songs off well is because they have the presence to carry the song. Sometimes they do tend to go overboard, but it's that going overboard that makes things interesting. Rania have presence too, I watched the video and it was a little better, but their presence doesn't have enough strength so they end up looking, and sounding, very generic.

And it's back to square one.

DBSK/HoMin - "Catch Me" (Teaser)

So I watched the first teaser after all the hype had died down (I had school okay, and I was sobbing all the way through), and I don't know if that caused it, but I'm not head-over-heels. Surprise, surprise! But then again, I had no idea what to expect because this is my beloved HoMin and I want them to do well. I just don't know what to make of the song -- I'll have to wait for the full song to come out before I freak out over the awesomeness or over the fact that I'm not freaking out.

Single of the Week: Tohoshinki - "Android"

So, as many of you know, I started my sophomore year of university last month (time flies!), and while things were already hectic to start with, they're about to get even more stressful in the coming weeks. Aside from my 8AM-5:30PM schedule four days a week (T_T), I'm busy with all the work those subjects have, and a host of other extracurricular things. Which means that I won't be able to churn out full-length reviews on a regular basis anymore, unless I really have a lot to say.

But I don't want to disappear off the face of the earth either, because before the school year started I promised myself that I'd blog on a regular basis for the rest of the year, even with school. So, over the next few weeks I'm going to be trying a host of different ideas, and hopefully by the end of July or something, we (yes, we) settle on something regular, but not as time-consuming as those novels I usually write.

Starting with a single of the week. Basically this post will be half the length, and content, of a proper single review, but it'll still be a thorough enough walk-through and review of the song. Just less of my ranting and less context, which most of you can do without seeing as you're probably more updated than I am right now.

Shall we?

So "Android". Yunho and Changmin are back after wrapping up their (as always) record-breaking, historic "TONE" tour, and they're armed with a brand-new-single. While we all brace ourselves for their Korean comeback (which SM has absolutely no right to screw up, thank you very much), "Android" will have to suffice. And it does a pretty good job in doing that.

Since the split, Yunho and Changmin have gone for an edgier, more rock-inspired sound in Japan, mainly because Changmin sounds particularly good with it, and the melodies are less technically challenging than the likes of "Love In The Ice", but still highly melodic.

"Android" is just that. It's reminiscent of last year's "I Don't Know", with less spunk and more grace. The synths at the beginning and the percussion throughout give the song kick, but the melody, half of which delivered by Changmin's crisp vocals, and the production as a whole, sort of wrap the song in smoothness. It's like wrapping dragon fruit in cling wrap -- you can still see all the spikes and the fruit itself, but it's smooth to the touch.

Each element of the song is strong enough to stand alone -- the instruments give the song both character and finesse, the melody carries the instruments even further, all while being powerfully stunning, and the arrangement brings them all together neatly but naturally. Everything is so effortless -- effortless but fearless.

And really, the bottom line is, this is a gorgeous song. Need I say more?

4.5/5

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Thoughts on the new "column"? Suggestions? :D

Junsu - "Tarantallegra" (Album)

I think majority of us are in agreement that if there’s one member in 5-piece DBSK that deserves a solo album the most, it’s Junsu, obviously because he’s the whole package. His voice is this close to becoming a national treasure, his stage presence is something else, and his dancing is pretty good too, so I’ve heard. So when news of a proper solo release came out, everyone freaked out. I'll admit that I was one of those crazy fangirls who were freaking out yesterday over the mere idea of a Junsu solo release, which would lead to an album, but I think it's safe to say now that I've gotten down from that high. So, when all the hype is gone, what are we left with? Well, that's a pretty long story in itself.

There have been a lot of mixed thoughts about "Tarantallegra", both the song and the album, and I completely understand the people who say they don't like it -- more than their personal preference, I get why and what could make them dislike it. However, my response would be that you're looking at the wrong thing. Like what I said in my review of Big Bang's "Alive", you have to look at, and think of, the right element in order to completely appreciate it.

The main focus of "Tarantallegra" isn't the visuals, it isn't the production or even the material itself -- it's Junsu, and how he both shows off and manipulates his stunning vocals. Think about it, the visuals, his clothes and everything, are cringe-worthy most of the time, the production is fine, but nothing I'd rave about, and the songs themselves are actually pretty generic and could've been sung by anyone. The point of this album is really Junsu, and in my opinion, that's what makes a good solo album (from a former idol, that is), because idols who go solo don't need material that overpowers them, they get enough of that in their respective groups, they need material to overpower. Material that just sits there and lets them fly off to wherever. And that takes a certain skill level to be able to do.

I won’t lie and say that this album is everything I expected and more, because it’s not, and I was disappointed when I first heard it because I was expecting everything to be equally brilliant -- the material, the delivery, the production -- but hearing the album now, this is the most ideal way to do a solo album. This isn’t just an album, this is Junsu’s album, and that has to be made very clear. But even that, I'm not entirely sure about.

There are things I don’t like, and the more I listen, the more problems I find. I don’t like the production on the entire album, because it dulls Junsu’s vocals, and in turn, dulls all the songs. Junsu still carries the songs, but dull production is something out of his reach, and it does absolutely nothing for the generic material. The songs don’t have to be loud, because the album is actually pretty soft volume-wise (not dynamics-wise), but I would’ve liked the production to be crisp.

Half of the album, or more than actually, is made up of ballads. I was half-expecting this, as always, but I was also hoping that Junsu wouldn’t go down this route. He’s had enough ballads in and out of DBSK, solo or group, to last him several lifetimes. Some of the ballads on this are gorgeous, of course, and Junsu sings them better than everyone else, but this is the same thing all over again. On the other hand, for a first solo release, sticking with something comfortable may be better. Who knows.

I listened to “Tarantallegra” the song again this morning, and I do agree with some of the comments on yesterday’s single review -- it’s potentially boring, and when I listened to it again without the music video, there were parts what just went on and on and on. However, the song gives me the impression that you really have to look at the entire package (and all it’s ridiculousness) to fully appreciate it. The song leans towards boring by itself, but if you really focus on Junsu’s vocals it’s really something else, and add in the video, Junsu’s performance as a whole in particular, and it gets that much better.

The synths on “Set Me Free” are so Christina (Aguilera) circa-”Keeps Getting Better”, and now that I think about it, the entire song is so Christina. Period. It also reminds me a bit of After School’s “Dream” around the edges. But again, the focus of this entire album isn’t the material, which I’ve already deemed average, it’s the delivery. For me, Junsu’s vocals are enough to draw me in.

Okay, fine, “No Pain” isn’t a ballad ballad like “사랑이 싫다구요” or the others in the album, but it’s not the uptempo I wanted either. Although, even as a slow R&B track, I hate to say this, it’s pretty generic. Gorgeous, yes, and I’ll give it to Jaejoong for making something that has his name all over it, but this song is far too frail for anyone to salvage, even Junsu. Nice try, Jaejoong, but this song just didn’t move me.

The problem with “사랑이 싫다구요” is a problem I see in a lot of other Korean ballads, actually -- they’re too low. I was watching K-Pop Star a few weeks back, and from what I got the industry opinion on these things is that they’re “emotional”. I’m sorry, but the only thing this song does to me is give me a sore throat. The same goes for “알면서도”, a few tracks later. It has OST song written all over it, but honestly, at this point it sounds too much like a better-sung version of “사랑이 싫다구요” in the right key.

Which is why, while the choruses of both songs are gorgeous and Junsu’s voice takes center stage, as it should, I prefer “돌고 돌아도”, not just because it’s in waltz-time, even if that’s a major reason too. Junsu’s singing in the right range, and we actually get the chance to feel the emotion, because he isn’t scratching our throats anymore. And the arrangement laced with the ever so slightly oriental melody has a much more natural flow than the previous song. If “Mulan” had one of those ballroom scenes appropriated for China, this would be the song playing.

This is pretty rare, but I actually like the Korean arrangement of "Intoxication" better than the Japanese one -- I adore the guitar line, in all its crisp glory and how it contrasts the vocal treatment (which, for once, matches the song) and the dynamics have much more punch here. But “Intoxication” is a brilliant song regardless.

I’m a bit disappointed with the number of uptempos though -- there are only four proper uptempo tracks. But at least they were spaced out and put between multiple ballads. Between “Breath” and “Fever”, I prefer “Fever”, but “Breath” is isn’t half-bad either. It’s very Simon Curtis circa-”8Bit Heart”, the arrangement especially. But “Fever” is something I’d imagine he’d bring to the US. I’m not entirely sure if it would work in terms of sales, but it works for Junsu because he sings with such ease and conviction, especially the chorus, which is glorious on all levels.

And the best song on the album? “Lullaby”. It’s stunning, and it was made and executed with a musical mindset. The arrangement half of the package, because it’s just as stunning as the delivery. The strings and chymes that lead into a very clean drum kit and gentle but confident synths, especially. Junsu sang the entire song flawlessly, and he really sounds his best on this song -- both technically and emotionally. He turned a potentially cheesy and lounge-y song into something stunning.

I’m pretty sure I’ve heard “이슬을 머금은 나무” somewhere before, but I can’t quite remember where. Nevertheless, it’s another gorgeous ballad, and currently fighting with “돌고 돌아도” for my second favorite song. It’s the kind of song that lulls you to sleep, not because it’s boring, but because it’s gorgeous and it relaxes you. Epic string section? Check. Half-real drums? Check. Junsu’s stunning voice? Check. Check. Aaaaaand Check.

“Tarantallegra” is an okay album, boring around the edges, yes, but I think another dimension to it is that Junsu himself is very comfortable with the material on it, so he delivers it much better than it actually is. Fair enough.

My favorite: "Lullaby"
Song(s) I'd listen to again: "돌고 돌아도", "이슬을 머금은 나무", "Fever", "Set Me Free"
My least favorite: "사랑이 싫다구요"
The final verdict: 3.9/5

Junsu - "Tarantallegra" (Single)

I'll be honest and say that I had no idea how to start this review because the only thing running through my head when I listen to this song is "KSAFHSKJGKSDGHSJUNSUUUUUUUUUU" and all coherent, rational thoughts have just been completely thrown out the window. But then I realized, that's the point of this song, and the point of my review.

Because, in essence, that's what music is supposed to do -- it's supposed to not only make you freak out or jump around your room, it's actually supposed to make you near-insane. Not in a bad way or anything, but when you listen to a song, essentially it should move you, and move you more than just a tear or a few tapping fingers here and there. Again, music is half heard and half felt, and essentially what you hear should help you grasp what you feel.

"Tarantallegra" affects you like that because it's effortless, because it's overflowing with conviction. While there were times when I cringed watching the video, Junsu isn't afraid to deliver. Obviously, he has the talent and the technicals to do something like this, something not a lot of people in K-pop have. I always, always say that before you can think of identity and whatnot, you have to be proficient, and Junsu is perfectly capable of standing his own ground on a song, and carrying an entire performance just with his vocals. Now, because he's technically proficient, the song really becomes Junsu inside out. I's not just because he wrote it with his brother though -- if someone else were to sing it, no matter how technically proficient that person may be and no matter how accurate the notes are hit, "Tarantallegra" will lose a part of it's identity.

And that’s really all I ask from K-Pop as a whole, actually. Be proficient in whatever you do, and do what is you. If you’re doing something you love, something that’s a part of you, the effortlessness and the conviction will follow naturally. “Tarantallegra” is proof that those two elements, when put together, work effortlessly. I mean just look at it, it’s so ridiculous and Junsu’s orange hair is just plain weird, but the song, the choreography, and the video work together so well that I have no qualms. At all.

When the teaser first came out, a lot of people were pointing out that the synths on this song were similar to “Xiahtic”, and while they are, honestly, I don’t see a problem with that. The synths here and on “Xiahtic” give both songs different over-all sounds, and Junsu composed both songs -- we’ve heard so many other producers re-hash their own songs even more blatantly than this.

Years in K-Pop have taught me to either absolutely hate, or just not notice rap parts out of personal preference, but honestly, the rap on “Tarantallegra” is one of the few that I cannot imagine taken out of the song. It adds another dimension to the entire package, and Flowsik’s deep timbre both contrasts and compliments Junsu’s vocals.

The reason why I don't have a problem with the auto tune during the chorus is because everyone knows that Junsu is so much more than just a capable singer, that he's obviously one of the best in K-Pop, and even Asia, and so he can easily sing those auto tuned parts live. The thing is, when I go and criticize other acts for using too much auto tune, the reason why I do it is because those acts use it as a mask, to hide their lack of talent. But then, like I just said, Junsu's talent is no secret, and the auto tune on this song is more of an artistic/aesthetic decision than it is a blanket.

The verses are stunning, they really are. I get mini-heart attacks throughout both, and I’m not complaining at all. It shows off what has made Junsu’s voice so infamous, and I get the belting I wanted!

Speaking of vocals, the thing I really, really love about how this song was done is the emphasis on Junsu’s vocals. Autotune aside, “Tarantallegra” is a song that Junsu carries -- the instruments on the backing track do add something to the over-all dynamics, of course, but most of the time they just go in a straight line. Junsu’s delivery controls majority of what happens to the song, and he does it extremely well. I cannot wait to see this live, (even if he’s not going to be on music shows) because knowing Junsu, it’s going to be that much more brilliant live.

And that, my friends, is the challenge I give to newer acts -- make me smile, cry, freak out, and move me, with an uptempo. Hype, looks and aesthetics don’t matter -- use your material and your musical proficiency to move me. It’s easy to do it with a ballad, but uptempos are a completely different story. If a new act can do that, and do it with as much conviction as Junsu has just done, they have my respect. This is the new benchmark for uptempo performances -- because Junsu has managed to deliver effortlessness and confidence over and above a heavily choreographed and produced package.

5/5

The Importance of a Sense of History in K-Pop

Shinhwa made their comeback last month, and while there were a good number of fans freaking out, me included, the other half of the K-Pop fandom was nonchalant, even negative towards them. I'd hear things like "why are they still around" or "who are those old guys" and honestly, if these fans had just bothered to do a simple google search, then maybe they'd know the significance of Shinhwa's comeback to K-Pop as a whole. I understand that newer K-Pop fans have no affinity to Shinhwa, that they weren't round during their golden days, but just a reminder, neither was I. Not having experienced a Shinhwa comeback is no excuse for not bothering to look up the very basic facts and figures. Just because they weren't around when you became a fan, doesn't mean they don't deserve the same treatment as other acts.

Sure, fine, living in the present is great and the past should stay in the past and all that, but you will only be able to understand the present if you know what happened in the past. "Write the present, master the past" -- that was what I always told the writers under me back when I was working in K-Pop news. Whether you like it or not, the past has affected the present, and as writers and fans who live in the present, it's only right that you understand what's happening. Of course, as a music writer I had to learn and listen to practically everything, and as casual fans who don't really plan on a career in this you don't need to be an expert, but what we're going for here is a sense of understanding.

It's a double-edged sword -- the biggest problems of K-Pop are that the industry has no sense of longevity when it comes to idols, and the fans don't have a sense of history. Now until one of those sides is fixed, the other will remain and of course as fans, the easiest way is to start with ourselves. I've tried breaking the importance of this historical mindset within the K-Pop news writers, and honestly, none of them want it to happen, because they think the fans won't understand it. If the news writers don't want to start it, then it has to come from the fans. I don't think anyone wants to be considered stupid by anyone.

Shinhwa lasting fourteen years together is huge and practically unheard of, but in other countries other bands have lasted for much longer. Of course when we talk of "idol" equivalents abroad the standard lifespan has always been five years, but you see, these foreign industries only built themselves around groups for a short period of time and showcase a very wide variety of chart-topping, mainstream acts, whereas idols and idol groups are K-Pop. And because idols are the majority of the industry, everyone has to invest as much as they can -- from the people on top, all the way to the fans.

Everything starts with a sense of history. If K-Pop wants to continue pushing idols as the majority of the industry, fans have to know why, and they have to at least be able to understand how everything works, and how things came to be.

I completely understand that a lot of people don't like the idea of "history", and as a kid I despised history class too. I didn't like memorizing names and dates and places and listening to lectures about wars and colonization, and I'm sure there are a lot of people who felt the same way. However, I realize now that I hated history because I didn't understand it, because I was just memorizing empty facts and not using it in everyday situations.

The history that K-Pop fans have to learn is very basic and extremely relevant. You don't have to religiously follow every single act that ever existed, you don't even have to go all the way back several decades and know everything about everything -- you just have to make an effort better understand your present.  This so-called "history" you need in K-Pop doesn't have to feel so much like history, because of modern technology. It's so easy to look up facts and events now, much easier than it was several years ago. Watch a few YouTube videos, look at a few pictures -- all of those are historic, and entertaining. They don't have to be boring news items or Wikipedia articles, because watching the actual videos is even better.

All you have to do is go back a little over a decade and start from there. Earlier idol groups like H.O.T., G.o.d., S.E.S., Fin.K.L. Shinhwa and of course Seo Taiji & Boys were massively successful with local consumers, and sold albums in the millions. Look up a video of an H.O.T. concert and you'll know why. Because of their success, newer generations of idols and idol groups were launched -- Rain, BoA, DBSK, CSJH, and later Super Junior, SS501 and Big Bang. DBSK's debut was significant because it was a time when solo artists ruled music shows -- watch even just one of their Mutizen song wins and observe the other contenders for the prize. BoA and DBSK worked for years in Japan before cementing themselves as the frontrunners of the Hallyu wave -- DBSK became the first Korean group to make it to the Kouhaku Uta Gassen in 2008, after three years, three albums, and over twenty singles.

In more "current" times we have fandom wars, never-ending plagiarism claims, acts suing their agencies, and countless member re-shuffles. Know that the KARA we know today isn't the KARA that debuted in 2007, and the same goes for the Wonder Girls, 2PM, and even DBSK, Super Junior and CSJH. People have come and gone, have moved groups and changed paths, and groups have built their names around very different things. Trace histories of groups you already know, and you'll be surprised at what you'll find out.

Knowing all this will help you understand why everyone's moving to Japan, why fans are up in arms over something, why this person said that, and basically everything that's happening in K-Pop these days. Honestly, don't you want that? A sense of history and understanding?