K-pop 2019 year in review: B-side bops and awesome album tracks
The constant stream of new K-pop releases can make it difficult to look beyond the title tracks of minis, albums or even b-sides of digital singles. Who has the time? But it can be worth it. A single or title track is more likely to be formulaic or follow trends so that it appeals to the widest audience possible. K-pop used to be renowned for its musical risks and innovations. They're still there; they're just buried on the b-side. Here are a few of my favourites from 2019.
One of my most played songs of the year was this Twice gem, co-written by JYP house producer Collapsedone and hidden away on their Japanese release &Twice. The epitome of sad robot dance music - and sung in English to boot, its simple but sweet lyrics evoked images of group members comforting Mina, who has taken a break from performing due to anxiety, making it resonate all the more.
[Emphasis is mine]
What you waiting for?
Just know you're not alone
What you waiting for?
What you waiting for?
...
When you think nothing's alright
If you cannot find the "go" sign
Don't be afraid, you know you are where you're meant to be
One more time, close your eyes
And then count 1 2 3 4 5
Within the darkness you can see the starlight...
Tell you what, you're not just a pretty girl
Hey, show them what you're really all made of, girl
Loving your energy, feeling the synergy
Hey, don't you worry and lean on me
Look up at the sky, now the clouds are out of sight
Why don't you place your hand in mine (what you waiting for?)
So come on and trust me
In a year full of great releases for Twice, Trick It, from the Korean album Feel Special, was also a scene stealer. Fancy and Feel Special were great singles (as was the Japanese single Fake & True) but What You Waiting For, and this beauty raised the bar even higher. Trick It, starts off with a feint: sweet, cooing harmonies and low key vocals, before the kick drum arrives at the 45 second mark raising the energy, and adding spice to the sweetness, creating an intoxicating mix.
It was a good year for Japanese K-pop songs, with this side track from Taemin's Famous album overshadowing the title track. There used to be a clear split in styles between Shinee's Korean and Japanese releases, but this continues the sinuous electronic dance sound of Move and Want, with rippling synths, throbbing bass and breathy vocals that all break into full bloom as he sings, in falsetto, "I want it bad, bad, bad, my love".
Esna is a kick-ass Korean-American singer-songwriter who has written hits for others - including Some, the hit song of 2014, by Junggigo and Soyou - as well as recording her own material. Her soul-jazz voice is sometimes reminiscent of Amy Winehouse, as are her direct lyrics: she responded to online haters by re-recording Ahh Oop, a song she wrote for Mamamoo, as Ah Shit (turn on English subtitles for a laugh). Most of this year's mini was pretty good but the standout for me was not the languid single Spoon, but this rawer soul jam, which I played on a loop for entire month.
What a tragedy that Yubin's glorious disco tracks from last year didn't manage to cut through - except for those of us playing the one-hour Lady loop – on a loop. I am not surprised she choose a different direction for her third post-Wonder Girls release. She released two songs in 2019 on a release she called "The Start of the End", and made an MV for Silent Movie, a sweet, smooth sounding track, but I like this one better. Like Silent Movie, it's a slow jam, but there is something about its lovely, wistful melody that stayed with me. It's beautifully sung and lyrically continues the Thank You So Much theme of telling someone to shut up and leave her alone.
WSJN were veering into nation's girl group territory, especially with the glorious summer track Boogie Up. But they kind of blew it with the follow up, which was a pretty generic tropical pastiche. The second track on the same mini, however, is a banger. Let's look at the name first: Luckitty-Cat. OMG be cuter. Second: this song bangs then it bangs some more. It rhymes STRANGER and DANGER (with harmonies). Co-written by Full8loom, who co-wrote Save Me Save You and Got7's Lullaby, it goes full speed ahead, the pace offset by sweet harmonies and various drops, pauses and rhythm breaks. The vocal arrangement is outstanding and made more special because we just don't hear this kind of thing much any more: with echoes and lines weaving in and out and around. Special note must be made of the awesome Xanax rap. Pump up the volume in your headphones walking down the street and you'll feel 10 feet tall.
Woolim Entertainment's Golden Child are a cool team that have recaptured my attention after a hiatus with this gem of a track that harks back to a time when the big band influence was big in K-pop; when TVXQ bestowed Something and Spellbound upon us and Ladies Code gave us Bad Girl. It's composed by Monotree (Loona, Stellar, etc and etc), so it's smart and slick pop with strong melodies, and jazz bass runs and brass flourishes used to colour what is at heart a modern production.
I kind of went into mourning when ChoA left AOA. I've found it hard to get into any of their stuff since she left but in 2019 they gave me two reasons to welcome them back: the spectacular re-imagining of Mamamoo's Egotistic for Queendom (more about that later) and this rockin' beauty. It's a strange hybrid of the best kind: it has funky bass and disco drums and a strummed guitar that almost sounds like heated up country. The super high vocals. like a sweet whine, spar with a weird spoken word that sounds like someone is speaking in tongues. Sounds like a mess. Works like a charm.
I so adore Chungha - she is so charismatic and such a great dancer. But I am constantly disappointed by her singles. I always feel like if they didn't have the backing of all that beauty and charisma, they wouldn't fair so well in the charts. In any case, this lilting summery jam is really adorable. It's co-written by Baek Yerin – who had a great year with own music, before she bailed from JYP – and it reminds me of the relaxed soulful grooves 4 Minute used to do sometimes.
This was the title of this indie singer's mini, but not the song she made an MV for, so I am going to treat it as a side track. I also liked War, which featured Junggigo, but I connected more with Cheeks and Lips. There's a quirkiness in the production and the delivery that threatens to pierce the ambiance created by the rattly drums, washy synths and melancholy melody, but it all hangs together to create a lo-fi treat.
Also recommended: Loona – Curiosity; Kei – Paper Moon; Oh My Girl – Vogue; Tomorrow X Together – Roller Coaster; BoA – I Don't Mind; Weki Meki – Tiki Taka; Up10tion – Restore; Daniel Kang – What Are You Up To; Nu'Est – Segno; Taemin – It's You; WJSN – Oh My Summer
Twice – What You Waiting For
One of my most played songs of the year was this Twice gem, co-written by JYP house producer Collapsedone and hidden away on their Japanese release &Twice. The epitome of sad robot dance music - and sung in English to boot, its simple but sweet lyrics evoked images of group members comforting Mina, who has taken a break from performing due to anxiety, making it resonate all the more.
[Emphasis is mine]
What you waiting for?
Just know you're not alone
What you waiting for?
What you waiting for?
...
When you think nothing's alright
If you cannot find the "go" sign
Don't be afraid, you know you are where you're meant to be
One more time, close your eyes
And then count 1 2 3 4 5
Within the darkness you can see the starlight...
Tell you what, you're not just a pretty girl
Hey, show them what you're really all made of, girl
Loving your energy, feeling the synergy
Hey, don't you worry and lean on me
Look up at the sky, now the clouds are out of sight
Why don't you place your hand in mine (what you waiting for?)
So come on and trust me
In a year full of great releases for Twice, Trick It, from the Korean album Feel Special, was also a scene stealer. Fancy and Feel Special were great singles (as was the Japanese single Fake & True) but What You Waiting For, and this beauty raised the bar even higher. Trick It, starts off with a feint: sweet, cooing harmonies and low key vocals, before the kick drum arrives at the 45 second mark raising the energy, and adding spice to the sweetness, creating an intoxicating mix.
Taemin – Tease
It was a good year for Japanese K-pop songs, with this side track from Taemin's Famous album overshadowing the title track. There used to be a clear split in styles between Shinee's Korean and Japanese releases, but this continues the sinuous electronic dance sound of Move and Want, with rippling synths, throbbing bass and breathy vocals that all break into full bloom as he sings, in falsetto, "I want it bad, bad, bad, my love".
Esna – You Deserve It
Esna is a kick-ass Korean-American singer-songwriter who has written hits for others - including Some, the hit song of 2014, by Junggigo and Soyou - as well as recording her own material. Her soul-jazz voice is sometimes reminiscent of Amy Winehouse, as are her direct lyrics: she responded to online haters by re-recording Ahh Oop, a song she wrote for Mamamoo, as Ah Shit (turn on English subtitles for a laugh). Most of this year's mini was pretty good but the standout for me was not the languid single Spoon, but this rawer soul jam, which I played on a loop for entire month.
Yubin – Not Yours
What a tragedy that Yubin's glorious disco tracks from last year didn't manage to cut through - except for those of us playing the one-hour Lady loop – on a loop. I am not surprised she choose a different direction for her third post-Wonder Girls release. She released two songs in 2019 on a release she called "The Start of the End", and made an MV for Silent Movie, a sweet, smooth sounding track, but I like this one better. Like Silent Movie, it's a slow jam, but there is something about its lovely, wistful melody that stayed with me. It's beautifully sung and lyrically continues the Thank You So Much theme of telling someone to shut up and leave her alone.
WJSN - Luckitty-Cat
WSJN were veering into nation's girl group territory, especially with the glorious summer track Boogie Up. But they kind of blew it with the follow up, which was a pretty generic tropical pastiche. The second track on the same mini, however, is a banger. Let's look at the name first: Luckitty-Cat. OMG be cuter. Second: this song bangs then it bangs some more. It rhymes STRANGER and DANGER (with harmonies). Co-written by Full8loom, who co-wrote Save Me Save You and Got7's Lullaby, it goes full speed ahead, the pace offset by sweet harmonies and various drops, pauses and rhythm breaks. The vocal arrangement is outstanding and made more special because we just don't hear this kind of thing much any more: with echoes and lines weaving in and out and around. Special note must be made of the awesome Xanax rap. Pump up the volume in your headphones walking down the street and you'll feel 10 feet tall.
Golden Child - She's My Girl
Woolim Entertainment's Golden Child are a cool team that have recaptured my attention after a hiatus with this gem of a track that harks back to a time when the big band influence was big in K-pop; when TVXQ bestowed Something and Spellbound upon us and Ladies Code gave us Bad Girl. It's composed by Monotree (Loona, Stellar, etc and etc), so it's smart and slick pop with strong melodies, and jazz bass runs and brass flourishes used to colour what is at heart a modern production.
AOA – 99
I kind of went into mourning when ChoA left AOA. I've found it hard to get into any of their stuff since she left but in 2019 they gave me two reasons to welcome them back: the spectacular re-imagining of Mamamoo's Egotistic for Queendom (more about that later) and this rockin' beauty. It's a strange hybrid of the best kind: it has funky bass and disco drums and a strummed guitar that almost sounds like heated up country. The super high vocals. like a sweet whine, spar with a weird spoken word that sounds like someone is speaking in tongues. Sounds like a mess. Works like a charm.
Heize (feat. Colde) – Daum
After the sparkling genius of last year's Jenga, I found some of Heize's 2019 tracks a bit disappointing; just a bit too much chill in the cafe music. But this one, tucked away on the Late Autumn album, kept me coming back. It's a double shot of espresso and just a tiny bit of froth. It has an insanely catchy melody for a start. Listen to this a couple of times and you won't forget it in a hurry. Or ever. Also, nice use of the dreaded marimba preset which has been so abused by producers chasing a hit by going for a "Latin" sound.
Chungha – Young in Love
I so adore Chungha - she is so charismatic and such a great dancer. But I am constantly disappointed by her singles. I always feel like if they didn't have the backing of all that beauty and charisma, they wouldn't fair so well in the charts. In any case, this lilting summery jam is really adorable. It's co-written by Baek Yerin – who had a great year with own music, before she bailed from JYP – and it reminds me of the relaxed soulful grooves 4 Minute used to do sometimes.
Ccola - Cheeks and Lips
This was the title of this indie singer's mini, but not the song she made an MV for, so I am going to treat it as a side track. I also liked War, which featured Junggigo, but I connected more with Cheeks and Lips. There's a quirkiness in the production and the delivery that threatens to pierce the ambiance created by the rattly drums, washy synths and melancholy melody, but it all hangs together to create a lo-fi treat.
Also recommended: Loona – Curiosity; Kei – Paper Moon; Oh My Girl – Vogue; Tomorrow X Together – Roller Coaster; BoA – I Don't Mind; Weki Meki – Tiki Taka; Up10tion – Restore; Daniel Kang – What Are You Up To; Nu'Est – Segno; Taemin – It's You; WJSN – Oh My Summer
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