This Week in Kpop: October 25-31, 2015

This Week in Kpop is brought to you by walls. Four of them, in fact. Yes, we're hyped by f(x)'s return, but have also been caught off guard here. What do we mean? Let's delve right in, friends!

Art House f(x)

f(x) is back! So why are we so unnerved? We've been trying to figure that out all week! It's not necessarily the art house theatrics of the music video - f(x) has already begun veering towards that distinction with last year's incredible (and ultimately abstract) "Red Light" music video. We haven't even tried to dissect the video for "4 Walls" ad nauseam yet (we'll save that for the Podcast), although there are some masterful shots and interesting character-switching...and a freaking horse, that we could and should try to decipher (you've probably already read YouTube and Reddit theories, in which everyone with a computer or smartphone can become an expert [yes, we know, pot meet the kettle]).

The fact is, we like the fact that f(x) makes videos that beg for deeper interpretation. Even if the commentary is way off (and often, who can know for sure?), the interpretation the audience arrives at is often more interesting than the original intention. So, please - give us your theories!

But if "Red Light" is similar in artistry to "4 Walls," it's still much closer to "Rum Pum Pum Pum" or even "Electric Shock" in presentation. There's choreography, there's an ecstatic energy, there's the box!, that is completely absent from the more muted and Instagram-filtered "4 Walls." It's a dramatic shift, and for us, f(x) fans to the end, it will take some getting used to. Which is not to say we're not digging it. "4 Walls" gets better with each view (and listen), but it will take some time to register as an f(x) release to us. We're going to give this more time, but don't worry, we'll recover and give a closer look at this important release soon!

Critical Kpop Podcast - Episode 9: Halloween Edition

With all this talk of walls, we've nearly forgotten to say: Happy Halloween, friends! Why not celebrate the macabre with a ceremonial carving of a pumpkin and a listen to the only podcast that invites you to, as they say, LISTEN HARDER? This week, Zander and Tim tackle their favorite spooky videos (like Wings' "Haircut" here), and break down exactly what it is they love about Halloween. Listen here, friends!

Review: IU's CHAT-SHIRE is Inscrutably Good 

As you must know, IU is back with a brand new mini-album! So what happens when a non-IU fan tries to give a full, honest review? Zander Stachniak tackles CHAT-SHIRE as best he can right here.

From Fame to Infamy: The Harmful Naivety of Bias

Listen. We all have our biases. That's what Kpop is rooted in, dummy! But what happens when your bias crosses a line? What then? Helen Edworthy examines these issues here!

The Idol Grows Up (Or Does She?) 

We had a full plate of article this week, after taking a hearty focus on our podcast! This welcome return to writing is due in large part to an influx of submissions and ideas from our readers. Take, for example, this article on IU, Lim Kim, and Song Jieun, and their videos concerning coming-of-age, written by Timothy Moore. This idea for the article was submitted by a reader named Suzanne! We're always looking for ideas and submissions - so send us an email sometime. We can't do this alone!  

October 25-31, 2015

And that was This Week in Kpop! We had one of our most packed writing weeks in a long time and we feel re-energized! But now it's Halloween weekend and time to party. Anyone out there dressing up in a Kpop-related costume? Send us a picture already! We, on the other hand, will be listening to f(x) all weekend in preparation of a more thorough dissection. Until next time, have fun and be safe!

Critical Kpop Podcast - Episode 9: Halloween Edition

Happy Halloween! This week gets spooky on the Critical Kpop Podcast as Tim and Zander discuss their favorite Kpop horror music videos: Vixx, SHINee, Wings, and more! The guys also break out of the box to discuss the theory of horror, the uncanny, and the weird! Tune in!

Critical Kpop Podcast - Episode 9: Halloween Edition by Critical Kpop on Mixcloud

You can subscribe to the Critical Kpop Podcast on iTunes, or check this and future episodes out at www.mixcloud.com/CriticalKpop. You can expect a healthy serving of news, reviews, and critical analysis in every episode. The Critical Kpop Podcast is the only podcast that invites you to LISTEN HARDER.

The Idol Grows Up (Or Does She?)

We'd like to thank Suzanne, one of our readers, for sending us the idea for this article! 

Buoyed certainly by Confucian tradition, a person's age, in Korean culture, is of utmost importance - especially concerning how one person views and then treats another. You'll often see reality shows where the first questions asked are directed at someone's age. Deference goes to older aged - respect. There are books written about this, sociological studies. But what about aging itself, and, since this is a Kpop site: how do young idols perceive their own aging? IU's "Twenty-Three" has sparked some discussion on the similarities between her new video and Lim Kim's "Goodbye 20" and Song Jieun's "Twenty-Five," and with good reason. But as these idols tackle growing older, are they really saying the same thing? Let's dig a little deeper here, shall we?

Starting with Lim Kim, and not just because she's the youngest: She entered headfirst into her twenties with "Goodbye 20."

I already know what you're thinking (I can read your mind, it's scary), but twenty-one isn't the same marker for Koreans as it is for those of us in the United States. The legal drinking age is nineteen, and so is the voting age or when you can buy cigarettes (but nice try). 

So why is turning twenty-one even significant? Watching the video, it's hard to tell. Lim Kim's first lyrics, translated in English are something like: "My twenty is all gone, I have done nothing," which, considering her early success, seems a bit disingenuous. It takes a minute to realize that Lim Kim, despite turning twenty-one herself, really isn't singing about herself here: "My Mom tries to imprison my night, like I'm a punk" speaks more of a delinquent child instead of the touring idol that probably sleeps in a dorm room provided by her agency. She complains about her sister being in hysterics, her father who is never home, possibly dropping out of college, finding love. No, Lim Kim is not singing about herself here but how she imagines turning twenty-one would be like for someone who isn't an idol.

This song signals an end to adolescence by embracing the juvenile. Lim Kim has never been more exuberant, popping balloons and knocking over people dressed as bears (she dresses as a bear herself to make the moneys), wearing gloves on her feet, dragging herself to adulthood via skateboard, despite herself. It's a beautiful video, full of cool sky blues and mustard yellows, but even so this release feels a bit off; it feels staged. Looking at her early releases you wouldn't even guess that Lim Kim was so young. "All Right" feels decidedly adult, "Rain" touches the sublime with the grace of someone twice Lim Kim's age. "Goodbye Twenty" isn't about showing fans that Lim Kim is growing up as she's always been presented as mature and adult - instead, this release is reminding us of her youth.

Which brings us to (Secret's) Song Jieun's "Twenty-Five," which is well, mostly different. What's strange with Song Jieun's coming-of-age release, "Twenty-Five," is everything. Watch the music video first, then get back to me.

Did you watch it (please don't lie)? On first glance, it's a nice but pretty unremarkable video, but it actually is pretty remarkable how thrilled Song Jieun is at becoming a woman, referring to herself with lines like: "A perfectly amazing bodyline," and "Beautiful, young, and free." It's oddly empowering, and it's only odd because this feels like a coming-out party, whereas Song Jieun has been doing this idol thing for years already.  

"I don't act like a girl anymore," she sings, clutching a stuffed bear (again with the bears!) and popping birthday balloons, and, despite the visual contradictions, one tends to believe her. She enters twenty-five unencumbered by her naive, insecure youth, dancing in high heels and short skirts with all the confidence of a seasoned diva. 

So how is it just mostly different from Lim Kim's own coming-of-age release? It's because, like Lim Kim's release, "Twenty-Five" is also reminding us of Song Jieun's youth, which is presented here as strangely "girly," with a focus on flowery decor and aggressive pinks. This is probably going for, at least partially, an ironic touch, as midway through the video we enter a more slick (adult) black and white and blue color scheme, but we don't stay just there - we keep returning to these soft, idyllic images - Song Jieun as young princess, forever young. Therein lies intent. In both Lim Kim and Song Jieun's releases, as they confront their aging, one with glee and the other with despair, a central element binds them: they're also selling their beautiful, coveted, youth. 

Which brings us to IU and "Twenty-Three."

Yes, IU has her own coming-of-age song here, and there are some stark similarities that all of these videos share. The color schemes - these blues signifying maturity are significant (or: entirely coincidental). There's more bear imagery as well but only IU directly mentions the mammal with the intriguing: "Pretend to be a fox that pretends to be a bear that pretends to be a fox." Those lines hint at the fact that IU's take on aging is a bit different than that of her peers. She is less concerned with growing older and more concerned with her own celebrity and duplicity, which, honestly, is far more interesting.

In fact, IU's "Twenty-Three" may have more in common with Gain's criminally underrated "Truth or Dare," which probed into the idol life and certainly exaggerated Gain's larger-than-life persona (and went to great lengths at shaping that persona). The video ends with Gain asking: "Just living - isn't it all acting?"

IU's video isn't selling the idea of youth - it's selling the idea of IU. Like "Truth or Dare," IU brings us one of her most personal releases yet - she doesn't imagine what it would be like for someone not super famous to grow older like Lim Kim does - she peers into her own self as a super famous idol. Unlike Song Jieun insisting on her maturity, IU embraces the duplicity of growing older. The only certainty is uncertainty.

Observe: "Oh right, I want to be in love. (No, I'd rather make money)." Or how about: "Making the opposite facial expression to the heart is really simple." Or, my favorite: "At first, I never wrote a single line of lies." The song is a lyrical smorgasbord, personal and straight from IU's mouth (she at least co-produced all the songs in this CAT-SHIRE mini-album), but still touching on ideas that are universal.

IU depicts growing older as falling into a rabbit hole, life taking the form of Alice in Wonderland's upside-down madcap world. I'm sure many young adults see the absurdity of their adult lives in much the same way. In that, IU's "Twenty-Three" is actually very different from Lim Kim and Song Jieun's similar releases. By sharing how much she doesn't know, about life, about herself, IU is showing how adult she really is. And that's something you have to respect.


Timothy Moore writes from Chicago. He blogs at Read My Blog Please, and edits at Ghost Ocean Magazine. His biases are T-ara, Block B, Nine Muses, Brown Eyed Girls, and Girl's Day.

From Fame to Infamy: The Harmful Naivety of Bias

Chances are, if you’ve been listening to K-Pop for any time at all, you’ve found yourself a group you like more than others. You’ve maybe even found a member you like more than anyone else. For those not familiar, this practice is generally known as having a ‘bias’, and trying to avoid it has proven very difficult for most K-Pop fans over the years.

This is hardly anything unusual, and it’s certainly not limited to K-Pop; everybody has that one celebrity whose career they look out for a bit more than others, who they’re happy to see succeed. Even that person who says they’re ‘not really into celebrity culture’ has that one person, and I would bet real, actual, I-earned-this-from-my-legitimate-job money on this. I would then also go on to bet that that one famous person you like more than others (in this case, your favourite idol singer) is someone you don’t generally like to have to read criticisms of, and someone you feel the need to defend. This also isn’t unusual; you don’t need to look any further than an idol’s Instagram comments to see people defending their bias from something. The same qualities which people tend to admire in an idol are also qualities which they typically wish to emulate. So it makes sense that people often begin to project themselves into their idols as they become more and more emotionally invested in them.

The problem with defending your favourite idol and becoming emotionally invested in them arises when this becomes unhealthy. Getting overly attached to someone you’ve never met and don’t know beyond the idea of them you’ve created for yourself is one thing, but refusing to admit that someone you admire has done something harmful is something else entirely. The lack of willingness to address this has been a problem in K-Pop, and many other fandoms, for years. Wanting to think the best of people isn’t a bad thing at all - but blindly trying to absolve someone of their faults and indiscretions is wrong in several different ways. One thing that people make the mistake of doing is pretending that their idol saying offensive things is fine so long as they do not personally find this offensive, and this is both insulting and short-sighted - we’ll call this harmful naivety.

This past year, K-Pop has been rife with scandals. We had cases of members leaving popular groups and consequently being sued (Hey SM, how are those stock prices going? Good? I heard good.), members getting kicked out of very popular groups, and members choosing not to renew their contracts. These aren’t really problematic, but some fan reactions very much were. Some things idols did were very dangerous and extremely harmful to others; most recently, Choi Siwon of Super Junior retweeted a series of messages on his Twitter which questioned the validity and morality of same-sex marriage. 2014 also saw rapper and producer Woo Jiho AKA Zico of Block B proudly wearing a Confederate Flag printed armband in his MV for ‘Tough Cookie’, as well as spouting homophobic sentiments in the lyrics. Most recently, there was an example of none other than JYP selling school uniforms to young kids…featuring provocative pictures of his most recent girl group and JYP in sunglasses in the background. Bear in mind, the members of JYP’s newest girl group TWICE are all under twenty years old, with their youngest member being age 16 – so it was more than a little bit inappropriate.

Adding to all of these, there are countless examples of people ignoring their favourite idols saying racist things, doing racist imitations, saying sexist things, and so on. Unfortunately, this is nothing new for fans of K-Pop, but the sheer frequency of this happening over the past year has made it clearer than ever that many fans have an issue with admitting not only to themselves, but to others, that their favourites have messed up. Instead, fans often feel the need to defend their idols – even in cases where an idol has done something truly horrible.

There is no better current example of this than that of Kim Hyun Joong. Last year, it came to light that a woman claiming to be Kim Hyun Joong’s girlfriend had accused him of physically assaulting her. The details are fairly murky, and there are many different accounts, but Kim Hyun Joong (hereafter KHJ) did admit to assaulting her on one occasion even if he has not fully addressed them all. In the case he admitted to, the woman sustained a broken rib. KHJ maintains that both parties were physically assaulted, but how true this is remains to be seen. Many of the charges have since been dropped, but the fact remains that KHJ hurt someone else, and fans like to defend him to the point of maintaining that he did nothing at all - even when case proceedings say otherwise. I’ve seen fans argue that this woman is jealous, or that if she’d been a better girlfriend he wouldn’t have done this to her. Both of these things are completely unacceptable. This is without a doubt a case of harmful naivety leading to the blind defending of a bias. It should be made clear, to anybody who missed it, that what KHJ has done was awful, and he has shown absolutely no signs of regret at his actions. Rather, with his army of fans steadfastly behind him, KHJ continues to live his life seemingly the same way as he always has – except now, of course, he’s currently serving his two-year military time (hardly the same as a prison sentence).

This case is not the only thing that happened, of course. Idols frequently say and do hurtful things - some examples include Wendy of Red Velvet and her racist imitations, numerous people (including veteran singer K.Will) making fun of Hyorin of SISTAR’s skin colour, and EXO member Park Chanyeol continuing to make ‘jokes’ about the dark skin of fellow member Kim ‘Kai’ Jongin. None of these things are okay, but fans still try to claim that these things are not offensive even in the face of other people giving them details as to why they are, and why they have been used against them personally.

One of the most important things about being a fan of anything, in particularly something that is as popular as K-Pop (and it’s many, many idols), is being critical of it. This doesn’t necessarily mean that you talk smack about it all the time, or make fun of it (although I like to do this in a loving manner because I’m trash), but it does mean that every now and then you take a step back. You take some time to think critically about how and why you are blindly defending people, and from whom. If you’re spending most of your time doing this, chances are that what you’re doing is upsetting people – and this is likely to be true even if you can’t see it. Admitting your bias has done something wrong doesn’t make you a bad fan; it makes it clear to the people they upset that you do not agree with what your bias is doing or saying. Often, fans who blindly defend an idol’s problematic behaviour do it because, in some way, they agree with it. Another argument I’ve seen is that idols say these things because it is okay to do in their culture, but this is both incredibly racist and infantilising.

There’s no harm in loving something a lot, and no shame in having a favourite in a group you really love. If these things make you happy, then by all means! They make me happy, and that’s why I feel so strongly about it. What I am saying is that it is not okay to act like your bias is the perfect, innocent snowflake you like to pretend they are; I can guarantee you they aren’t. Moreover, putting them on this pedestal just means that, when they end up doing something awful, they have further to fall - and the more upset you will be as a fan.

K-Pop markets itself as being fun and easy, and this is what it should be; if you don’t find this happening, maybe it’s time for a break. If what you love isn’t making you happy, and the way you interact with it is making other people unhappy, then it’s time for self-reflection.

The hope is that, when your bias or any other idol does something problematic and wrong, that they learn from it and genuinely want to not do it again. Everybody makes mistakes, but some are bigger than others - in some cases, people can learn but they might not deserve to be back in the beloved position they held before. This is because this position was something they abused in the first place in order to be able to carry out their actions. But still, it would be better if they learned from the experience and genuinely apologised. However, when you defend them blindly, nothing is learned aside from that they can continue to do problematic things because people will always come to defend them. This will do nothing but make K-Pop exclusive, and drive out fans who don’t feel welcome to voice their grievances. With K-Pop being so popular and so overwhelmingly fun, this would be a shame. So, to continue to make it as open for everyone as possible, call your idols out - and don’t let them get away with things just because you think you know them.

But remember to have fun, too.

Helen Edworthy is an English Sociology undergraduate who got lost in the world of K-Pop five years ago. She tweets at @captain_helen and her biases are UKISS and NS YoonG.

Review: IU’s CHAT-SHIRE Inscrutably Good

IU is back with a brand new album! CHAT-SHIRE, the seven-song EP, was released to much fanfare on October 23 (in honor of lead single, “Twenty-Three”). But IU’s own massive success makes it near-impossible for anything like a unbiased review. Here at Critical Kpop, however, that’s exactly the kind of review we want. So rather than assign this review to a long-time listener, I’ve been tasked with giving a full, honest account.

Full disclosure: I’m not an IU fan. Crazy as it may sound, I’ve never given much attention to the nation’s little sister, which gives me a huge advantage while listening to her latest release. It doesn’t do our readers, our site, or even our favorite Kpop artists any good if all we post about a new album is a string of emoji that start with elation and get progressively closer to orgasm. A gif of someone’s head exploding doesn’t qualify as discourse. All too often in Kpop we sacrifice meaningful content for raw emotion, especially when it comes to talking about big artists.

So where to begin with CHAT-SHIRE? With “Shoes” of course! The first song on the album is the one that grabbed me by the collar and forced me to spend my weekend under IU’s spell, something I really wasn’t planning on. Being wildly different from my own expectations for the album, “Shoes” set an important precedent for what was to come. Although it’s the first of many commonly-titled songs in a rather quotidian tracklist (e.g. shoes, the shower, knees, glasses), the song is anything but normal. “Shoes” leads the album off with a heavy disco element that wouldn’t be out of place in a Bee Gees song. IU’s voice, however, carries more of a natural, folksy color that blends to create something I’d describe as “smoothe disco.” The disco peeks in and out of the song (and the rest of the album), to be alternated by a more traditional pop sound.

This blending of genres and seeming free-reign to explore would come to define the album for me. The title of the album, CHAT-SHIRE, recalls the Cheshire Cat of Alice in Wonderland (both in the word cheshire and in “chat” being French for cat), a character famous for its inscrutable smile. Add to that the idea of a chat being an informal dialogue, and you’ve got a decent description for the whole album: informal and inscrutable.

Next on the album is “Zezé,” darker and more mature in sound, and perfectly placed between the lighter “Shoes” and “Twenty-Three.” Although there are still a few strands of disco, and even an R&B flavor to IU’s vocals, the overriding genre here is pop. This is typified by the oft-repeated, four-note piano riff, reminiscent of Britney Spears’ “...Baby One More Time,” and which gives the impression that this song could take off in another direction at any moment. That it stays so perfectly on course is testament to IU’s talent and control as a singer. The blend of styles, here and throughout CHAT-SHIRE, creates a positive tension well-worth the cost of admission.

“Twenty-Three” is where the album establishes itself thematically. It's a playful romp through an Alice in Wonderland styled world, where IU gets to show her weird side. And it should be a requirement, when watching the music video, to have the lyrics open on another screen. Unlike the standard Kpop drivel, IU is actually saying something here. The lyrics suggest that she’s at a crossroads: is she an adult or is she young and immature? IU isn’t sure, and neither are we. But more than uncertainty, or even inscrutability, the line that struck me was IU’s admission of her anxiety over what others think of her. “People are always kind to me. / The woman saying hello to me / Is she still smiling after going round the corner? / I’m always anxious.” While this is a sentiment that can be understood by each of us, the idea is intensified by IU’s fame. Considering how unbelievably positive her career has been so far, it is not hard to see how anxiety must build for her between each and every release.

She must wonder, at times, whether it could possibly be true that she hasn’t set a foot wrong throughout her career. Is CHAT-SHIRE actually a good album? Can reviews like this one be trusted? For IU, I think that self-doubt only makes her work harder to reinvent herself with each song. IU is only twenty-three. She’s got a long future ahead of her, but she’s going to do her own thing. And this song is a good example of that, blending elements of jazz and disco to create pop music that intentionally understands itself differently.

“The Shower,” however, slows things down with a much more one-dimensional folk song. The synthesized disco, jazz, and pop sounds disappear during this track as IU sings over an acoustic guitar and an accordion. Thankfully, “Red Queen” continues where “Twenty-Three” had left off, with a mixture of pop and an old-school jazz feel. The song wouldn’t be out of place on Lee Hyori’s most recent album, but IU’s higher and more breathy voice, along with Zion.T’s signature sound, makes it new.

“Knees” is an unfortunate deviation from an otherwise cohesive album ("The Shower" aside). A slow song accompanied by soft piano and violin, it fails to resonate. For the first time, the quotidian nature of the song titles starts to feel oppressive and boring. It’s a nice song, a beautiful song, even, but it doesn’t match the big picture of CHAT-SHIRE. Rather than advocate for the removal of slow songs (every album needs ups and downs), “Knees” could easily be skipped over in favor of “Glasses.” The song evokes a late-night jazz club, smoke enveloping IU as her sultry voice enchants the audience. The jazz harbors a Caribbean sound that transfers to traditional pop during the rise, before blending together in the refrain. “Glasses” haunts even as it entices. It’s a song that shows both IU’s roots and her more recent exploration into other genres. It’s a perfect way to end an album that is both inscrutable and a sonic masterpiece. And that’s coming from a non-IU fan. CHAT-SHIRE is not perfect. But it would be with the removal of two songs that did not fit the album's concept. For that, I give IU's latest release a very strong A-.

Zander Stachniak is a southern-born, Chicago-based writer who first discovered Kpop through ShoutCast Radio. His biases are f(x) and Block B.

This Week in Kpop: October 18-24, 2015

This Week in Kpop is brought to you by the letters I and U! No, not You & I, although that would be fine too, because IU is back, and she's twenty-three and she's a queen. So why don't we get started already?

IU is Twenty-three!

IU capped an excellent week for Kpop with the fun, sassy, and redefining "Twenty-three," which is a part of her also wonderful mini-album, Chat-Shire, a release that is just killing every chart imaginable right now. Koreans just can't get enough of IU, and we didn't even realize how much we've missed her until we saw the teasers for "Twenty-three" last week.

And here's the thing, we've actually missed IU longer then she's been away! Last year was an incredible year for her, with the special remake album, A Flower Bookmark, and who can forget her collaboration with Seo Taiji and releasing the haunting, "Sogyeokdong?" But while those releases have transitioned IU into something beyond traditional Kpop idol, we feel like we've also been missing a glimpse into her bright personality, a door that has been closed since...? "Red Shoes" maybe?

Say no more - "Twenty-three" is a feast of personality, one of IU's most personal and easily the most poppy release in ages. She's had a hand in every song in her mini-album, and that personal touch has led to this quirky, fun single. We've seen idols addressing their maturity whence reaching milestone ages, but IU's take is uniquely her own, highlighting her contradictions, her misconceptions, and, perhaps, the perception of her as an idol. This is a welcome return for IU, who, again, has redefined herself with a release that requires multiple views, with the lyrics on full display. It's been too long, IU, but welcome back!

XIA's "Yesterday"

XIA came back this week with the beautiful/disturbing "Yesterday," which seems like a great place to followup his equally beautiful/disturbing "Flower." While "Flower" introduces us to a post-apocalyptic landscape (of the heart), "Yesterday" brings us smack in the middle of the end of the world, with nuclear warfare (or is it a meteor?), planes crashing, and cities reduced to rubble, while the demon moon observes. The imagery is actually a bit jarring in that the world itself is in a state of intense warfare, where cities in rubble and people fleeing warfare is a part of our daily news cycle.

But it's impossible to deny that the imagery is effective and somehow darkly moving, which would mean absolutely nothing if Junsu here didn't have an amazing, soulfully heartbreaking voice, that just carries you to the end of this cataclysm. He's definitely become an artist to watch for dark, adult releases, but really he's been doing this for a while now, friends.

Critical Kpop Podcast - Episode 8: Twice!

Listen (harder), friends. We're super hyped for Twice's rookie debut, calling it, among other things, one of the best rookie debuts of the year! In our latest podcast, we detail what makes this release so stunning, and where we see their bright future heading! Listen right here, friends!

October 18-24, 2015

And that was This Week in Kpop! This week was full of high-quality releases that make us excited to be Kpop fans! While we've been focusing on our podcast in recent weeks, if you have an itch to write a review, please seek us out - we'd love to see what you're thinking and are always open to publish new writers! We'll back next week just in time for Halloween! Until then, have fun and be safe!

Critical Kpop Podcast - Episode 8: Twice!

Twice is finally here! On today's episode, Tim and Zander talk all about JYP's newest nine-member girl group! Join us as we analyze their hit single, "Ooh Ahh," review their humble beginnings from Sixteen, discuss our favorite members, and more! Is this the best rookie group debut of the year? Listen and find out!

Critical Kpop Podcast - Episode 8: Twice! by Critical Kpop on Mixcloud

You can subscribe to the Critical Kpop Podcast on iTunes, or check this and future episodes out at www.mixcloud.com/CriticalKpop. You can expect a healthy serving of news, reviews, and critical analysis in every episode. The Critical Kpop Podcast is the only podcast that invites you to LISTEN HARDER.

This Week in Kpop: October 11-17, 2015

This Week in Kpop may just shock you when we tell you that BTOB is the real deal! Don't believe us? Well, you haven't even heard our reasons yet, so that's rude! But anyway, we're here to prove you wrong. Let's get started!

BTOB is Way Back Home!

And they haven't even been gone too long! This summer's "It's Okay" was a smooth R&B classic with a plot-heavy (sometimes ridiculous) ultimately uplifting music video. Many fandoms decry their respective idols' underrated state, but no group may have more of a claim on this title than BTOB, in the era of groups like BTS and Exo and VIXX, BTOB can fulfill their own niche of this new Boy Band era, with excellent releases like "Beep Beep..."

Or the ridiculous "You're so Fly" here:

Or how about the amazing "Wow" which is just...wow?

So what is that niche? While they started with more traditional extra poppy boy band releases like "Insane," they've recently shifted their focus, slowing their tempo down considerably. They've released songs like this week's "Way Back Home," another smooth, soft pop single that may not light up the charts, but serves well as a counterpart to the "harder" hip hop turn that groups like Block B and BTS are shepherding. We're talking silky smooth vocals here.

Even the music video is longer than most, as BTOB practices their acting chops with this eight minute tale that degenerates, somehow, into a free-for-all brawl. Which is to say that we had to watch "Way Back Home" (without the benefit of understanding Korean) multiple times to get an idea with what was happening. But maybe that's part of BTOB's new charm - they require you to work a bit more, to pay attention a little longer - their soft tracks may not hook you immediately, aren't flashy in the least, but give them time and, as we so often say, listen harder. The rewards will be plentiful (TRUST US).

Twice Teased

Just about all year we've been waiting for the killer girl group debut, and while we've been impressed with the likes of G-Friend, Sonamoo, and, recently, Oh My Girl, there wasn't a real girl group that has truly captured our attention, or our hearts. But could that girl group finally arrive with the likes of Twice? We've been teased all week with pics, videos of the individual members, and now an instrumental track list, which just shows how invested JYP is into this group's success (a built-in fandom won over by his Sixteen reality show sure will help). The video, as we are led to believe by all the various teasers, will also feature zombie, which seems to have worked out for 4Minute and T-ara.

Fingers. Crossed.

Mamamoo Knows How to take a Break!

Speaking of rookies, 2014 rookies Mamamoo are showing just what to do in between major releases! You don't hide a group away for a year right when they build momentum (cough*AKMU*cough), you have them do OST's, like the stunning Solar here (cough*BIAS*cough) or feature Moonbyul in collaborations with singers like U Sung Eun. Mamamoo has already had an amazing 2015, but while they take a break between releases it's smart they remain active and present, building their fanbase further and further. Just saying.

Critical Kpop Podcast - Episode 7: Obsession

This week Tim and Zander continued their Guy's Night In with a look at obsessions. Why do we love what we love? We take a look at one of our favorite music video's ever, NS Yoon-G's "I Got You," as we try to unravel this mystery! You can take the journey with us here!

October 11-17, 2015

And that was This Week in Kpop! Still don't believe BTOB is the real deal? Think Twice is going to bomb? Let us know in the comments! Until next week, have fun and be safe!

Critical Kpop Podcast - Episode 7: Obsession

On today's episode, it's another guys' night in! This time, Tim an Zander focus their attention (and their mental faculties) on one song: "I Got You" by NS Yoon-G. Obsession is the operative word, and it's something that every Kpop fan deals with at some point or another. So sit back, relax, and listen as Tim and Zander analyze a single song as a metaphor for the much larger Kpop world. Be sure to check out the music video for "I Got You," too!

Critical Kpop Podcast - Episode 7 by Critical Kpop on Mixcloud

You can subscribe to the Critical Kpop Podcast on iTunes, or check this and future episodes out at www.mixcloud.com/CriticalKpop. You can expect a healthy serving of news, reviews, and critical analysis in every episode. The Critical Kpop Podcast is the only podcast that invites you to LISTEN HARDER.

This Week in Kpop: October 4-10, 2015

This Week in Kpop was a ray of sunshine in these dreary fall days, friends. Topped by the delightful return by Kpop's own Akdong Musician. Sure, it may seem like a cruel tease, but this special video was just what the doctor ordered! But enough with the introductions! Let's get started already!

AKMU Returns! 

Sometimes you don't realize how much you've missed someone, until they've returned. With Akdong Musician's special video commemorating "Hangul Day" the first real sign of them all year, we're seeing now just how much Kpop needs the sibling duo. Their incredible debut album, Play, was released in April of last year (AKMU won our rookies of the year for 2014), so when you really think about it, it's not entirely unreasonable that they haven't released a new song immediately after their tour de force.

If they were, say, American idols, they'd probably still be promoting from that very first album, and there would be no expectation of new releases for years. But Kpop, as we know, is a different beast with a far different cycle, and even though it's unreasonable to expect a new album every year, to not use Akdong Musician in even cameos or collaborations, just to build on their killer momentum, is something close to a crime.

Remember Hi Suhyun?

Of course you do. Suhyun and poor, forgotten Lee Hi's subgroup was pure gold and a perfect follow up after Akdong Musician's early success. We know that YG is notorious for taking their time with their artists, but why not have another subgroup release, with Hi Suhyun or maybe a different one featuring Chanhyuk, carefully placed between Big Bang releases? Just look at the year SM is having compared with YG. When was the last time SM didn't have a major release circling music shows? They're throwing every artist they have out there. We know that Big Bang's MADE is a special circumstance, but did it really have to be at the expense of the rest of their lineup?

But ANYWAY, we're just happy that we're getting a special release here, because better late than never, right? There's really nothing like AKMU (in popular Korean music), and their bright energy and playfully raw personalities give an authenticity (or, at least, the illusion of authenticity) to their releases that are irresistible. It helps that this song, even at a brief two minutes and some change, is a fun, energetic jam, just special enough to give us that extra push to the final months of 2015.

Clash of the Girl Groups: Oh My Girl vs. Melody Day

Okay, okay, we're not making these two girl groups clash - we just wanted to call attention to two groups that you maybe haven't heard of yet. We're especially impressed with Oh My Girls' "Closer," which is just a beautiful song, but was paired with a visually stunning, fairy tale-esque music video. Their debut release, "Cupid" was more standard fare, but was another great song, so maybe it's safe to say that Oh My Girls is the real deal here.

And what about Melody Day, who debut in 2014? Well, they've had a solid 2015 too. Did you hear/see "#LoveMe?" We even missed it when it first came out, but now it's our groove. "Speed Up" doesn't reinvent the wheel here, but is a fun song with a catchy hook. So, yes. They're the real deal too.

Lil Boi and Basick's "Call Me" (featuring Hwa Sa)

Talk about jams and real deals! Lil Boi, Basick, and Hwa Sa shine here with a release that will cause you to jump out of your proverbial seats. We're loving that Mamamoo's Hwa Sa is a part of this collaboration, as her sultry voice really makes the chorus pop. What else is there to say? Just watch this already!

Critical Kpop Podcast - Episode 6: Guys' Night In

"But wait," you're saying, "Why haven't they discussed Taeyeon's solo debut? What type of hacks are these Critical Kpoppers anyway? More like Critical K-Crap!" Well, first of all, calm down. Stop being so quick to judge! Second of all, we've talked about Taeyeon's release extensively already - in the return of the Critical Kpop Podcast. She's not the only release we tackle, friends, as our Guys' Night In covers a wide range of topics, from Ailee to iKon. Why not take a listen right here? 

October 4-10, 2015 

And that was This Week in Kpop! Are you as happy as we are for getting more AKMU? Or are we getting too worked up over a two minute special video? We can't help what we feel, but we'd love to get your take! We'll be back next week, but until then - have fun and be safe! 

Critical Kpop Podcast - Episode 6: Guys' Night In

On today's episode of the Critical Kpop Podcast, it's guys' night in! Join Tim and Zander as they pop open a beer and discuss which "buttons" a debut solo release should push, comparing Taeyeon with Goo Hara and Amber. Also reviewed is new music from Ailee and iKon. And who has had a better year: YG or SM? Listen and find out!

Critical Kpop Podcast - Episode 6 by Critical Kpop on Mixcloud

You can subscribe to the Critical Kpop Podcast on iTunes, or check this and future episodes out at www.mixcloud.com/CriticalKpop. You can expect a healthy serving of news, reviews, and critical analysis in every episode. The Critical Kpop Podcast is the only podcast that invites you to LISTEN HARDER.

This Week in Kpop: September 27-October 3, 2015

This Week in Kpop is LOADED. There's just TOO MUCH KPOP for This Week in Kpop! We don't even know where to begin, so we'll begin with a tease and a queen...

Taeyeon Teases!

Of course we have to start with Taeyeon here. The Queen Bee of the ultimate Kpop Queens, Taeyeon is finally going to get her solo release. It's a long time coming. A long, long time. Fans have wanted Taeyeon to branch off on her own for so long that Taeyeon may have inadvertently stole much of Amber's thunder when she was featured on "Shake that Brass." But with a voice like Taeyon has, the glamour, and the undeniable (unavoidable) presence she exudes (she only sings for what - twenty seconds in "Shake that Brass?"), Taeyeon is at risk of overshadowing just about anyone.

So what happens when she gets her own release? Tears of joy? Certainly, from her legions of fans. But we're hoping for something more in the lines of Taemin's solo release last year, something that will really let loose a side of Taeyeon that maybe we're not as familiar with, instead of the quieter, more bland (sorry/not sorry) release from Amber earlier this year.

The teaser gives no indication of what direction this release will go, except for the possibly of some retro-looking film cut with beautiful closeups. But we're expecting big things, because how much bigger can you get than Taeyeon?

GOT7's Big Year

How great of a year is GOT7 having? "Just Right" was just what we needed after experiencing increasingly vapid and visual-conscious releases all year - while also being catchy, addictive pop. So what do you release after alternatively slaying and emotionally sucker punching their fans? "If You Do," dummy! Where "Just Right" was uplifting and light (with an important message), "If You Do" is sleek and sexy, dark and lovelorn, with a ridiculous English interlude, the terrible girlfriend daring GOT7 to break up with them because, "I don't care," and "I'll just go to sleep."

In short, "If You Do" is more in line with a traditional Kpop release, and that is by no means a slur (we are a Kpop site, after all). It also helps that "If You Do" is just as good a song as "Just Right" (two sides of the same coin here), and we're loving the sharp, leg-centric choreography as they dance on ruined earth. You don't need us to declare that GOT7 is the real deal. But, LISTEN. GOT7 is the real deal.

Lovelyz' "Ah Choo"

Oh, Lovelyz. Only you could get away with having "Ah-Choo" in your chorus! This video has so much syrup that we almost drowned in sugar, but the song itself is enjoyable, and if you're into super sweetness, you'll love this. Even we have to admit that there are some cute vignettes in this video, though, again, we'll never quite understand this sphere of the Kpop world. We'd love to have someone write a comprehensive piece on the appeal here, so if you're itching to prove their greatness, feel free to send us a proposal for an article already! Goodness!

iKON Slays?

Now, this is what we're talking about! "RHYTHM TA" is more of the jam we were waiting for from iKON. While there are still some balance concerns between members, and a lot of comparisons to "Good Boy," this seems like a more exuberant release than the more sedated "My Type." iKON is just killing it on the charts, so maybe we're being too critical here? They are rookies, after all. That being said, even "Airplane" seems more soulful to us than "My Type," and we're glad that YG is rolling out these videos so we get a fuller picture of what iKON is all about (though we would have released "RHYTHM TA" first). There's no doubt about one thing: With YG's backing and support, and the talent they hold, they're going to be a huge Kpop group for years to come, friends.

Ailee is Back!

Ailee is back, but is she better than ever? We covered her in last week's quiet This Week in Kpop, and we wondered if she'd get the killer song that her talents deserve. And she does, kind of. We're still getting a "Don't Touch Me" vibe from "Mind Your Own Business," but no matter how you look at it, "Mind Your Own Business" is a far superior song and concept. The video, even though it doesn't go far beyond the standard "vengeful lover" Kpop trope, is a lot of fun, and Ailee shows a lot of personality here, especially when she doesn't quite pull off the badass she's trying to be (slinking into her carseat when the police arrive).

What the real gem here is "Insane," with a simple music video and an old school vibe. It probably won't get the hype of "Mind Your Own Business," used here as a peripheral release, but we're loving the simplicity here, both in song and video!

Don't Sign a Petition Against TGM. Register a Complaint.

You've heard about the disastrous events TGM Events has put on in America? Well, the real question is how can we hold them accountable? You can sign as many petitions as you want, but we have some ideas how we can hit TGM where it really hurts! You can check that out here.

MV of the Month: Red Velvet's "Dumb Dumb"

Your prayers are answered! Red Velvet gets our MV of the Month for September with "Dumb Dumb!" But how does it rise above all others? You can find that out right here!

September 27-October 3, 2015

And that was This Week in Kpop! We had a lot of releases that we rushed by, so probably missed some good points! Anything you want to add? Feel free! That's it for us - until next week! Until then, have fun and be safe!

Don’t Sign a Petition against TGM. Register a Complaint.

My heart goes out to all the Kpop fans out there who are pulling their hair out over TGM Entertainment’s handling of the BTS Highlight Tour, the Kim Tae Woo concert, or the Eric Nam tour (I'm one of them). I feel terrible for the bands who have been forced to disappoint some of their most loyal fans. And, frankly, I’m tired of TGM Entertainment getting away with it. It’s time to get up off our collective asses and do something. No, not sign a petition. It’s time to really do something.

Signing a petition isn’t a bad thing. It’s just not going to accomplish anything in this case. The problem with Change.org is that it is built on a model of swarm culture. Once a petition gains hundreds of thousands of signers, it typically garners enough media attention that the inequity they seek to address becomes politically burdensome to the organization in question. I’m sorry to say, but 10,500 signers (last checked October 2) is not going to register as even a blip on the radar. The story has been picked up by a few Kpop news sites, but it’s depressingly under-reported. Even if this petition manages to give TGM a black eye, it’s nothing that a successful marketing campaign couldn’t overturn in a matter of days. In this instance, Change.org isn’t going to bring any change.

There must be a better way. And there is! So sit right down in front of your computer and follow along with me. Step one. File a complaint with the Better Business Bureau. The BBB, while not perfect, has been mediating disputes between customers and businesses since 1912. The BBB should not be confused with a government agency; it doesn’t have the kind of power that many people assume. It is, however, very successful at mediating disputes and pressuring companies to practice honest business.

As of the writing of this article, TGM Entertainment is not yet in the BBB system (don’t worry, I added them). In the next few days, you should be able to search for TGM Entertainment in Los Angeles, CA (where they are registered), and file a complaint. In the meantime, if your search returns no results, you can still file a complaint here. You’ll need a bit of info about TGM. Here’s their business filing for the state of California.

Please note, I do not post this in any attempt to “dox” anyone. I condemn the practice of doxing or using any information to make another person fear for their safety. The information that I am posting is the actual business filing for a limited liability corporation.

The best email and website I can find for TGM are hello@tgmevents.com and http://tgmevents.com. The website is especially useless, but it’s good to include in any complaints.

So, after you’ve either selected TGM or added their info, list your complaint. Be as detailed as you can in your complaint, but do not put any personal info into the narrative description. After you submit your narrative, there will be an opportunity to release your order number, ticket purchase price, etc. to the BBB, should you choose. Make sure you save your BBB narrative, as you can reuse it in steps 2 and 3!

Okay, we filed complaint number one. Guess what’s next? Another complaint! This time, with the California Department of Consumer Affairs. This is actually the more important of the two so far, as this department does have the potential to revoke a license or penalize TGM in some way. File your complaint here. Use the same TGM info listed above, and complete the form. That simple.

Step 3. Guess what, it’s another complaint form! This time, we’re hitting up the State of California Department of Justice Office of the Attorney General. In other words, the lawyers. This is specifically a consumer complaint against a business. Start your complaint here, and once again, fill out your info, TGM’s info, and copy and paste the narrative. And there you have it.

Straight talk, here. These steps are not guaranteed to produce results. I can’t promise that anyone will get their money back. But I can promise that the Better Business Bureau, the California Department of Consumer Affairs, and the State of California Department of Justice Office of the Attorney General will all do everything in their power to resolve your issue with TGM Entertainment. At the very least, TGM will have three very powerful agencies knocking on their door asking for an explanation. That’s a lot more than I can promise with Change.org.

[Update: This article has been updated to correct the number of petitioners signed on Change.org.]

Zander Stachniak is a southern-born, Chicago-based writer who first discovered Kpop through ShoutCast Radio. His biases are f(x) and Block B.

MV of the Month: Red Velvet's 'Dumb Dumb'

Admit it. You know you can't get the song out of your head. Dumb Dumb Dumb Dumb Dumb Dumb, Dumb Dumb Dumb Dumb Dumb Dumb, Dumb Dumb Dumb Dumb Dumb Dumb...

And that's just one of the reasons why Red Velvet's "Dumb Dumb" has received our coveted Music Video of the Month for September! Get out the cheese puffs! Trash the office! Red Velvet has finally arrived!

Make no mistake, "Dumb Dumb" is a pop fantasia. While the song is by no means a masterpiece, and some have even bemoaned "Dumb Dumb" as another messy SM release, what works for this song is that this chaos builds so beautifully and quickly that before you know it, Irene's rapping Michael Jackson song titles while billie jean is splashed on the screen. And, if you have a heart, you're loving it. And if you don't love it, listen to the song again. Watch the video again. If you still don't love it, we have to ask: Do you even have a heart?



Because "Dumb Dumb" might be a mess of a song, but it's a mess in the way that Pollock made a mess of the canvas. And yes, we're calling this pop art, and ten years from now, we'll stand by this. And still you doubt. Have you even seen the music video?

Take a still, just about any still, and you can frame it on your wall. It's not just the poses, those glamour shots. Red Velvet bursts with charisma and confidence even when they don't crack a smile. While "Happiness" impressed, and "Ice Cream Cake" blew so many people away (it didn't wow us, personally), amidst all of the mayhem of "Dumb Dumb," we feel like this is the first time we're truly seeing Red Velvet as the superstar idols that they're destined to be.

We're talking personality, friends. And this video is loaded with it.

And maybe, just maybe it started with Yeri joining the group? While we've been big Joy fans since Red Velvet's inception, and the group seemed fine with just four members. Yeri has brought a youthful energy and charisma that balances perfectly with the rest of the girls. In fact, we'd argue that her inclusion has shot that infusion of personality into the group, and not just because she has killer stares or can brighten a room with a wink.



But, really, it's not any one member that can be completely attributed with Red Velvet's rise. While our heart beats for Joy and everything that she does, Irene is a killer rapper, Wendy's energy is electric, and Seulgi is a bonafide dancing queen.

Everyone has a chance to shine here, and if anything is missing from this video it's more of the hyper-ecstatic choreography, but don't worry, we got you covered! WATCH NOW.

We haven't even discussed what the video may mean - probably because we have no idea! Everything with the robot girls and factory work reads like a meta-commentary of manufactured pop and the beleaguered "studio system." While that's all well and good and a theory that could fill pages and pages of your undergrad dissertation (let alone two or three articles here at Critical Kpop - which you can write and send to us, we need more writers already!), we somehow doubt that SM Entertainment would be so provocative, or self-aware enough to question their own means of production.

But...maybe?

Perhaps SM is saying something between the lines, and we would be the first to make that observation, but even if there's not a single cohesive narrative here or even an inkling of societal commentary, "Dumb Dumb" is a triumph. It's ecstatic, it's mesmerizing, and now we can finally say that Red Velvet's "Dumb Dumb" is our MV of the Month for September!