Clash of the Girl Groups: Go RETRO or Go Home

They've finally gone and did it. Wonder Girls is back, Jack, and they're not an iconic group that's simply going to coast on brand recognition, no. They've entered the Girl Group fray and they're taking no prisoners. They're here to ROCK. Or...synthesize. They're here to ROCK that SYNTHESIZER. But they're not the only major group making a comeback. The Clash of the Girl Groups is a never-ending battle, so let's get going already!

Wonder Girls vs. THE 80's

The most talked-about girl group comeback in years is finally here, friends, and I couldn't be happier. Make no mistake, this is a killer comeback with an amazingly ridiculous video. Beginning with Sunmi sitting on a toilet in short shorts, and then unzipping said shorts to reveal the music video, is one of the more strange quasi-erotic moves I've seen in Kpop, and I've watched Stellar's "Vibrato."

But what's truly amazing here is that Wonder Girls has created an 80's style comeback without becoming a parody of an 80's release. It transcends even the homage, as Wonder Girls takes the 80's music and makes it their own. It's like they've created an alternate timeline where Kpop came to existence a decade earlier. Now we know that if this timeline happened, the Wonder Girls would rule all.

What can sometimes be an afterthought at this point is that Wonder Girls is coming back with a band concept, which, no matter how much they actually play their instruments live (yes, yes, I know they've said they'll play live - but how much will be live?), is still impressive to throw in with everything else they have to do as, you know, pop idols. What I find more impressive is the fact that they've written and produced all the songs, except for "I Feel You" (written and produced by JYP), in Reboot. Even if they didn't play music live, this would be a feat, friends. At Critical Kpop, we've just about always encouraged the healthy listening of an entire album. With Reboot, this is essential.

Speaking of the album, it's time to play...

PICK A BETTER PROMOTIONAL SINGLE!

"I Feel You" is a nice, mellow introduction to the rest of the retro masterpiece of Reboot, but would a different song serve better as the promotional single? Put on your Monday Quarterbacking helmet and your JYP shoulder pads, friends, as I pick three songs that are like ten times better than "I Feel You" and what were they even thinking when they picked this song ohmygodahhhhh (slight exaggeration here).

"Baby Don't Play" has the synth-rock play of "I Feel You" but with a touch more attitude, an edge, friends, along with a killer hook: "Baby don't play ah ah ah ah..." that is far more memorable than "I Feel You." This song just jams.

"Candle" (featuring Paloalto) is maybe the best song on the album. Remember when I wrote that Wonder Girls makes the 80's music their own? This is the song that solidified this for me, and having more modern touches like Paloalto and Yubin's raps really meshes the modern and the retro.

"Loved" has all the retro love but is musically complex as well, taking it a step beyond the rest of the album's synthesized charms. Perhaps it would have been too taxing to perform live? I have no idea. I'm just Monday Quarterbacking and second guessing here. Get off my back.

Goodness, "John Doe" is a stellar song too. But "One Black Night" completely slays as a darker release (probably doesn't work as a promotional single though). But there are different directions they could have went here. "Back" sounds like a perfect Beastie Boys throwback, "OPPA" is a bratty club hit, "Faded Love" is just beautiful, a gift for your ears, "Gone" is epic, "Remember" is the prerequisite ballad, but if you're not feeling something by the end of song, reconsider your humanity already!

Which is to say, if an album has twelve songs that can serve as the promotional single, that's an amazing album, and you can quote me on that, Jack. I'm sticking with my top three choices, but what would your picks be? Everyone can play, because with Reboot everyone wins.

Wonder Girls vs. The 80's: Wonder Girls OWNS the 80's

T-ara vs. T-haters

T-ara, the undisputed Guilty Pleasure of Kpop, does not disappoint with their latest foray into mayhem with "So Crazy." First, let's look at how many guilty pleasure points T-ara has raked in with this latest release.

*Guilty Pleasure Points*

+1 for skimpy sailor outfits.
+2 for using said skimpy sailor outfits and sexy dancing to manipulate young men (who didn't give them the time of day before) to do their bidding and gain their...respect?, broadcasting confusing mixed messages yet again about gender empowerment in modern 21st century Korea.
+2 BUTT
+4 for having an older, perhaps less (as they say) "idol-esque" (admittedly mean) woman who has the respect of said young men because of either stately position or reputation, but is then thrown into this strange beauty contest to compete with mother f*cking T-ara of all peoples, only to be shamed and humiliated and essentially shunned by these same fickle men.

*Points: (Number) 9*

But anyway, while I would have preferred something more like last year's EDM Masterpiece, "Sugar Free," T-ara knows a thing or two about producing songs all across the Kpop spectrum. The moments when they don't deviate from their norm are notable, friends.

For one, we see, again, who I would like to call NERD JIYEON.

She just loves this look, as we've seen this Jiyeon in "Little Apple."

And, of course, while she was living all Jeon Won Diary with sup-group T-ara N4.

Yes, other T-ara members have done the nerd look (in these very videos in fact), but none of them seem to embody and revel in that role more than Jiyeon does, returning to this affectation time and time again. It's like she does a Reverse Urkel, using her transformation chamber to rid herself of her meddlesome Stefan persona. What I'm saying is, Nerd Jiyeon is Best Jiyeon. You can quote me on that.

That's not the only theme that "So Crazy" repeats from the T-ara videography. Once again, T-ara finds themselves in competition to win either male admiration or the community's respect. We saw this in N-4's "Jeon Won Diary," where they practice tirelessly to win the town's talent show. We saw this more recently in "Little Apple," where they tried to win...an apple(?) from the sleazy male producers(?), only to lose out at the very last minute. In "So Crazy," they win the beauty contest they compete in, but here's the thing, the look and feel of the presentation feels remarkably like that of certain weekly music programs that certain Kpop groups perform and essentially compete in. The very same music programs/competitions that T-ara, despite being the most consistent girl group for the last three years, hasn't won once in that same time.

Even their winning seems like an imitation of wining on these music programs, with shocked faces accompanied with hugs and tears. Is it too much to hope that T-ara is making some meta-commentary with their lack of music show victories since their fabled bullying scandal? Or even that competitions are being subconsciously skewered because of T-ara's recent history with them? Probably. But you have to admit, it's fun to see T-ara win for once.

You may have noticed that I haven't written much about the song here, and that's because, for the most part, it's standard Brave Brothers/AOA sounding fare. No major surprises or wow factor here. But maybe this more generic song is just what is needed to silence the rabid T-haters? The song has a great turn at about the two minute, sixteen second mark, where Hyomin ratchets up the intensity, and it's a solid release all together, but can it compete with the like of a rebooted Wonder Girls? Maybe more importantly, with their attention shifted to China, does T-ara even care about dominating Korean charts anymore?

T-ara vs. T-haters: T-haters are gonna hate, but T-ara has 1.3 billion new fans waiting, so.

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.

This Week in Kpop: July 26-August 1, 2015

This Week in Kpop was a small lull in the major summer releases, but that doesn't mean we didn't get the likes of Beast and Miryo making their comebacks, with Wonder Girls and T-ara just on the horizon. Let's stop stalling and get started already!

Beast's "YeY"

We're rooting for Beast, honestly. Last year's "Good Luck" was an incredible comeback, and their album of the same name really showed the true range of the group's seismic talents. "YeY" isn't a huge step back, but does continue the concern we first felt with Hyungseung's solo "Ma First," one of the big missed opportunities of the year so far. Over-production. Cube needs to back off a bit and just let these guys work. While "Ma First" was hurt, we feel, by the unnecessary autotuning and boyish image (Hyungseung should be the KING of Kpop, not some hormonal prince!), "Yey" is stellar in every way except for the horrendous, noisy, over-produced chorus.

We gave this song many listens, hoping to finally click with the chorus, like we did with Big Bang's "Bang Bang Bang" this year. Some songs just take a few listens to really grasp, especially if the choruses are complex or inventive. But the "YeY" chorus isn't so much complex as it is ugly. Unpleasant to the ears. Like Girl's Days' "Ring My Bell," just about everything in the song is working until we get to that chorus, with no strong hook to hook onto; instead of being built organically through the song, the chorus feels like it was inserted via crowbar.

This isn't a terrible release, and the rest of the song, before the chorus, really shines with powerful vocals we are sure will be complimented with exciting choreography (we didn't see much of that in the video). Beast has incredible talent, and hopefully they'll get a better structured song for their next release. Are we way off base here? We'd love to read other views on this song and the chorus, and what we may be missing here!

Miryo's "Queen"

Brown Eyed Girls' Miryo came out with a solo track this week with "Queen," and while we're not blown away with the song, it's always great to see any of the Brown Eyed Girls making music. Supposedly, there's going to be a comeback for the group later this year, and at this point the group's infrequency makes every release feel like a reunion special. All of the girls seem like they're doing their own thing, and doing that thing well, and Miryo looks like she's having fun with this video, with a catchy beat as accompaniment. Do you guys remember "Dirty?"

That was a killer release in 2012 (maybe not on the charts) and we're a bit surprised that we haven't seen more releases like this from Miryo in the subsequent years to build momentum for a solo career à la what Gain has done. Instead, a release every three years makes most fans go, "That was nice," and then move on. But maybe this is where Miryo gets the ball rolling? Time will tell, friends.

T-ara vs. Wonder Girls? 

Okay, okay, these groups aren't really competing against each other, but they are both having highly anticipated releases next week, and we're very excited here at Critical Kpop.

Wonder Girls is going on an unprecedented new direction here - or are they? The album preview seems more funky and retro than rockstar, and we wonder how much the "band" will actually be incorporated into their live performances, or if it will serve more as a gimmick for a few songs?

Whatever way they go, Wonder Girls is back and that's what is important. The album, from the bits we can hear, sounds dramatic and old school, just what we love from the Wonder Girls.

But T-ara has been called retro queens themselves and have been making a years-long journey to redemption, friends. "So Crazy" likely won't take them back to the top of the charts, especially when last year's "Sugar Free," arguably one of the best singles of 2014, didn't shoot them back to the top-tier. But it seems like a fun, energetic release, so who knows? T-ara has had an excellent track release for years now, so we have high hopes. Either way: Next week? Is going to be HUGE.

MV of the Month: Infinite's "Bad" 

Infinite's "Bad." As far as music videos, friends, you can forget the rest! And that includes Big Bang and Stellar's insane "Vibrato!" You can quote us on that. Here's why Infinite's spectacular, inventive 360 VR version of "Bad" wins our Music Video of the Month for July!

Toward a Transnational Kpop: A Look at the Past and Future of the Global Genre

Throw out your crystal balls! Your Magic 8 Ball has nothing on our very own Zander Stachniak, who breaks down the future of Kpop and how it hints towards a more transnational market. What does that even mean? Find out here!

July 26-August 1, 2015

And that was This Week in Kpop! Were we too hard on "YeY?" Too excited for Wonder Girls and T-ara? Too meh over Miryo's solo release? Let us know! We always love getting other perspectives. Next week is going to be huge, so be sure to check back! Until then, have fun and be safe!

MV of the Month: Infinite's 'Bad'

July has been jam-packed with big-name Kpop releases. But, of course, there can only be one music video of the month! With the stakes higher than ever, Zander Stachniak and Tim Moore sit down to discuss why INFINITE's "Bad" deserves the title of MV of the Month for July of 2015.

INFINITE - "Bad" (360 VR version)

Zander: To me, "Bad" was an obvious choice for MV of the Month. It's all about ambition. So many groups use summer as an excuse to release sub-par music or concepts that lack any ingenuity. But INFINITE went the opposite direction, releasing what, I think, is maybe the most ambitious project I've seen all year.

Tim: In total agreement here, Zander! I actually would have been satisfied with "Bad" with the more traditional video, as it's a killer song in a very middling, relatively safe (boring) summer. But the VR version really puts this release on another level, which is really what you should be going for with your music video anyway, right? The 360 movement really adds an interactive layer here that makes it endlessly re-watchable. One time I just focused on inanimate objects, like that random deer in the hallway, and those mirrors! Every time you watch this video, if you're skilled enough on your mouse, could be a different experience. Talk about inventive, right?!

Zander: The interactive nature of the 360 VR version is such a big deal! Cinema (and any kind of film media) is often discussed as being defined by an absence. As viewers, we watch, we witness, but we are unable to change anything. We're there, but we're also absent. Virtual reality changes our relationship with viewable media. Suddenly we can move the camera around, zoom in on one expression, or even ignore the main spectacle. It's not true interactivity, not yet, but it's close! The 360 VR version allows each viewer to have his or her own experience!

Tim: What's great about this "viewer experience" is that this music video has a life of its own as well. 'L' wrote about the music video earlier this month and a lot of the symbolism with duality and mirrors that the "original" music video conveys. A lot of that bleeds into the 360 VR version and how we can essentially see what's on the other side of this "mirror" reality, or, as it may be, "realities." That's some quantum-level physics up in here! L actually goes into more detail about the craziness better than I ever could, so why don't I link her article right here?

INFINITE - "Bad" (standard version)

Zander: Absolutely. "Bad" is not just a video with virtual reality frills, it has real purpose behind it. Speaking of quantum-level physics though, I think the best view I've found is to look directly down when the guys are in the hallway. You can see all their reflections at the same time, going in four different directions. It's worth the trip. So check out INFINITE's "Bad," our vote for MV of the Month, and let us know what your favorite moments of the video are!

Toward a Transnational Kpop: A Look at the Past and Future of the Global Genre

On July 22, 2015, GFRIEND released “Me Gustas Tu,” a curious title for a Korean song featuring no other Spanish lyrics. Though the title of the song may have raised a few eyebrows, the truth is that there is a burgeoning market for Kpop in Spanish-speaking countries. Yes, it’s official: Kpop is a global phenomenon. But how did this happen? How did a small regional genre of music explode into a transnational movement, and what can we expect for its future?

GFRIEND - "Me Gustas Tu"

The Rise of Kpop

Fifteen years ago, Korea was not a cultural power in any sense of the word. No Asian country was. Culture flowed from West to East, almost exclusively. This had nothing to do with any lack in the cultures of the East, but with the manner in which urban growth played out on a global scale. Rapid urban growth began first in Europe and America with the industrial revolution, and that transition accelerated the use of new media (such as film and TV) to reach a more urban citizenship. As John Ellis notes in Seeing Things, “Europe and America led the way simply because the rapid expansion of population took place earlier there.”

BoA's first Japanese single, "ID; Peace B"

Many recognize BoA as the first Korean artist to ignite the possibility of a truly global Kpop. And her success was a direct result of “SM Entertainment’s identification of Japan as an enormously lucrative market, twenty times the size of the Korean market” (source). Size is important here, as the monetary success of Kpop was necessarily limited in the early years by Korea’s relatively small population. Much as most Western businesses are currently salivating over the prospect of a new middle class in China, Korean executives have viewed the outside world as their target for years. But first they had to figure out how to reach those 7 billion potential fans, most of whom did not speak Korean.

By the time Kpop entered the scene, Western record labels controlled the global market. It was near impossible to enter a new market without the assistance of one of the big three Western labels. But Kpop entertainment companies soon found a way to bypass the the cultural dominance of the West. They released their music on the internet, specifically on YouTube, for zero cost and without need of any of the major music labels. By cutting out Western labels, in this distribution model the Kpop labels (along with Google) take the largest cut while the artists take the smallest (source).

GD & TOP's "Baby Good Night," which features lyrics in French

Even though revenue stayed with the entertainment companies, using YouTube was by far a more democratized process. The biggest draw of the site was that anyone could upload, and anyone could watch. This new distribution model had the effect of creating a global music industry that “destroyed the thick line between ‘high’ and ‘low’ culture on the one hand, and ‘developed’ and ‘developing’ country cultures on the other” (source). This would become important, as with the exception of growing promotions in Japan and a scattering of English and Chinese attempts, Kpop entertainment companies largely promoted on native soil. YouTube became the default medium of the Hallyu Wave.

But there’s another factor which has been every bit as influential as YouTube in the rise of Kpop. After all, what is YouTube without its viewers? The rise of Kpop, which came in spite of geographic, cultural, and linguistic barriers, is due to a new form of marketing which few critics have heretofore addressed: the fans themselves.

EXID's viral fancam for "Up and Down" with over 15 million views

In non-Asian countries, “fans not only consume imported music and the fashions associated with it but also serve as marketers, mediators, translators, and localizers of globalized culture” (source). In other words, the rise of Kpop in America and English-speaking countries, in Europe, South America, and even in Israel and Palestine, is not the result of Kpop groups promoting directly to those audiences, but of dedicated fans acting as “cultural missionaries” (source). In a study of Kpop culture in Austria, researchers found that many people who attended a Kpop dance festival in Vienna “were participating not only as a hobby, but because they wanted to help bring K-pop to Europe” (source).

Which brings us back to the recent release by GFRIEND of “Me Gustas Tu.” Rather than viewing this as simple fan service or a dedicated attempt to market to Spanish-speaking fans, this music video is a good indication of what to expect in Kpop over the next few years. Here are a few rules that the entertainment companies will follow through 2020.

1. Provide Bonus Content

Possibly the most important aspect to reaching international Kpop fans is to provide plenty of content for consumption. A large portion of fans report being introduced to the genre through K-dramas, anime, or other internet video which features Kpop music. But once fans are hooked, they need plenty of their favorite bias to keep them busy. Like, for example, this live version of "Me Gustas Tu." Or GFRIEND’s pet-themed reality TV show! Ostensibly, this show has nothing to do with the music, but watching your bias cuddle an adorable puppy builds a bond that is hard to get in the quick-cuts of a music video.

A fan-translated episode of GFRIEND! Take Care of My Puppy!

As a corollary to this, expect YouTube to continue to be a main source of material, not only of official content, but fan-made and fan-translated content as well. As a medium, YouTube is ubiquitous, easily accessible, and free to use, but more importantly, it provides a way for fans to upload their own content. Although distributing more Kpop music on services like Spotify and iTunes is nice, these sites have none of the small clips and ephemera that fans have lovingly discovered or created. YouTube offers “affordable and unlimited access to visual content that [goes] beyond the promotional materials available to fans from the company website” (source). Furthermore, YouTube provides a path for international fans to act as cultural missionaries through translations, captioning, reaction videos, and more. And that’s not changing any time soon.

2. Refrain from Direct Promotion

Outside of Asia, direct promotion has historically failed. BoA, Rain, Wonder Girls, Girls’ Generation, Spica. These are just some of the big name acts that have tried, and failed, to make it in America.

Girls' Generation Performing "The Boys" on David Letterman

There are many reasons for this. We can blame the poor state of Asian representation in the West, or poor promotion by entertainment companies, or a dozen other things. But we would be ignoring the most important thing, which is that international fans are not asking for Kpop to invade the music scene of their native country. Kpop fans frequently point out that they enjoy being unique in their musical tastes. One study found that many listeners of the genre accumulated social capital through that uniqueness (source). Though it may seem counterintuitive, Kpop fans are not asking their bias to promote in a new country and learn a new language. American fans are not asking Girls’ Generation to sing in English on David Letterman. Part of Kpop’s appeal is its uniqueness and its inaccessibility. Which is exactly why PSY’s meteoric rise to fame irked so many Kpop fans (this writer included). Suddenly, a piece of our private world had gone more mainstream than anything else on the internet ever had before.

Over 2 Billion Views and Counting: PSY - "Gangnam Style"

We should not confuse uniqueness with exclusivity, snobbishness, or even hermitage. Do we want to see our bias in concert? Yes, of course. Do we appreciate the occasional fan service video? Absolutely. But fans of Kpop did not get into the genre so as to convert Korean stars into speakers of other languages. If we want pop music in our native language, that already exists, and is much more easily accessible. In other words, no market exists for Kpop that is stripped of its Korean roots.

It won’t necessarily stay this way forever. Slowly, over time, as fans evangelize and grow their own communities, Kpop may become acceptably mainstream. Direct promotion might make sense in the future, but right now, that kind of promotion would turn away the very audience it seeks to attain.

3. Keep it Weird

International fans of Kpop support a genre of music that is wholly different from what is on offer in their native country. We are, by definition, lovers of the weird. We have flocked to a culture that is different from our own and spend time building communities in this realm. For Kpop to continue to succeed in the global market, it must continue to surprise us.

Orange Caramel's "Catallena," which borrows lyrics from Punjabi

Take Orange Caramel, for example. Their incredible success is not solely a result of their good looks. It wasn’t just their music, either. Orange Caramel won fans over with fun and quirky concepts. Or take a look at BIGBANG. Yes, they’ve reached a point in their careers where they can experiment with new ideas, but the very reason that BIGBANG is still so popular is because they’ve never played it safe. International fans don’t want generic pop. We can get that at home. We want Kpop in all its glorious weirdness.

These three rules (provide bonus content, refrain from direct promotion, and keep it weird) are sure to carry us at least into 2020. But Kpop moves fast, and there’s no telling where the genre will find itself in the years after that. One thing that is for certain is that Kpop, as a transnational genre, is here to stay.

Have any thoughts of your own on where the Kpop genre is headed? Let us know in the comments!


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: July 19-25, 2015

This Week in Kpop is brought to you by AOA's Choa. Is there anything she can't do? She leads a variety of releases that spell out POTENTIAL for the future of Kpop. This week also had many stellar (get it?) comebacks, so let's stop stalling and get started already!

Primary's "Don't Be Shy" (featuring Choa and Iron)

Did anyone know about this release and just didn't tell us beforehand? Why didn't you tell us?? This release came out of nowhere for us, but is just what we needed in the throws of summer. Quite frankly, we can always use more Choa in our lives. Primary is a popular producer in Korea and he assembled the creepiest sleepover ever, starring Choa (with Iron making a prerequisite appearance). When the song begins it almost sounds like it's gearing up to be something chill with its reggae-inspired beat, which makes the horror elements and the song's build even more surprising. Extra points to the old school "found-footage" that's planted throughout. Halloween in July never looked so sweet!

But let's talk a little about Choa here. It's not a surprise that she thrives in a solo arena, as she already holds AOA together with her iconic vocals. Seolhyun may be the most popular member, but she can miss a performance here and there because of scheduling conflicts, and AOA is fine. Can you even imagine AOA without Choa though? Absolutely not. Choa is the most essential member of the group and it's hard to picture another group that depends on one member more (this is not a slur against AOA, just an observation on Choa's importance). They probably depend too much on her, as she looked beat towards the end of promotions for "Heart Attack."

Here she deftly proves that she could make it as a solo star, and it's great to see a more sultry, mature side to her with this song. And Primary? How many amazing songs has he produced? We're hardly experts on his work (we've actually missed most of his recent releases like idiots), but you should check out some of his music videos here, here, here, and here. He's actually having an amazing 2015 and it's criminal how we haven't covered him more. Extra points for having beautiful videos for these releases too (are you keeping score?). Pictures this, if you can: What Primary could do with breathing new life into some of these stagnant girl groups. We're talking Sistar, Kara, even Apink, and etc. How cool would that be? Answer: Very.

GFriend's "Me gustas tu"

GFriend is doing some interesting things here with "Me gustas tu," showing us, once again, why they're probably one of the best rookie groups of 2015 (the competition hasn't exactly been fierce this year, unfortunately). For one, the song itself is epic, even though it's not really in the sub-genre of Kpop we're into. We notice a strong release when we see/hear one though, and these girls are on point with their vocals and choreography, shaking off any rookie doubts with their confidence and irresistible energy. And having Spanish in the title and the chorus? Brilliant. Because really, why not? English is used all the time in Kpop. Why not Spanish? It sounds more natural anyway. And do you know how many Kpop fans occupy Latin America? Devoted ones at that? We don't have the numbers, but giving a wink and a hug to them is something more Kpop groups should be doing already! Come on!

Kisum's "You and Me" (with Jooyoung)

How wonderful has Unpretty Rapstar been for female rappers, especially the ones who participated on the show? We had our doubts and found some elements problematic, but, overall, the show seems to have done more good than harm. Here's Kisum now with her first major solo release after the show (and really ever, right?), and the song, accompanied by vocals from Jooyoung, quite simply slays. It's also a surprisingly beautiful video with some striking images. Ultimately, it's a sweet release, but not one that makes us gag, which can be the tendency in Kpop.

Z.Hara's "XOX" (featuring Gaeun)

Speaking of potential, Z.Hara really shines here with this energetic release - but we're also loving Gaeun (from Dal Shabet) appearing here and impressing with her rap skillage (tm). We're seeing a shift here, probably brought on, again, by the popularity of Unpretty Rapstar, of hearing more talented female rappers taking larger roles in Kpop. They're not just here for indie cred or awkward interludes in popular pop songs, friends. We've turned a corner here and it's wonderful.

From Slay to Shred: Anticipating the Wonder Girls Idol Band

Notice we haven't been writing a lot about Wonder Girls' upcoming comeback and transition to idol band? We've been holding back until we've gotten more of the facts, Jack! And now that JYP has released numerous teasers, we have a better idea what an idol band really means for the Wonder Girls. Or do we? Zander Stachniak takes a look at what we can expect, and what we should fear, right here!

Exploring Realities in Infinite's "Bad"

Infinite has had an incredible week and has been winning big on the charts and music shows. The intrepid 'L' gives a detailed look at their amazing 360 VR version of "Bad," which you can read, in its entirety, right here.

Clash of the Girl Groups: GO BIG OR GO HOME

Notice how we haven't written anything about Stellar's amazing/insane "Vibrato" yet, or Apink's latest release, or even GUHARA? It's because we already have, you dummy! Clash of the Girl Groups, a new semi-regular column by Timothy Moore, dissects the latest girl group releases, which you can read right here!

July 19-25, 2015

And that was This Week in Kpop! We focused a lot on emerging groups, rappers, and producers here, but if you click on our various links, you'll see us tackling these major releases too. We're all over the place. We're here for you, friends. And we'll be here next week and it looks like Beast is just around the corner. Until then, as always, have fun and be safe!

From Slay to Shred: Anticipating the Wonder Girls Idol Band

Ever since JYP let it slip that Wonder Girls would be returning as a band (a real live band with instruments and everything!), we’ve been anticipating their comeback. On August 3rd, 12pm KST, Wonder Girls will return with Hyelim on guitar, Sunmi on bass, Yeeun on keyboard, and Yubin on drums (Sunye and Sohee have withdrawn from the group). That’s right, after two years on hiatus, Wonder Girls will return as a band! Which is crazy. It’s exciting, astounding, perplexing. It’s worrying! I’ve been racing through the whole gamut of emotions, and I just can’t seem to settle on one. Because while there have been so many ups and downs in Kpop over the last few months, Wonder Girls’ return is, for me, the most surprising thing that has happened all summer. And it’s going to completely change everything for one of the most well-known Kpop groups out there!

Paradigm Shift

Forming an idol band is a big deal, and there’s honestly no successful model out there for female idol groups (indie groups are not the same). AOA would probably be the closest thing with their early releases of “Elvis” and “Get Out,” and AOA Black’s “Moya.” But since then AOA’s band concept has been unceremoniously dumped in favor of an instrument-free, booty-focused approach. (FNC Entertainment has locked up the erstwhile drummer, Yookyoung, and thrown away the key, presumably to ensure she is unable to lead a revolution with her flaming drumsticks.) As much as some fans will persist that they want a return to the band concept, AOA is not a good role model.

There are healthier models in male groups CNBLUE and F.T. Island, but there’s an enormous difference: both CNBLUE and F.T. Island debuted as bands. Not as idols, but rock bands. Yes, these men have successfully navigated the thin line between idol and rock band, but they started with a guitar strapped to their chest and one foot on the kick drum and the overwhelming cultural acceptance of men in rock bands. Gender is important here! Their narrative, from start to present, has been as men that play instruments. Wonder Girls, until this point, have also had a consistent narrative: as female idols.

Now, that doesn’t mean they can’t change. Look at AOA, who changed from a band to an idol group at the flip of a switch. But here’s where gender is going to rear its ugly head. AOA’s change in narrative proceeded from a concept that was less commonly accepted for women to one that is more commonly accepted, i.e. from rockers to sexy idols. They moved in the direction that would attract the least vitriol. Going in reverse, for Wonder Girls, is going to draw a lot of attention. And that attention is most likely to take the form of netizens questioning their abilities as musicians. No matter what Wonder Girls does, no matter how much they shred, this conversation will take place in a different arena than it would for male musicians.

JYP is anticipating this conversation. There’s a reason for the reassuring notes at the end of each teaser that states that the music was recorded by the Wonder Girls members. Dismissal and disbelief are expected. So why do it at all? Why invite all the noise and nonsense? Well, because noise and nonsense gets heard! After a two-year hiatus, and a career that never fully reached the heights it was hyped to attain, Wonder Girls needs something to kickstart their return. Coming back as a band and ruffling a few feathers might be just what they need.

But Can They Melt Our Faces?

According to JYP, the women of Wonder Girls have spent one year preparing for their comeback. That’s one year spent learning guitar, bass, keyboard, and drums. It sounds like an impossible dream. Perhaps even a recipe for disaster.

To be fair, though, the one year quoted by JYP is a bit misleading. Yeeun previously knew how to play both guitar and piano. Sunmi supposedly started learning bass in her 20s (she’s 23). And doubtless, Hyelim and Yubin are not as green as JYP makes them out to be either. Some of this is an exaggeration to make us even more excited to see what these women can do. It also lowers expectations, which is a double-edged sword.

Regardless, we’re not going to see much on music shows. It’s almost unheard of for an artist to get a live band setup, even for the big groups like CNBLUE and F.T. Island. We’re almost certain to hear a pre-recorded version of the song, which won’t make it easy for Wonder Girls to impress us with their skills when they’re slapping a muted bass. On the other hand, it will allow them to focus on giving us a more dynamic performance. Because there’s a big difference in the stage of a band and an idol group. For a band, all movement becomes more static. You are physically hooked in to a piece of equipment. The thing to watch for early on will be how the members of Wonder Girls are able to connect with their instruments. For them to rock, guitar, bass, keyboard, and drums need to be more than casual props, they need to be identities that the women inhabit. The dynamic cameras in the music shows will help, but Wonder Girls will need to figure out how to go from using movement to impress and engage their audience to using a more static form of showmanship. If their teasers are any indication, they're well on their way.

Aside from typical promotions on music shows, it will be interesting to see how fully Wonder Girls embraces the band concept. Because there’s actually one other important thing we know about this comeback. And it’s actually something that we don’t know. Or, rather, it’s something we know we don’t know. Have I lost you yet? Here it is: We don’t know if this change to Wonder Girls is a permanent one or a one-time gig. JYP has confirmed several times that Wonder Girls is returning as a band, yes, but that doesn’t mean “in perpetuity.” This is Kpop after all, where things change faster than you can swing a dead cat at them.

Embracing the band concept fully will require developing a large repertoire of songs they can perform as a band, something they don’t currently have. If they’re serious about becoming a band, this would have to be a long-term play, not a one-year project. Even then, the concept would necessarily limit their range. There’s an incredible variety of sound in Kpop right now, but a somewhat limited number of sounds that can be created with a four-piece band (though a keyboard helps). That limitation, coupled with the increased training required to master their instruments, means that Wonder Girls is actually probably better off adopting a hybrid model. I can easily see this as something that the group can strategically return to from time to time. In future concerts, they might start as a band, then two songs in, throw down their instruments and light up the stage with a killer dance performance, only to return to their instruments later on.

And that’s how I can imagine Wonder Girls truly being successful with the band concept. Not as a full-on rock band, but as an idol band. So long as the netizens don’t attack, don’t make gendered and unfair assessments of perceived musical talent, so long as Wonder Girls gets comfortable in their new skin, so long as they avoid the early exit a la AOA, then they can absolutely start melting our faces off. I'll see you on August 3rd. I'll be the guy without a face!


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

Clash of the Girl Groups: Go Big Or Go Home

After weeks of girl group releases, did you really think that things were going to slow down? Well, did you, punk? All I know is that the second and third tiers of Kpop may have the most compelling releases of the summer. But does it matter when groups like Apink and Girl's Generation dominate the charts no matter what they release? The Clash of the Girl Groups keeps on going, so let's get started! 

Stellar vs. The Internet

It's been called, by many, the vagina video. And, yes, there's so much vagina imagery that Georgia O'Keeffe would be like, This is a bit much. But in this day and age, with the competition as fierce and unforgiving as this Kpop summer has been, too much is just enough. I've said many times that if you want to have a killer release, you have to Go Big Or Go Home. And Stellar must have heard me because no group has done that more than them. They've decided, probably after no one cared about the more lighthearted, generic "Fool," that if they're not going to be famous, they're going to infamous.

It helps that this song just kills. It's an epic release and by the time you've been assaulted by half-a-dozen vaginas, the song blasts to the climax and you're loving it (Georgia O'Keeffe would be like, This is my jam). This is the sequel to "Marionette" no one knew they wanted. All the way down to the leotards.

But a funny thing happened on the way to the internet. Remember how controversial and polarizing netizens found "Marionette?" It made half of Kpop sound like grandparents, bemoaning the decay of society.

The hellfire brought upon "Vibrato" isn't even close to that. In fact, if you look at the YouTube video, most comments are fans giving their full support. While there are plenty of dislikes, the likes finally dwarf them. So what's changed since oh 2014? Have netizens somehow turned the corner? Have we all grown up a little? Maybe just desensitized? Or is it the timing - Stellar's hyper-sexuality instills something close to relief whilst grouped in with the summer sweetness of most girl group releases. Whatever the reason, we're glad that Stellar has transcended the tired slut-shaming conversation of Kpop's recent past. They've gone big, ridiculous even, and have an iconic release that will be remembered for years.

Stellar vs. The Internet: GO BIG OR GO HOME

Apink vs. THE FUTURE

We've got to hand it to Apink, they are unabashedly devoted to their brand of sweet, pre-millennium Kpop. Did I say brand? Because really, it's a sub-genre within Kpop that Apink has spearheaded, and without their success we'd probably not see the likes of Lovelyz or GFriend, who are apparently releasing a song with a Spanish title?

Which, considering the marketing potential with the devoted South American Kpop fanbase, feels pretty ingenious. But, I digress.

Forever now, we've been wondering when Apink would change up their concept, but, the more we think about it, why on Earth would they do that? If they went sexy, they'd get lost in the shuffle of sexy concepts. If they even went mature, they'd lose that idyllic innocence that seems to be so appealing to their fans (we honestly don't get it, here at Critical Kpop, but we can't deny that it's there).

But the future, it's coming. Sonamoo and Hello Venus are jumping into the fray!

Sonamoo with "Cushion."

And Hello Venus with "I'm Ill."

Now, of course, Apink will wipe the floor (what does that saying even mean??) with the both of them. It's not even a question. Apink may be the sole girl group this summer that can challenge SNSD at music shows (if Infinite doesn't win everything first). So where's the fight here? As Georgia O'Keeffe would say, Where's the clash? 

The clash is in evolution, Georgia. Some groups, like Hello Venus, will change their concepts dramatically with every release, just to see what will stick(y). "Wiggle Wiggle" may have been the most cynical release of the year, signaling what we'd like to refer to as the Post-Kpopalypse, where these second and third-tier groups sense weakness (after a tumultuous year of scandal for the top-tier groups), and will go unflinchingly overboard in trying to elevate their standing. With "I'm Ill," Hello Venus is going for something T-ara-lite with the EDM and strobe lighting quick cuts. It's a decent song, although the music is a bit overpowering so you can't really differentiate the vocals (and Lime seems completely underused here, which is sad).

Sonamoo's a rookie group so we should expect some change here. The strange lyrics aside ("He's like a cushion??"), it's a solid if not spectacular song. I'm surprised and more than a little disappointed that they didn't go further with being B.A.P's sister group, and went instead with something softer and middling here. Maybe it's because of the hate they were getting from irate B.A.P fans? Whatever happened to B.A.P's contract dispute anyway? Kpop is a strange world, folks.

But anyway, you look at what these groups are changing, almost haphazardly, and then you have Apink, resilient, steadfast, fighting the future one release at a time. And they keep getting more popular. Who wins here? Who do you think?

Apink vs. The Future: Apink

Choco Chip Cookie vs. How About Me? 

As Georgia O'Keeffe would say, What's this - a solo release in the Clash of the Girl Groups? Well, first of all, calm down, O'Keeffe. Goo Hara is a member of Kara, in case you forgot, so what she does as a solo artist resonates in the Girl Group arena.

The only point I need to make here is that DSP just released a dance practice video for "How About Me?" proving that life isn't fair.

I complained a bit about this in the last This Week in Kpop, but "How About Me?" is a thousand times more memorable than the pretty pictorial we got from "Choco Chip Cookie." I know, I know, KBS banned the song. But you run with that, DSP, and go with the song with some attitude and edge. This is the solo release we deserved after years of flat Kara releases. This is the evolution Kara should be taking, and having Youngji there too shows what we're missing because DSP is afraid to take risks. As Georgia O'Keeffe would say, GO BIG OR GO HOME. Wait, I said that. I'm sure a lot of people have said that though, at least once.

Choco Chip Cookie vs. How About Me?: We've All Lost, All Is Lost

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.