seasquared said: what gets me so much about that song is the quick but almost imperceptible transition from the guy's agency (he is better around her, he wants to be her oppa, he will make himself memorable) to blaming the girl, in a way, for the failure in the relationship (what am i to you, what would satisfy you, why do you treat me like this when i support you). it's like this crushing sense that your best is not good enough? which feels very adult to me.
I agree about the transition! However to me, the discovery that not everything succeeds when you try is adulthood knocking but the reaction is still pre-adult (as usual with BTS): looking for someone else to blame, feeling like life has lost all meaning because something you really wanted didn’t work out, etc. Potential spoiler but this is something that comes up in Boyhood as well, with the main character’s ex dismissed as “just some stupid girl”, i.e. “you’ll get over her” - which led a male friend to say, “That was terrible [to include], but that’s what actually happens.”
Yesterday BTS released a teaser for their next album, Dark & Wild, featuring the intro track composed by Rap Monster, just as the teaser for Skool Luv Affair did. I watched it once without subtitles, once with subtitles on, and marvelled at the transition from light to dark (made obvious by the visuals, but they’re only there to mimic the music), and the way the crescendo of both the track and Rap Monster’s intensity, vocally and lyrically, is controlled, shaky, until it finally boils over at the end.
A few hours later, I saw the film Boyhood, which I mostly enjoyed (having gone in with zero expectations) and in which I could feel, as many other people have also said of the film, many, many echoes of my own childhood. That said, coming out of Boyhood, the other female friend I saw it with said, “I’m waiting for Girlhood." I agreed; we get glimpses of the protagonist’s sister’s childhood alongside his own, and they rang just as true to me, but then the camera would pan away or cut to something else.
Nevertheless, I could still read a lot of my own experiences in Boyhood, and I think that’s what makes it successful. That’s also what makes the Dark & Wild intro successful. One of my writing teachers told me that it’s the specific details that make something relatable, and that’s what’s at work in both film and song. “Should we make a contract? How many kisses per day, how many messages? How’s that?” really does sound like something that would be sputtered during a break-up fight, something that would be ridiculous if it wasn’t also so painful. Obviously it doesn’t feel entirely right and good to say that something entrenched so deeply in the male perspective can also represent my female experience - isn’t that the major problem of representation in media? But for me, at least, this is mitigated somewhat by Boyhood and the Dark & Wild intro telling such specific stories. I’ve seen it argued that this is another problematic representation of love as either “crazy” or nothing, like too many other K-pop boy group songs to name. But for me, anyway, I don’t hear this as ideal love, either before or after the turn,* just like the story of Mason’s life isn’t the story of an ideal life. It’s just a story, coming from one place, not telling you what to feel but telling you that someone else has felt it too.
*Then again, I am also coming at this from the perspective of having gone through both the illusion and the disillusionment, so I can read it this way. Boyhood had several adult characters there to offer countering, post-disappointment perspectives. Just because I can hear the hyperbole in Rap Monster’s first verse as doomed rather than ideal doesn’t mean an audience that hasn’t gone through this already, i.e. BTS’s target audience, will too.
HA:TFELT, “Ain’t Nobody”. Watch this, and then watch HA:TFELT (aka Yenny/Yeeun of Wonder Girls)’s #hashtag interview with 1theK, where she discusses her involvement in the album from composition to choreography to jacket art, and mentions using the name HA:TFELT to indicate that her material sounds very different from what one might expect from a Wonder Girls member. It’s been a season of girl group members releasing solo singles, but HA:TFELT skews darker than others. The mini album, Me?, moves between a down acoustic singer-songwriter style ("Iron Girl", featuring Lim of Wonder Girls) and electronica both spacious ("Truth") and severe ("Bond"), the same way “Ain’t Nobody” goes from piano to dubstep death and back. Rock is also an underlying influence; the vocal swells and quiet-loud structure of “Ain’t Nobody” sound as much like the rock ballads of the 80s and 90s as they do R&B.
The depth of this exploration is unexpected, but HA:TFELT has been writing towards this direction for a while: there’s the slow R&B of "Girlfriend", from Wonder Girls’ last album Wonder Party, and "If That Was You" from Sunmi’s Full Moon, which adds a stronger beat and melancholy piano. In the rock direction, "Me, in" was her adaptation of Shin Joong-hyun’s psych-rock "Beauty". Me? drifts a bit at the end when it’s time for the requisite ballads, but even those sound more alt-rock than standard. For any idol to be able to put out an album like this, not just a solo but an artistic expression, is a rare opportunity - especially for a woman, and especially given the tiny number of prominent female idol composers. HA:TFELT seems confident in her vision, with an album both cohesive and diverse.
Infinite, “Back”. Both the song and video feel like classic pre-“Chaser” Infinite (compare: the orchestral sweeps of "Tic Toc", the ambiguous ending of "BTD", or "Paradise" for both); “I want you back” is a classic boy band lyric, and the instant-classic chorus is a perfect setting for it. The structure of this song, however, bewilders me:
(AA’ BB’) CC A’ BB’ A’ CC
where the part in parentheses is the part before the beat drops and CC is the chorus. The first part is over a minute long in a roughly 3:30 song; after a few listens, I can get into it, but only because I know “I want you back, back, back, back, back” is waiting for me on the other side.
Today’s Inkigayo stage, I think, had the right idea by inserting a huge break between the slow part and the beat; if nothing else, this allowed us to hear what the song might sound like if it just started at the beat drop, i.e. much better. I think the advantage of the current symmetrical, CABAC structure is that it gives us enough of a taste of the chorus without killing it, but I’m curious as to how one more chorus in the middle might sound. Or maybe I’m just addicted to that rhythm.
As for the video, it’s the group’s best since "The Chaser", though the “save the girl” plotline did make me go back to F.CUZ’s “NO. 1”, where a (strangely faceless) woman with a sword single-handedly saves all of the bloodied, beaten members - not that it’s mishandled here, though, just tired. However, with that said, the fact that they (seem to) fail to save the girl is refreshing. Purportedly, part 2 is coming tomorrow, but as it is, the open ending made me like it better immediately. In fact, the real triumph of this MV is that it makes the intro seem necessary: it bends the opening action sequences past “Acting!” and into full melo mode.
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If you squint, this is also a “favourite singles of 2014 so far” list, albeit not in this order (and minus Psy). One thing that all of these MVs have in common is that their descriptions can double as descriptions of the songs, too.
1. Topp Dogg, "아라리오" (Arario). Takes something rote (the “girls, cars, higher status than you” type of hip-hop video), throws a traditional aesthetic on it, and becomes instantly more fun and interesting than the original. (See Radio Palava’s great analysis on the aspect of play in this video, too.)
2. 4Minute, "오늘 뭐해" (Whatcha Doin’ Today?). A wild ride through 4Minute World, where it’s always a competition for who can be the most over-the-top, and at the end of the day everybody wins.
3. Gain, "진실 혹은 대담" (Truth Or Dare). Cheeky and self-aware, from casting Gain’s friends as her haters to the obvious wink to (and one-upmanship of) “Blurred Lines”.
4. Orange Caramel, "Catallena". Sweet without being cloying, and while it’s not afraid of looking silly, silliness isn’t the end goal, which is what makes it work. The sushi/mermaids concept is played with enthusiasm, and the colours pop.
5. SPICA, "You Don’t Love Me". An homage that uses all the conventions of what it’s paying tribute to, but still feels fresh. Some of the asides fall a bit flat (the uncomfortably objectifying rap break; the toilet?), but most are played perfectly, props and all.
6. History, "Psycho". PROBLEMATIC SUBJECT MATTER ALERT! (I agree with the argument that at least the “I love you so much I’ll never leave you alone” thing is openly presented as problematic here, but the “psycho”/MPD concept ain’t great, either.) Aside from that, a gorgeous, cinematic and genuinely edgy aesthetic from the most adult boy group going right now. (Sorry, U-KISS, you tried it.)
As a bonus, last year’s "난 너한테 뭐야" (What Am I To You), which plays like a New German Cinema short, tops my hypothetical favourite MVs of 2013 list.
7. GOT7, "A". Bright and sunny, with appealing cartoon colours and perfect comedic timing (which in the song translates to perfect deployment of instrumental change-ups).
8. PSY, "Hangover (feat. Snoop Dogg)". THAT FEELING WHEN YOU ARE DRINKING TOO MUCH SOJU AND YOU ALREADY KNOW THAT WHEN YOU WAKE UP TOMORROW YOU WILL WANT TO DIE BUT YOU DON’T CARE BECAUSE THE FOOD AT THIS PLACE IS TOO GOOD AND THERE ARE AT LEAST 4 MORE STOPS LEFT ON YOUR ITINERARY AND YOU’RE HAVING TOO MUCH FUN TO LEAVE DO YOU KNOW WHAT I’M TALKING ABOUT WATCH THIS VIDEO AND YOU WILL KNOW
9. Akdong Musician, "200%". The nostalgic look and feeling plays off the freshness and energy of the song. Both are charming, and emphasize that one of AKMU’s best features is not showing maturity for their age, but displaying it to the fullest.
10. Beast, "Good Luck". Obviously, any Wong Kar-Wai homage is an instant contender for this list, even one that’s so blatant about it and has unnecessary streetwear costume choices. (What was wrong with the suits?) It doesn’t have the Tumblr aesthetic appeal of last year’s "Shadow (그림자)", but it compensates with a stronger song.
11. Taeyang, "눈,코,입" (Eyes, Nose, Lips). (AKA “chain, nipples, abs,” tbh.) Starts small, then builds until it overflows. Sure, the burning poster is a cliché, but in the moment, it’s the only ending that satisfies.
12. Girl’s Day, "Something". If you’re gonna do a Park Ji-yoon homage, you might as well go for the fucking Park Ji-yoon homage.
Special mention: VIXX, "기적 (Eternity)" dance version. The atmosphere is nice and all, but what’s really important is the choreography, which supports the song and lifts it towards the sublime (especially when done live).
Will our flaming ambivalence finally push this flop past 80 million views? Stay tuned…
Madeleine Lee: You know when you’re so drunk that every song is only the hook part, and every time a new hook comes on there’s some wasted bros yelling in your ear about “THIS FUCKING SONG,” and eventually you can’t even make out the individual words? Now what if it was really just the same song playing the whole night? (Points awarded for the parts where the trap beat turns into samulnori, and for making a way better SNL Korea digital short than anything SNL Korea itself has been able to come up with; both of these things are more clever than this song deserves.) 
I liked everyone else’s blurbs better than my own (so go read ‘em), but I wanted to expand on the last part of mine a little. I’ve only seen a few SNL Korea skits, so clearly my actual point of comparison was American SNL and The Lonely Island. I do think this MV would make a great Lonely Island-esque short for SNL Korea about partying in glamorous Incheon (and to be honest, I’d accept the music better as parody if it were), considering that the few musical sequences I’ve seen on SNL Korea itself have been duds (BEG’s gets too bogged down in its message; Jay Park’s gets too Robin Thicke).
I feel like I’m too hard on SNL Korea for being not funny to me, though, considering that what I do find funny includes the frequently racist/sexist/homophobic Gag Concert - as long as it’s not being one of the above, but sometimes when it is. As it happens, Gag Concert's former segment “The Boy Band” gets a lot closer to the kind of musical comedy I'm thinking of. When it ran, the skit was a weekly send-up of fashion trends, as performed by macho idol boy band Jeongukgu (meaning “Nationwide”, and naturally the skit was also something of a send-up of idol boy bands themselves). The song is the same in every sketch, following a template of “if you think this fashion is bad, it could always be more extreme”. The skit also places strong emphasis on “proper” gendered behaviour; a typical example is this one "for girls who think their boyfriend is too feminine". At the height of the skit’s popularity, Jeongukgu released a music video, "Fashion City", continuing the theme of giving terrible fashion advice in order to satirize a trendy look, though more generally than in their weekly sketch format. Musically, the song is identifiably post-“Gangnam Style” in its rhythms and beats, but it sounds more like the experience of walking through the club district and hearing different parts of “Gangnam Style” and/or “Gentleman” as you pass each one (which is kind of what I was going for with the description of “Hangover” above, though “Hangover” sounds in-the-room rather than on-the-street).
Other musical comedy groups are less pointedly specific than Psy or “The Boy Band”; UV’s “Itaewon Freedom” is as much celebration as it is satire, and Norazo are more weird than wicked. As well, there’s an earnestness in these songs, and even in “Fashion City”, that “Hangover” lacks. It’s not that Psy himself is capital-I Ironic, I think, so much as that as long as he thinks it’s funny, it’s funny.
A few days before Infinite’s 4th anniversary, Jessica and I got together on Skype (thanks for nothing, Google Hangouts) to listen to, discuss, and get a little fannish over their newest album, Season 2.
Maddie: (gets on knees) (sings you Woohyun-esque ballad) Jessica: (helps you up since if you’re Woohyun then you’re injured in like 17 different places at this point)
I wrote this with Jessica as a follow-up to her previous guide to girl groups for The Toast, and in the process she opened my eyes to the particulars of different Tumblr-based fandoms and I got "Metronome" stuck in her head. Many bases are covered, although not all of them, of course, or we’d be writing an encyclopedia.
Earlier this week, Jessica and I talked more K-pop with subdee - the year in review and things to come ahead, along with a sprinkling of gossip about that tall Chinese guy from EXO - on The Singles Jukebox’s most recent podcast.
Madeleine Lee: Over the past two years, EXO’s singles have been a whirlwind tour of different identities as the group struggled to find its own. They’ve been a DBSK reboot (your own lawsuit joke goes here); they’ve been rap-step; they’ve been Blackstreet, to the most (and most deserved) success. “Overdose” is, at last, a single that sounds like something they’ve done before, and this is not a bad thing, because what it recalls are some of their strongest album tracks: Mama's "Machine" with the chorus and raps, XOXO's "Heart Attack" and "Black Pearl" for the melodies and beats. The Korean subgroup’s vocalists are shouters, not crooners, and the song accepts this as a strength, so that even that wonky note in the chorus sounds convincing when barked aggressively enough. I’m not sure how I’ll react if the next single sounds like this, or the next three singles, but for now, I’m glad the group is returning to its own catalogue, not trying to emulate someone else’s.