Quick Reviews: Nah Youn-sun, Lee Soo-young, Pinodyne, Zion.T, Kwon Soon-kwan, CHEEZE, Taru, Lucia, Cho Yong-pil, Dear Cloud, Kim Bada, 4minute, SHINee, Geeks, and Younha
During the five weeks over which I’ve taken a break from reviews, we’ve seen some major releases make waves. In case you’ve missed some, here’s an even-quicker-than-usual overview of fifteen notable albums from that time period. (Full-length reviews and regular Quick Reviews will return next week.)
Nah Youn-Sun – Lento
Release: March 12, 2013
Producer/Distributor: Hub Music/Vitamin Entertainment
Genre: Jazz, blues
Reviewer Rating:
Nah Youn-sun‘s vocals are more charismatic and incisive than ever. The veteran jazz vocalist is a dazzle as she refuses to be outdone by an instrumental supporting cast as intense (Momento Magico) as it is exotic (Soundless Bye). She burns with passion, celebrates in fashion, laments with aridity, and evokes with acidity. There are enough breathtaking moments here to fill an entire discography; taken as a whole, it’s one of the most forceful, deliberate vocal performances in the history of Korean jazz. This eighth album is a spellbound moment and an early candidate for album of the year.
Tracklist (recommended tracks listed in bold)
1. Lento
2. Lament
3. Hurt
4. Empty Dream
5. Momento Magico
6. Soundless Bye
7. Full Circle
8. Ghost Riders in the Sky
9. Waiting
10. Arirang
11. New Dawn
Lee Soo-young – 클래식: 더 리메이크 두번째 (Classic: The Remake, Second)
Release: March 28, 2013
Producer/Distributor: T Entertainment/Neowiz Internet
Genre: Ballad
Reviewer Rating:
Has it really been nine years since the first one of these? Lee Soo-young returns to pure ballad as she tackles another set of (newer) classics, and she’s as fluent as ever in the language of massive orchestration and gliding melodies. The sequel isn’t quite as good as the original: there are glimpses of ambitious instrumentation (most notably 희재 (Hee-jae) and 인연 (Serendipity)), but the exquisite balance enjoyed by the first Classic: The Remake (2004) is missing here, as is a mold-breaking curve ball like that album’s 누구라도 그러하듯이 (As It Is For Anyone). But while we’re waiting for Lee’s tenth studio release, this tender collection will do nicely.
Tracklist (recommended tracks listed in bold)
1. 사랑하면 할수록 (The More I Love) – Original by Han Sung-min, 2003
2. 희재 (Hee-jae) - Original by Sung Si-kyung, 2003
3. Donde Voy – Original by Tish Hinosoja, 1999
4. 제3한강교 (Han River Bridge #3) – Original by Hye Eun-yi, 2006
5. 인연 (Serendipity) - Original by Lee Seung-chul, 2004
6. 모처럼 (For Once) - Original by Yoon Jong-shin, 2000
7. 눈의 꽃 (Snowflake) - As remade by Park Hyo-shin, 2004; original by Mika Nakashima, 2003
8. 옛 이야기 (Old Story) – Original by Kim Kyu-min, 1991
Pinodyne – PINOcchio
Release: April 2, 2013
Producer/Distributor: Hi-Lite Records/Genuine Music
Genre: Hip-hop
Reviewer Rating:
Soul Fish and Huckleberry P both have sleek, easy-going styles, but production of the former kind is becoming more common (and even expected) in this scene. The lyricism is what sells this sophomore album, so it’s a great thing that Huck P is thoroughly entertaining. 걸리버여행기 (Gulliver’s Travels) puts cheeky metaphor and allusion to satirical use, while 손만 잡고 잘게 (I’ll Sleep Just Holding Your Hand) has a believably playful dynamic of sexual tension. When the rapper is not being funny, he excels at injecting listeners into a persona. We see from the perspectives of an allegorical Huckleberry Finn; a hitherto-sheltered young adult taking his first step outside; a younger brother who can’t live up to expectations set by his sibling; a single mom fighting for her child; and so on. It’s Huck P’s vivid language that makes these characters come alive and portray a snapshot of our lives.
Tracklist (recommended tracks listed in bold)
1. Chapter 2. 다음 장으로 (To the Next Chapter)
2. 걸리버여행기 (Gulliver’s Travels) Part 1 – Featuring Evo
3. 캥거루 (Kangaroo) – Featuring Jerry.K, NuSoul
4. 허클베리 핀의 모험 (The Adventures of Huckleberry Finn) – Featuring Koonta
5. 오후 2시 (2 P.M.) – Featuring B-Free, Soul One, Paloalto
6. The Lotto
7. 토요일 밤 (Saturday Night) [Skit]
8. 손만 잡고 잘게 (I’ll Sleep Just Holding Your Hand) – Featuring Kwan, Satbyeol
9. 쓰다 (Bitter) – Featuring Kim Sa-rang
10. 벽 (Wall) – Featuring Ben
11. Re: 허풍쟁이 (Boaster) – Featuring Crucial Star
12. Pain – Featuring Junggigo
13. 고마워서 (Because I’m Thankful) – Featuring Soulman
Zion.T – Red Light
Release: April 9, 2013
Producer/Distributor: Amoeba Culture/Loen Entertainment
Genre: R&B, hip-hop
Reviewer Rating:
How do you stop something that’s unstoppable? It’s a legitimate question when it comes to this ridiculously prolific, uniquely gifted vocalist. Zion.T‘s long-awaited debut album meets all the hype and then some; it’s got bold directing, imaginative and polished beats, and freedom of flow without losing focus. Tying it all together is, of course, the man’s golden voice. He wields that inimitable croon like a motor boat, floating and bobbing along for the most part but sometimes steering with gusto. He often switches styles multiple times in the same song, and isn’t afraid to recruit a little electronic help to fill up space. We knew Zion.T had mastered the voice; now it seems like he’s mastering everything else. He’s still just twenty-four, by the way.
Tracklist (recommended tracks in bold)
1. O
2. Doop – Featuring Verbal Jint
3. 도도해 (Sassy)
4. She – Featuring Beenzino
5. Neon
6. Babay – Featuring Gaeko of Dynamic Duo
7. 지구온난화 (Global Warming) – Featuring YDG
8. 뻔한 멜로디 (Predictable Melody) – Featuring Crush
9. Doop – Instrumental
10. Neon – Director’s Cut
11. Click Me (2013) – Featuring Dok2
Kwon Soon-kwan – A Door
Release: April 11, 2013
Producer/Distributor: Happy Robot Records/Neowiz Internet
Genre: Pop, ballad
Reviewer Rating:
Almost every track on A Door is engaging within the first ten seconds. That’s a testament to the power of Kwon Soon-kwan‘s brilliance with instrumentation. Into a broadly pop-rock base, he brings in brass and strings, staccatos and fuzz. Under Kwon’s direction these become dense, highly complex tracks – for example, note the background activity in Keep Going - that still remain accessible for anyone by way of broadly stroked melodies and efficient layering. This sophistry sets the No Reply vocalist’s solo debut apart from other albums in the genre, and gives him a better stage to what he does just as well: tell fascinatingly evocative stories.
Tracklist (recommended in bold)
1. Home Again
2. 그렇게 웃어줘 (Just Smile Like That)
3. 우연일까요 (Is It Coincidence)
4. Keep Going
5. 건너편 (The Other Side)
6. 긴 여행을 떠나요 (Go On a Long Journey)
7. Tonight
8. 별 (Star)
9. One More Time
10. 변하지 않는 것들 (Things Unchanging)
11. A Door
CHEEZE – Recipe!
Release: April 16, 2013
Producer/Distributor: RealCollabo/CJ E&M
Genre: R&B pop, jazz
Reviewer Rating:
Recipe! is, I imagine, exactly the kind of album that RealCollabo was created for. CHEEZE examines slices of daily lives, ranging from love at first college project to falling asleep while getting over an ex. Vocalist Dalchongi‘s performance is appropriately sweet to accompany the two producers’ muted, sleek pop-ballad beats. The supporting cast (including Winterplay trumpeter Lee Joo-han) is discreet but adds crucially to the album’s quality. Recipe! is delightful through and through.
Tracklist (recommended tracks listed in bold)
1. Intro – Narration by David a.k.a. Kim Sung-won
2. Have A Nice Day
3. 조별과제 (Group Project)
4. 망고 (Mango)
5. 개와 고양이 (Dog and Cat) – Interlude
6. 우리는 네발로 걷지 (We Walk on Four Legs)
7. 이 밤 (Tonight)
8. Sleep
9. 결혼해주오 (Marry Me)
10. 빠빠빠 (Ba ba ba) – Featuring Brothersu
11. From – Featuring RealCollabo
12. 누가 우리 치즈를 옮겼을까 (Who Moved Our Cheese)
Taru – Puzzle
Release: April 17, 2013
Producer/Distributor: Sony Music
Genre: Pop, ballad
Reviewer Rating:
Puzzle is decidedly more rock-focused compared to Taru‘s previous works – there’s a modern-rock and alternative undercurrent lasting the duration of the album. As a result, the album gains some of the driving power that was lacking in those older works, but it loses the moments of rawest emotion that 100 Percent Reality (2011) evoked. To me, this is a net loss. 기침 (Cough) does not quite replicate the gut-wrenching impact that 지금이 아니면 (If Not Now) or 여기서 끝내자 (Let’s End It Here) delivered. If we ignore this, Puzzle has some great moments (mostly in its up-tempo pop-rock variants) amongst a few duds. Encouragingly, she’s still sticking to her motto – making “music that comforts”.
Tracklist (recommended tracks listed in bold)
1. Puzzle
2. Rachel
3. Kiss You
4. My Sun
5. 새벽의 저주 (Curse of the Morning)
6. 기침 (Cough)
7. Carrie
8. 너와 사귀어 주지 말걸 (Shouldn’t Have Dated You)
9. Bad Commenter
10. Ending
Lucia – 꽃그늘 (Flower Shade)
Release: April 18, 2013
Producer/Distributor: Pastel Music/Danal
Genre: Ballad, pop
Reviewer Rating:
Lucia doesn’t really seem to do sad songs – melancholy, sure, but not full-on minor-chord sorrow. (Here’s exhibit 1 and exhibit 2.) So it’s surprising to see a somber lead single from her: 그런 계절 (Such a Season) opens with a desolate intro not out of place in a tragic historical drama and builds with Lucia’s characteristically delicate lyrics. Before long, we have an impeccably detailed and aching waltz. Lucia returns to regularly scheduled programming soon enough, but with no true killing track out of those, Such a Season leaves a very lasting impression.
Tracklist (recommended tracks listed in bold)
1. 사과꽃 (Apple Bloom)
2. 그런 계절 (Such a Season)
3. 실편백나무 (Real Cypress)
4. 5월의 당신은 (You in May)
5. 담담하게 (Serenely)
Cho Yong-pil – Hello
Release: April 23, 2013
Producer/Distributor: Pil Records/Universal Music
Genre: Pop, ballad, rock
Reviewer Rating:
There’s not much more I can say about the artist; Cho Yong-pil is hands-down the greatest legend in Korean music, the country’s most famous and most widely respected musician. But for that matter, that’s not much new for me to say about the album, either. As one of the most anticipated albums of the last decade or so, Hello has produced quite a bit of informal literature to go along with explosive popular reactions. Let me say this, then: people are right that Mr. Cho’s 19th studio release is not the kind of masterpiece they were hoping for. Others are also right that his boldness in embracing electronica and pop-rock and his deftness using them are both impressive. Hello is still an excellent album, displaying in many ways the marks of an artist who most definitely knows what he’s doing. I think this album is likely to end up being transitional: a release that shows Cho Yong-pil’s creative juices haven’t gone anywhere and that he can adapt to changes, to be followed up by a 20th album that is the masterpiece that people are waiting for. That’s also the hope.
Tracklist (recommended tracks listed in bold)
1. Bounce
2. Hello – Featuring Verbal Jint
3. 걷고 싶다 (Want to Walk)
4. 충전이 필요해 (Need Charging)
5. 서툰 바람 (Clumsy Winds)
6. 말해볼까 (Shall I Say)
7. 널 만나면 (When I Meet You)
8. 어느 날 귀로에서 (One Day on the Way Back Home)
9. 설렘 (Flutter)
10. 그리운 것은 (Things I Miss)
Dear Cloud – Let It Shine
Release: April 24, 2013
Producer/Distributor: MY Music/Mirrorball Music
Genre: Modern rock
Reviewer Rating:
Let It Shine is not too different from Bright Lights (2011); dreamy guitars, expansive melodies, and Nine9‘s reassuring husky tone all return here. Perhaps there’s a little more shade of post-rock, a little more shoegaze effect, a little more synthesizer. They are welcome additions, giving Dear Cloud’s music all the more scale and exhilaration. It’s not a real ambitious album, but that’s okay - See the Light and U are moving regardless. This band is already used to dreaming big.
Tracklist (recommended tracks listed in bold)
1. See the Light
2. 12
3. U
4. 하루만큼 강해진 너에게 (To You, Strengthened by a Day)
5. Polaris
6. 그대와 춤추는 밤 (A Night Dancing with You)
Kim Bada – N. Surf Part 1
Release: April 25, 2013
Producer/Distributor: Evermore Music/Mirrorball Music
Genre: Rock
Reviewer Rating:
As the man himself says, Kim Bada‘s EP is not of his more experimental ilk. It’s not quite like his Art of Parties work, either; N. Surf Part 1 is more mainstream-oriented, embracing electronica, pop-rock, and even a slow-jam ballad. It’s an unexpected turn for the power vocalist, and individual results are pretty impressive. Searching marries industrial and new wave into a heady mold, while 푸르게 떠나 (Leave in Blue) sees Kim subduing his edge and letting the Rhodes timbre fill the space. I think it’s too eclectic to be a cohesive body of work, but this EP manages to endow a 20-year veteran with the perception of limitless potential.
Tracklist (recommended tracks listed in bold)
1. N. Surf
2. Searching
3. 베인 (Cut)
4. 푸르게 떠나 (Leave in Blue)
5. 베인 (Cut) – Radio Edit
4minute – Name is 4minute
Release: April 26, 2013
Producer/Distributor: Cube Entertainment/Universal Music
Genre: Dance pop
Reviewer Rating:
As much as I seem to rag on the producer, I’ll grant that What’s Your Name? is leaps and bounds better than Brave Brothers’ other lead-single work of late. It’s got more life than Sistar19‘s Gone Not Around Any Longer and Son Dambi‘s Tears Flow put together. It inexplicably throws away all sustained buildup whenever it gets to the chorus, but there’s a good amount of tension elsewhere. That’s keeping in line with 4minute‘s return to aggressive club tune. Whatever allows Hyuna to show off some of the charismatic rapping she’s refined through Melting (2012) while also featuring the EP’s strongest vocal contributions. Gimme That and Domino are also relentless synth baths, which means this is a rare no-ballad release; that’s just as well, since ballads have often turned out to be filler for 4minute. Name is 4minute is loud and flashy – and thankfully, it doesn’t try to hide that.
Tracklist (recommended tracks listed in bold)
1. What’s My Name?
2. 이름이 뭐예요? (What’s Your Name?)
3. Whatever
4. Gimme That
5. Domino
SHINee – SHINee The 3rd Album Chapter 2. ‘Why So Serious – The Misconceptions of Me’
Release: April 26, 2013
Producer/Distributor: SM Entertainment/KMP Holdings
Genre: Dance pop, synthpop
Reviewer Rating:
The follow-up component of SHINee’s third album is qualitatively on par with its predecessor. Just as in The Misconceptions of You, it’s hard to pinpoint any real weaknesses in either SM Entertainment’s game (flawless instrumental polish and effective sonic devices) or SHINee’s (ability to do anything asked of them and increasingly convincing vocal acting). The Misconceptions of Me is more theatrical, starting with the zombie-themed adrenaline of Why So Serious? to scene-setting Excuse Me Miss, and it’s certainly emotionally darker. That means there’s a bigger onus on the vocalists to deliver more persuasive performances, and everybody – I mean everybody - passes with flying colors. I think this is actually a collection of better songs, if not a better collection of songs, compared to Chapter 1. I see now that throwing these parts together into one album really wouldn’t have worked, although a part of me does want to see an 18-track idol album in the 21st century. It’d be like H.O.T.‘s I Yah! without the talk tracks.
Tracklist (recommended tracks listed in bold)
1. Nightmare
2. Why So Serious?
3. SHINe (Medusa I)
4. 오르골 (Orgel)
5. Dangerous (Medusa II)
6. Like a Fire
7. Excuse Me Miss
8. Evil
9. 떠나지 못해 (Sleepless Night)
Geeks – Backpack
Release: April 29, 2013
Producer/Distributor: WA Entertainment & Grandline Entertainment/KT Music
Genre: Hip-hop
Reviewer Rating:
There’s hip-hop lite and rap ballad galore in Backpack, which doesn’t exactly give Geeks the best genre advantage towards being taken as heavyweights. The duo seems okay with that, though, because they show remarkable focus in making this debut album as friendly and accessible as possible. Wash Away and 집앞에서 (At the Front Door) bring the impact early, but the remainder of Backpack is mostly laid-back production and mellow lyricism. Not a terribly interesting release just yet, but their passion is palpable.
Tracklist (recommended tracks listed in bold)
1. Lights On
2. Wash Away – Featuring Ailee
3. 집앞에서 (전화 받지 마 Part 2) (At the Front Door (Don’t Pick Up the Phone Part 2)) – Featuring Crucial Star
4. It’s Raining (Skit #1) – Song by Stella Jang
5. 비가오네 (It’s Raining) – Featuring Park Su-min
6. Backpack
7. Getting on You – Featuring DJ Dopsh
8. 아마 (Maybe)
9. 어때 (How Are You) – Featuring Harim
10. 잉여인간 (Waste of Space) (Skit #2) – Song by Stella Jang
11. 잉여인간 (Waste of Space)
12. Siren – Featuring Swings
13. Love, Life 그 한가운데서 (In the Midst)
14. 헌신 (Sacrifice)
15. 유언 (Last Words)
Younha – Just Listen
Release: May 2, 2013
Producer/Distributor: wealive/CJ E&M
Genre: Ballad, modern rock
Reviewer Rating:
It’s two consecutive bold moves for Younha. Having carved out a modern-rock template for her future in Supersonic, she branches out a little further in this breather of an EP. Three tracks – Fireworks, 우리가 헤어진 진짜 이유 (The Real Reason We Broke Up), and 바다아이 (Ocean Child) – appear to be direct extensions of Supersonic’s atmospheric and driving musical themes, and these are all powerful. The one new trick displayed here, the reggae infusion in Just Listen, offers treats in the form of visceral groove and sophisticated arrangement. The other tracks are more predictable and bog the EP down, but this is another solid addition to a burgeoning discography.
Tracklist (recommended tracks listed in bold)
1. Just Listen – Featuring Skull
2. Fireworks
3. 우리가 헤어진 진짜 이유 (The Real Reason We Broke Up)
4. 봄은 있었다 (There Was Spring)
5. 아니야 (That’s Not It)
6. One Fine Day
7. 바다아이 (Ocean Child)
Note: The views and opinions expressed in this article are solely of the reviewer and not of hellokpop as a whole.
Agree or disagree? Or have a recent release that you’d like to see reviewed? Let us know with your comments below! Requested albums will be considered each week and may be selected to be reviewed in the subsequent week.
Sources: Photos – Daum Music
Quick Reviews: Nemesis, U-Kiss, and Jung In
Nemesis – Dream
Release: February 28, 2013
Producer/Distributor: Sony Music
Genre: Rock ballad
Reviewer Rating:
This is one of those albums that will really appeal to some and put off others. Nemesis, releasing this second part of its third album after a stint on Top Band 2, faithfully pursues the ultra-emotional, stormy style of melodic rock once associated with visual-kei acts; its approach is, almost by necessity, reminiscent of Eve‘s style. The band performs it well, to be clear. 인어공주를 위한 소나타 (Sonata for a Mermaid) is textbook execution, complete with driving guitars, incessant strings, svelte vocals, and even a choir for the Gothic feel. The rest of the album is actually slower and delves into modern rock and ballads, ranging from waxed poetic (Dream) to unconvincingly overdone (남겨지다 (Left Behind)). The Top Band remake of 1991 Kim Guk-hwan classic 타타타 (Tatata), seemingly the album’s biggest draw, is not very convincing; the all-out execution isn’t any worse than that in Sonata, but Nemesis fails to resolve the fundamental problem that such arrangement is wildly incongruous with the original’s lyrics and message. But if this style is your cup of tea, Dream may work for you.
Tracklist (recommended tracks listed in bold)
1. 오후의 속삭임 (Afternoon’s Whispers)
2. Dream
3. 인어공주를 위한 소나타 (Sonata for a Mermaid)
4. 애원 (Plead)
5. 남겨지다 (Left Behind)
6. 타타타 (Tatata)
7. Dream – Instrumental
U-Kiss – Collage
Release: March 7, 2013
Producer/Distributor: NH EMG/Neowiz Internet
Genre: Pop
Reviewer Rating:
Like numerous U-Kiss projects before it, Collage has all the ingredients but not always the results. Ambitious lead single Standing Still is awash in sleek synths and mechanics, but the lethargic melody (a little reminiscent of Usher‘s DJ Got Us Fallin’ in Love)) kills a lot of the momentum and adds a coat of outdated feel to the song. More worrisome is the fact that it’s still the album’s best dance track. 숨도 못 쉬어 (Can’t Even Breathe) has a promising intro, but ends up sounding like a longer-winded remix of Taegoon‘s Call Me. (I’ll grant that U-Kiss’s song is better than Taegoon’s.) Party All The Time and Sweety Girl are about as generic as generic gets. The ballads that fill the middle of the album are somewhat more enjoyable: 나쁘다 (Bad) has a bold beat and volumetric string-and-piano backing to support its collected atmosphere, and 아픔보다 아픈 (More Painful Than Pain) has a nice, slow build-up to the orchestra-laden finale. But in the end, Collage is another mediocre release in a long and lengthening discography.
Tracklist (recommended tracks listed in bold)
1. Step By Step (Intro)
2. Standing Still
3. 숨도 못 쉬어 (Can’t Even Breathe)
4. Missing You
5. 나쁘다 (Bad)
6. 아픔보다 아픈 (More Painful Than Pain)
7. My Reason
8. Party All The Time
9. Sweety Girl
10. 사랑하니까 (Because I Love)
11. 아픔보다 아픈 (More Painful Than Pain – Instrumental
12. Standing Still – Instrumental
Jung In – 그니 (That Woman)
Release: March 12, 2013
Producer/Distributor: Jungle Entertainment/CJ E&M
Genre: Pop ballad
Reviewer Rating:
What to make of this vocalist’s tone? Jung In‘s is a mystifying voice that’s lent itself well to hip-hop and R&B alike. The best moments of That Woman are those that take advantage of it. Jung In cuts down on all the clutter in 치, (Psh,) and offers a warm ode of affirmation in convincing fashion. The singer’s fretful, heart warming candidness – the song is directed towards Jo Jung-chi, her boyfriend who also helped composed the track – takes on sonic color through her nuanced, understanding tone as well as emotional balance. The jazzy lounge mood of 좀 걷자 (Let’s Take a Walk) and attitudinal beat of OK? are also good environs; the latter is especially visceral with Jung In riding a real groove. The standard ballads here don’t fare nearly as well, but that really shouldn’t have been the main attraction in the first place (no matter the lead single designation).
Tracklist (recommended tracks listed in bold)
1. 치, (Psh,)
2. 그 뻔한 말 (Those Obvious Words)
3. 그런 말 마요 (Don’t Say That)
4. 좀 걷자 (Let’s Take a Walk) – Featuring Garry
5. OK?
Note: The views and opinions expressed in this article are solely of the reviewer and not of hellokpop as a whole.
Agree or disagree? Or have a recent release that you’d like to see reviewed? Let us know with your comments below! Requested albums will be considered each week and may be selected to be reviewed in the subsequent week.
Quick Reviews: Huh Gak, Rossy PP, and Rainbow
Huh Gak – Little Giant
Release: February 5, 2013
Producer/Distributor: A CUBE Entertainment/CJ E&M
Genre: Ballad
Reviewer Rating:
It’s partly a genre thing, but Little Giant is one of those albums that’s great for some and completely forgettable for others. Do you enjoy Huh Gak‘s reliably crisp voice crooning through well-polished ballads? You’ll like this album. If you don’t get much mileage out of that, then this probably isn’t for you. To be fair, the album does try to appeal to a variety of listeners - 노래하고 싶다 (Want To Sing) is a pretty good R&B ballad in the Brown Eyed Soul vein, and lead single 1440 incorporates a little danceability à la Kim Jong-guk. But Huh Gak’s forte is still medium-tempo pop and ballad, and that’s what the album converges to in the end. Now, he doesn’t ever really take ownership of the album; ultimately, the level of artistry here is middling. For now, Huh Gak is a talented vocalist, but it’ll be a while before the results really start living up to that talent.
Track list (recommended tracks listed in bold)
1. 1440
2. 노래하고 싶다 (Want To Sing)
3. 모노드라마 (Monodrama) – Featuring Yoo Seung-woo
4. 헤어질걸 알기에 (Because I Know We’ll Part) – Featuring Jung Eun-ji of A Pink
5. 술 한잔하면 (Your Wedding)
6. 간단한 이야기 (Simple Story) – Featuring Miryo of Brown Eyed Girls
7. 사랑하고 싶어서 (Because I Wanted To Love)
8. 백수가 (The Unemployed Song)
9. 눈물이 되어줄게 (I’ll Become Your Tears)
10. 1440 – Instrumental
11. 모노드라마 (Monodrama) – Instrumental
Rossy PP – 로맨티카 (Romantica)
Release: February 8, 2013
Producer/Distributor: Old Record/Sony Music
Genre: Indie pop, modern rock
Reviewer Rating:
Romantica is infectiously full of life; each track crackles with vitality and various hues of warmth. Rossy PP‘s EP is a concept album in the same way that Lucia‘s Décalcomanie was one: an exercise in giving voice and sound to a single emotion. If Lucia’s theme was exhilaration, Rossy PP’s is romance. In 늦지않았길 (Hope It’s Not Too Late), she paints love in the air with pleasant piano pulses and driving melody; in 몽상가들 (Daydreamers), she soothes and lifts up spirited artisans and artists, dreamers and lovers; in 낭만의 계절 (Season of Romance), she sings an ode to the happiest time of the year and offers humorous friendship to various seasonal illnesses in cozy jazz.
The instrumentation is impressively rich and detailed throughout, branching out into modern rock, bossa nova, and jazz at various points. But the album’s real star is Rossy PP’s gorgeous lyricism. She turns exasperated longing into thoughtful introspection (“To grab by the wings and put you aside me, and call it love // No, merely to hope for love that I can dream with // Is it such luxury to want that”) in 드물게 피는 꽃 (Rare-Blooming Flower) and describes her music in colors with corresponding moods in노래해볼까 (Shall I Sing). She’s good at plain old imagery too, if you were wondering – “In that place where foreign aromas bloom // Our minds too bloomed crimson, like red wine // Old tales that shone dotted // Embroidered above the waters” (Season of Romance) is already one of my favorite lyrical moments of the year. Romantica would have been welcome any time of the year, but the fact that it’s so timely just makes it all that much better.
Tracklist (recommended tracks listed in bold)
1. 늦지않았길 (Hope It’s Not Too Late)
2. 드물게 피는 꽃 (Rare-Blooming Flower)
3. 몽상가들 (Daydreamers)
4. 낭만의 계절 (Season of Romance)
5. 노래해볼까 (Shall I Sing)
Rainbow – Rainbow Syndrome
Release: February 13, 2013
Producer/Distributor: DSP Media/CJ E&M
Genre: Dance pop
Reviewer Rating:
Despite the name, Rainbow‘s musical color is not so strong that it determines the style that fits them. The upside of that is, of course, that the group can handle a variety of genres decently well; DSP Media seems to recognize this, and has put its seven-member group on a new trajectory with Rainbow Syndrome. Lead single Tell Me Tell Me is a lot more bubblegum pop than the Sweetune-powered releases of old, featuring a simple beat, happy-go-lucky mood, and sing-along chorus.
This is where the downside of not having a strong color comes in: if the song written for your group is bad, the members’ performance cannot save it. Tell Me Tell Me is way too stylistically pedestrian to make mainstream impact, and its quality is not high enough for non-fans to appreciate it in general. For the same reason, Rainbow Syndrome’s ballads are not very productive. The album’s best moments come in brassy Golden Touch and electric club tune Cosmic Girl, not because Rainbow is better at those styles (although Go Woori does don more charisma in these kinds of tracks) but simply because they’re better and more polished tracks. If DSP won’t pair the girls up with consistently high-quality songs, it seems urgent that the group obtains a coherent identity.
Tracklist (recommended tracks listed in bold)
1. Golden Touch
2. 두 눈을 감고 (Closing Both Eyes)
3. Tell Me Tell Me
4. Cosmic Girl
5. 나만 아는 너는 절대 모를 이야기 (A Story That Only I Know And You Won’t Ever Know)
6. In Love
Note: The views and opinions expressed in this article are solely of the reviewer and not of hellokpop as a whole.
Agree or disagree? Or have a recent release that you’d like to see reviewed? Let us know with your comments below! Requested albums will be considered each week and may be selected to be reviewed in the subsequent week.
US Hit Producer: Kim Junsu reminds me of Michael Jackson
As K-pop continues to stretch ever forward into the world’s music market, the genre has been blessed with contributions from major movers and shakers from the US market on numerous occasions. From JYJ‘s early collaboration with Kanye West and the Wonder Girls release of Like Money featuring Akon, to the anticipated collaborations between PSY and Scooter Braun and 2NE1‘s work with will.I.AM, more and more international music producers and artists are getting bit by the K-pop bug.
Recently we sat down with producer and songwriter Bruce “Automatic” Vanderveer who made his K-pop debut with his collaboration with JYJ’s soulful vocalist Kim Junsu on the English single Uncommitted that was released in August 2012. We set out to not only get to know Mr. Vanderveer better, but grab some insights on how his collaboration with Junsu came to be – what was is like meeting and working with him, and how the fan’s reaction to the collaboration has changed his view on not only K-pop and its scores of fans but also the limitless talent and global potential of JYJ and its members.
Automatic, as he is called by his friends and family, was born in Brooklyn, New York and currently works as producer and song writer for Sony Music. He has worked with great artists like Pink, The Pussy Cat Dolls, and Snoop Dog along with iconic artists like Cher, James Brown and Michael Jackson over his twenty year career. Although well known in the music scene in the states, little is known about him globally. As we sat down with him, we started off with getting a little back story on how he originally got into the business and he regaled us with the story of how he got his nickname.
How did you get the nickname “Automatic”?
Automatic (laughing) : ”I can start out by telling you my story about playing guitar. I beat up a kid in Brooklyn, NY because he didn’t want to let me play his guitar. So, I kicked his (butt) very quickly and then grabbed the guitar and tried to play it as fast as I could because I knew his parents were going to come out and get me arrested or something. But, I quickly wrote a song in fifteen minutes and my mom came out and instead of her, you know trippin’ because I beat the kid up, she was just like “How did you do that so quickly?”. She’s the one who gave me the nickname “Automatic”. She was like “You automatically played that.” So she got on the phone and started telling her friends “My son automatically played the guitar.” “Little Automatic” and I [began] to use that as a dancing name.
Could you tell us a little about how you got into the music business?
Automatic: “I started a band in New York and we played everywhere, the Cat Club, and the Palladium, and we had an incredible following. I auditioned for a lot of record companies and finally Morgan Creek Polygram Records signed me. That’s how I got into the industry.”
After Mr. Vanderveer gave us a glimpse into his history in the music business, we turned to the subject of his collaboration with Kim Junsu and discussed how the collaboration came to be, the story behind the track itself, his first impressions of Junsu, and what it was like working in the studio with him.
While you have been in the music business for quite some time, your notoriety in the K-pop world didn’t make its debut till the release of “Uncommitted”. Could you tell a little about how that collaboration came to be? Who contacted you initially?
Automatic: “The craziest thing about this whole thing was that I didn’t even know who Junsu or JYJ was. I didn’t know what Kpop was until August. My daughter would constantly tell me about groups that she listened to from Korea and Japan (for the last couple of years). She would say “Daddy I just heard this great Korean group.” It was wild.”
Automatic: “The executive from CJeS, Niddy (Tyrone “Niddy” Buckner), called me and he asked me if I was “Automatic” from Sony Music, because I had a hit record a few years ago with Bettina Bush from American Idol. He said “I’m working for a group called JYJ. Do you have any songs to submit?” I was like “What kind of music do they do?” and he said “Oh, well they are from Korea but they do Pop and R&B. So, if you have any male oriented songs, we’re really interested in what you have.” So I submitted some stuff. Uncommitted was a song I wrote four years ago, so I wasn’t even going to submit that song, but at the last minute I just threw it in there anyway.”
Automatic: “I got a phone call a couple weeks later from Niddy saying that CJeS loved the song and that Junsu wanted to do it. At that point my daughter freaked out and said “Junsu! Junsu! Daddy do you know who that is?” I was just like “No” and she ran me through all of his stuff. She sat me down and gave me a JYJ and Junsu lesson. I was just blown away because these guys were not only awesome but they work so hard to perfect their craft. It was something you didn’t see that much anymore in America.”
Is there any story behind “Uncommitted”? Is it based on an event in your life?
Automatic: “It wasn’t from my life, but, a friend’s. He was a serious player. I would always tell him he needed to stop that lifestyle because everyone knew he had this reputation. It was going to be hard when he got serious. But he kept saying “I’m never going to get serious.” until he literally found a woman that was just perfect. She was just awesome. He said “This is the woman I want to settle down with.” And I was so happy for him. So he told her how he felt and she stopped him mid sentence. She said “I know you’re not going to ask me to go steady or get married.” He was stunned as she told him “You’re good for these kinds of dates but I know all about your reputation. I know who you are. I’m not going to be bringing you home to meet my parents. He was so brokenhearted.”
What was your initial impression when you met Kim Junsu for the very first time?
Automatic: “I was expecting him to be a lot more reserved but the greatest thing was that when we met it was instantly like were two old friends. He cracked a joke and then I cracked a joke. It was like we (already) knew each other. It was just not what I thought it was going to be like. I thought he was going to be reserved, quiet, and shy, and he was not at all. Junsu was hilarious, funny, vibrant, and just ready to work. We had a ball. We were laughing together like two old fools. It was crazy.”
Are there any interesting stories that you would care to share about your experiences while working with Kim Junsu in the studio?
Automatic: “We hit it off so well. When Ebony Cunningham (the VP of InRage Entertainment and my fiance) was vocally guiding Junsu on the second verse and the bridge sections of the song, he got it really well. He went into the booth and every time he did it so beautifully that I got excited and said to him “Man you sound black. You’re just a brother.” to which he replied “I’m not black, I’m yellow.” and it was hilarious. Everybody in the studio started cracking up. He was so funny. This was one of the best sessions I ever had.”
After experiencing Kim Junsu’s vocals in person, what did you think?
Automatic: “My daughter had already ran me through JYJ’s repertoire. I just didn’t know that he was so soulful. One of the things I realized is that with a lot of his songs, he records really well but you still have not heard the best of Junsu yet. That boy can blow. Every time I sang a note he would sing that note and out-sing it. He would sing it better. He’s got so much soul. I don’t know where it comes from but I’m just blown away by it. He has talents and the gifts that people haven’t even heard yet. He has got the skills and I want to capture that onto records, on tracks. He reminds me of Michael Jackson. He’s the Michael Jackson of Asia to me.”
We then started to discuss a key point that InRage Entertainment and Automatic are great proponents of when it comes to the music industry – artist freedom. While it’s highly accepted by JYJ fans worldwide that their entertainment company CJeS has been very adamant about allowing JYJ all the artist freedom they desire, Automatic gave us an even deeper glimpse into the truth behind that understanding.
Automatic: “They have artist freedom and that’s what I love about CJeS. They are giving them the chance to explore other genres and languages. CJeS is just great for supporting JYJ artistically. When we were in the studio the CEO of CJeS was there. He was there for the entire session. How many CEO are there for their artists like that? You don’t see CEO’s and Presidents do that. It’s a rare thing. To see the CEO actually there making sure that Junsu had everything he needed, making sure that he was comfortable. It was amazing.”
After the entire experience, how did you feel about the time spend working with him? Did you know that the song was going to be a hit or were you a little apprehensive?
Automatic: “The greatest part about the whole session was that it was so fast. Junsu was dope. We did it quickly. We even took a break. He free style, we played guitar, he sang, and I played some other songs. Then he went back in and polished off the rest of the song. We did it in a couple of hours and usually my sessions last a day or two. Junsu is awesome – a complete professional.
I knew it was going to be a hit. I knew it when we were in the studio and he was singing the song. We were so excited, jumping for joy and clapping. We just knew it.”
We concluded our interview with a discussion on how the whole experience has not only affected his outlook on K-pop and JYJ but also how the treatment h’es received from the groups fans has affected him personally. It was quite heartwarming to hear an artist from the US, not normally associated with the K-pop industry, talk so appreciatively and respectfully about how passionate and loving Kpop fans truly are.
As most people are well aware, K-pop fans are one of the most passionate group of fans in the world. When the news was released that you collaborated on this track, the eyes of the fan base was quickly fixed on you. How does it feel to be receiving so much fan love?
Automatic: “It’s the greatest reward, really. The fans are so loving and caring. Fans hit me up and ask me things like “Are you eating?”, “How are you doing?”, and “How’s your daughter.” That’s so bizarre to me. Fans in America don’t have that kind of appreciation.They are so caring that I’m hoping that we in America can learn a lot from how these fans treat the people they respect. The fan love is incredible. They are so dedicated to making sure that JYJ progresses and their YouTube views are up. It’s such a caring movement. I love it.
I’m so glad that I got a chance to do this, and witness the kind of love that they show. I’m so happy, and so appreciative, of all the fans that I get to talk to. I enjoy talking to the fans. They (JYJ) have the greatest fans in the world. JYJ are so lucky to have fans like that. I wish a lot of artist in America had that kind of fandom. I’m hoping we can learn from these fan groups and eventually adopt some of that love and respect. It’s so rare and it’s beautiful. “
Do you have anything you would like to say to our readers before we let you go?
Automatic: “I want to thank the fans from all around the world and let them know that their love has empowered me to be a better producer and writer. I believe that we are not only fans but friends. I call a lot of my friends “InRagers” because we stand for music equality; we stand for racial equality, and artistic freedom. These are all the things that JYJ has had to overcome. All these boundaries that have been put in their way, they have overcome them. That is what my company is all about. So,all the fans out there are InRagers to me. “
Mr. Vanderveer is currently working on numerous projects in and out of the Kpop world. His band, Asphalt Messiah, recently released a new track called Lets Get Dirty 2Nite which is currently available on ITUNES and Amazon. The rock anthem melds heavy guitar and driving beat with lyrics that incorporate web terminology to get your heart racing and your feet moving. While Mr. Vanderveer was unable to give us any specifics on his upcoming projects from the K-pop side of his endeavors he made it quite clear to fully expect some amazing things in that area, real soon.
We at hellokpop would like to thank Bruce “Automatic” Vanderveer for spending time with us and allowing us to give our readers a deeper look into Kim Junsu’s personality and his work ethic along with sharing with us humorous stories about his experiences working with him. We are looking forward to everything he has in store for the all the K-pop fans and wish him all the best in his endeavors.
Sources: Video: CJESJYJ, Photos: (Main) JYJ Official, Bruce Vanderveer.
Quick Reviews: eAeon, JeA, and Orosy
eAeon – Realize
Release: December 26, 2012
Producer/Distributor: Elephant Music/Sony Music
Genre: Indie pop; acoustic
Reviewer Rating:
Guilt-Free was a masterpiece (indeed, it was our Best Dance/Electronica Album of 2012), but it did have the side effect of being so overwhelmingly depressing to the point where you questioned whether the artist was mentally healthy. eAeon is back with a lighter-hearted EP this time around, first in lyrical themes and also in sound. In the former, the differences are not sweeping; you hear things like My Little Piggy, which is surprisingly charming with some adorable diction to boot, but on the whole eAeon still sings of loneliness, rejection, and brokenness. The sonic differences are very significant, however.
Realize is entirely acoustic, crafted only with analog instruments; if you recall, this is the exact opposite of Guilt-Free and its entirely synthetically sculpted sounds. eAeon proves himself as deft with this extreme of the spectrum as he is with the other. The striking piano-driven hook of 자랑 (Boast) and the constantly shifting, inexplicably dynamic rhythm of the Harder, Better, Faster, Stronger remake are memorable examples, but perhaps the best testament to the artist’s skill set is the two remixed Guilt-Free tracks included here. I thought the original Bulletproof could hardly be improved upon, but this tender remake almost has me thinking that it’s the proper way to do this song. The palpably lonely guitar intro, originally made of heavy and dragging synths, is already promising, but the track realizes hitherto-untapped potential when the muffled drums and soft bass enter the chorus. It’s not the instrumentation or genre that makes eAeon’s work great; the man simply knows how to press all the right buttons to make us feel.
Tracklist (recommended tracks listed in bold)
1. My Little Piggy
2. 자랑 (Boast)
3. Bulletproof
4. Harder Better Faster Stronger [sic]
5. Heaven Song
6. 세상이 끝나려고 해 (The World Is About to End)
JeA – Just JeA
Release: January 4, 2013
Producer/Distributor: Nega Network/Loen Entertainment
Genre: Pop, ballad
Reviewer Rating:
Who would have thought JeA would become the last Brown Eyed Girl to release a solo work? The group’s most refined vocalist decided to play her debut EP somewhat safe, collecting mellow pop numbers and tastes of R&B to accompany the ballad centerpiece. There really isn’t a more appropriate word to call lead single 그대가 잠든 사이 (While You Sleep); it’s another big-scale, five-plus-minute ballad in that trademark Jung Suk-won style. It wouldn’t feel out of place in a Lena Park collection, with its emphatic usage of orchestra sets and dramatically ramping suspense, and by their very nature these things tend to be quite good listens.
My impression, though, is that While You Sleep isn’t the best it could be. JeA’s performance is great and the song has lots of cool theatrical devices, but these two things don’t quite mesh up fully. The track’s got plenty of power, but it lacks that picture-perfect chemistry that Lee Ga-hee enjoyed with 밀 (Secret) (2001) and IU enjoyed with 비밀 (also Secret) (2011). While You Sleep is still a good work, it doesn’t reach the (admittedly lofty) heights of 꿈에 (In Dreams) (2004), the classic that it appears to benchmark.
The rest of the album is interesting, if not supremely engaging outside of creamy mid-tempo number 안아보자 (Let’s Embrace). You won’t find Eric Benét singing in (brief) Korean anywhere other than here, and Silent Stalker is built on a delicious concept – an explosive love melody framed in cold, clinical club synths. They do their job, conveying JeA’s ability to navigate a wide spectrum of pop with relative ease. What she really wants to do, however, remains to be seen.
Tracklist (recommended tracks listed in bold)
1. Days & Nights – Featuring Eric Benét
2. 길고양이 (Stray Cat)
3. 그대가 잠든 사이 (While You Sleep)
4. 안아보자 (Let’s Embrace) – Featuring Jung-yup
5. Silent Stalker – Featuring Double K
Orosy – Wonderland
Release: January 7, 2013
Producer/Distributor: Orosy/Mirrorball Music
Genre: Indie rock, ballad
Reviewer Rating:
There’s a little Rumble Fish, a little Sangsang Band, and even a little Bebe Mignon in Orosy (formerly Rosy)’s debut EP. On the one hand, that means she’s doing something right: those are pretty good names to be following up on. On the other, it means that Wonderland is a tad lacking in originality. There really isn’t anything here that hasn’t been done better by someone else before. Still, there is focused quality in the album: Orosy’s airy performance makes 붙박이별 (Fixed Star) a nuanced and mystical solo, and there’s a healthy dose of genre variety beyond the uplifting modern-rock base of the lead single that spurred much of the above comparisons. Taken together with the gentle warmth that radiates off much of the lyrics, Wonderland becomes a pleasant enough debut effort.
Tracklist (recommended tracks listed in bold)
1. Wonderland
2. 당신을 위한 이야기 (Story for You)
3. 붙박이별 (Fixed Star)
4. Interlude
5. Stray Cat – Featuring Shoon
6. 너는 모른다 (You Don’t Know)
7. 붙박이별 (Fixed Star) – Orchestra version
Note: The views and opinions expressed in this article are solely of the reviewer and not of hellokpop as a whole.
Agree or disagree? Or have a recent release that you’d like to see reviewed? Let us know with your comments below! Requested albums will be considered each week and may be selected to be reviewed in the subsequent week.
