Asian Junkie Asian pop. Without discretion.
Alright, I’m back again to catch up with all the releases, including a bunch of major ones. If the song you loved isn’t here … well, I might’ve loved it, liked it, or … potentially not cared at all.
We’ll see!
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Foxhound_Delta reviewed tripleS’s “Baby Flower” here, and like I said in the comments, it could’ve used a Yuju vocal (though they admirably compensated with a choral effect). Either way, their output is generally in line with the melodic sounds that got me into the genre.
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aespa – “LEMONADE”
This is a good overall comeback when factoring in the concept, visuals, and the fact that it continues to further a musical identity of sorts. The aggressive club beat helps the verses carry the type of attitude something like this needs, so I really wish they pushed down the pedal in the chorus instead of falling into a chant that borders on annoying and kinda stagnates. These kind of recent tracks in this mode are not that far removed from BIGBANG and 2NE1 classics, but the difference is still primarily the melodic choices (or lack thereof) as the separator.
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NMIXX & Anderson .Paak – “Caution”
Another song I was fucking with until the chorus just sorta gives up.
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CORTIS – “Blue Lips”
If the goal of this is to make me further appreciate “REDRED” as the quality outlier in their discography, then it worked.
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YEEUN (CLC) – “Elevator”
Inoffensive and somewhat forgettable but I’m making you aware of this because she’s still one of the most attractive idols I’ve ever seen.
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MEOVV – “DDI RO RI”
It’s cliche to mention at this point, but Teddy is just copy/pasting his own shit again, this time differentiating it by using Bach’s “Toccata And Fugue” — often associated with Dracula — and an onomatopoeia of that great classical piece as the chorus. In the time since its release they’ve amusingly acknowledged that fans prefer that shit removed, which should say it all, really.
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FIFTY FIFTY – “Like A Bubble”
Man, recapturing viral magic can be tough.
Songs like this could be playlist-worthy if they capture the floaty and brisk mood in the song, but instead it’s overly light to the point of hollow and sorta annoying.
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Krystal – “PWLT”
In a way, this probably did its job. I was listening to grating quasi-hip-hop trying to be BIGBANG/2NE1 at night going through music releases, agitating me before bed. This literally made me pass out and I slept great after.
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EPEX – “ECHO”
Am I imagining things or does that vocal pre-chorus sound a lot like a Timbaland production for late Aaliyah and/or early Justin Timberlake? That was notable at least.
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LE SSERAFIM, ILLIT, KATSEYE – “ICONIC BY MISTAKE”
Not gonna take this too seriously since I’m not sure it’s meant to be, but what would really own the haters is releasing great music. HYBE should help them do that more often, IMO.
Like I am a hater, but mostly of their converging musical directions and scattershot identities, which is almost certainly the doing of the company, and it especially stands out when compared to the leading groups of generations past. Clap back at that aspect whenever, I beg.
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AHOF – “Sugar High”
“SHIT! SHIT! SHIT! SHIT! SHIT! SHIT! SHIT! SHIT!”
A true anthem.
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K-pop is almost up to date now, J-pop still to go, though.
