September 2020: Highlights

Things have really picked up this month, prompting serious decisions about what I would realistically have time to focus on. At the same time, the race is now on to listen to any major releases I missed or put off all year in preparation for year-end lists. Yes, it’s already that time! In the usual way of things, the longest year of our collective lives is also careening past us, the unforgivable march of time continuing on its way. Below are a few of September’s highs and lows to enjoy in its wake.

BBHF: BBHF1 -Nankasuru Seinen-
(2020.09.02)

It’s always with more hope than faith whenever a group makes the best debut list of the year, as BBHF would have last year, if it hadn’t turned out they were just masquerading under a new name. Many of the groups won’t amount to much, or like so many K-pop groups, sputter out or disappear. In many cases, the only thing left behind is one great moment orchestrated to prove beginner’s luck. So maybe it’s a good thing BBHF didn’t make the cut, or maybe the name change was just what the band needed, as their “debut” studio album, an ambitious 2-disc concept album chronicling one man’s emotional journey through a labyrinth of history and emotion set to a wave of poppy 80’s synth rock, proves. “Sooner or later, everything changes / I’m not happy at all / For better or for worse, this country is falling into a depression” they lament in “1988,” folding the twin tragedies of a burst bubble and a broken heart into an excuse to get wasted. “Let’s drink till we’re sick, of love itself,” they urge, as the synths swell and the titular character high tails it in a bid to escape depression and responsibility as if a physical entity, like so many Don Drapers before him. “Carrying all the burden in the back I will go south / I will go south, to survive.” It’s not the helpful message we need, perhaps one of the reasons the album was pushed back from its original May release date, but it’s honest, and refreshing, a J-rock band refusing to hide behind dour epithets without any genuine emotional anchor behind them. “Apps that I merely touched once and don’t use / I deleted them all, that is the pleasure of getting rid of things,” the opening track opines; one only wishes it was possible to shake off everything as easily.

Harry Gregson-Williams: Mulan (Original Motion Picture Soundtrack)
(2020.09.04)

The story of getting Mulan released to the public is almost as epic as the film’s story line, a journey that promises to get topped only by Wonder Woman 1984 or No Time to Die‘s own struggle to hit the silver screen. Gregson-Williams battled his own struggle in providing the musical backdrop, standing in the shadow of legend Jerry Goldsmith, and reckoning with one of the most iconic songs in Christina Aguilera’s discography. Luckily, he neither kowtows to nor completely eschews the original. If we’ve had to wait an extra six months to see the film, imagine how G-W, who began work for the film years before its release, felt! Luckily, the extra time paid off, with this score every bit as robust as the plot line and titular character requires: along with the usual soaring strings, there’s plenty of time-period appropriate instruments from the erhu, to woodwinds. The whole thing is capped off by the original theme, sung by returning vocalist Aguilera, who belts out “Loyal Brave and True,” with all of the sincerity, if not skill, as her original work on “Reflection.” What this soundtrack didn’t need was a repeat of “Reflection,” with the new vocals a mere memory of what the singer was capable of delivering twenty years ago, when she was still ambitious enough to put the work required into making it sound so easy. This score isn’t re-writing the Disney playbook, but it’s one of the few I was genuinely looking forward to this year, and it has delivered in ways the film, based on critical reviews, hasn’t.

TAEMIN: NEVER GONNA DANCE AGAIN: ACT 1
(2020.09.07)

TAEMIN is one of the closest people we have to The Great Pop Star, something on a par with the type of megalomania we had in the 80s and early 90s, a Michael Jackson or Madonna, a Solitary Figure with an otherworldly sense of talent, charm, and charisma. All of these traits are on display in his newest video for “Criminal,” including the hardly-human way he moves his body and the uncanny knack he has for looking through the camera straight at the heart of the viewer on the other side. It’s important, but easy, to look past all the shiny surfaces, CGI, and loose fabrics TAEMIN is always draped in, because there is never a moment he doesn’t emanate straight out of it. Like his predecessors before him, he’s seemingly more comfortable in front of the camera than behind, a man who comes alive in the pageantry of performance, and not a moment before. The rest of the mini-album serves its purpose well. TAEMIN’s sound is down pat now, a hook-based, sinister pop infused with tantalizing mystery, like the foreboding “Strangers” and ethereal “Clockwork.” It’s hard to be upset that his team rarely thinks outside of this box when he excels so well inside of it — a TAEMIN playing in his own shadowy sandbox instead of the bright ones his SM peers are often found running amok in is part of what preserves his iconic imagery. I’m not looking forward to his two-year absence to serve his time in the military, and thinking of SHINee without him helps little with the looming void. I’m glad he’s leaving us a few more tokens, and between this and his duties in SuperM, I’m sure the physical requirements of training will seem relatively familiar to the work SM has him put in day in and day out.

YooA: Bon Voyage
(2020.09.07)

There have been a number of girl-group members with less than solo-worthy chops getting their time in the spotlight, so it’s nice to see one come up that doesn’t deserve to go straight to the discard pile. YooA, from OH MY GIRL, has released her debut solo EP, Bon Voyage, and it’s giving off all the I ♡ Natural meets Shakira vibes. Unfortunately, the title track is the only one to take some risks with the quotidien K-pop sound, leaving the rest of the EP, especially tracks like “Nareul Chajaseo (Far)” and “Jagagmong (Abracadabra)” to fill in the blanks. Overall, the collection is indecisive, a box of pretty, but mismatched buttons that’s easy to chalk up to lack of direction, but as long as we’re not in Hyoyeon, or insipid, one-off ballad territory, I’ll take any of these I can get. In any other month, one not so jam-packed with top tier releases, this would have been easier to appreciate — YooA might not be a superstar, but mostly she just got unlucky.

BABYMETAL: LEGEND – METAL GALAXY (METAL GALAXY WORLD TOUR IN JAPAN EXTRA SHOW) DAY 1 & 2
(2020.09.09)

Live albums rarely get much appreciation, and BABYMETAL’s latest illustrates why. As a live group, they are pretty great, making use of their strongest assets to cover for places they might be more deficient. They’re idols, but a lot of their fans are metal heads, so many of the usual tricks are tweaked, with video screens promoting the band’s Fox God myth, pyrotechnics over lasers, minimal costume changes, some goth-y props, etc. Lip-syncing still helps in a pinch here and there, especially almost all of MOA and YUI-METAL’S “vocals,” while the band, central to the sound but not the marketing, remain wailing away at their instruments in shadow, with the focus staying on the three (now two) stars of the show. It’s all a lot of fun, and the band clearly enjoys the performance realm more than the studio one judging by the sheer number of live albums and videos that have been released over the course of this group’s 3-album existence. The problem is that rarely does their live music warrant so much attention — like most of it, these two albums are nearly note for note the studio versions with an audience piped in. Unless there are some crazy innovative, off-the-cuff solos, or new arrangements, albums like these, especially when they are unnecessarily spread across two separate releases, are blatant cash grabs of the worst kind. While “money-makers” is how most producers like business-minded Kobametal have always viewed idol groups, I’m not really sure how much longer fans will put up with a stagnated mythology, poor communication, and such obvious, and constant, recycling.

Ava Max: Heaven & Hell
(2020.09.18)

Going by initial buzz alone, you would think Ava Max wasn’t anything but a deliberate Lady Gaga clone. However, one thing was always clear during the drawn out string of singles leading up to her debut album Heaven & Hell: Ava Max has neither the quirky magnetism, nor the endearing desperation of Gaga’s early singles. “Just Dance” and “LoveGame,” were built on muscular hooks, their choruses as easily mutable through the expensive sound systems of clubs as tinny earbuds, the notes as hummable, and memorable, as a nursery rhyme. I barely registered any of Ava Max’s songs after the first listen. Luckily, her music works better in the album format, where the basic Euro-pop foundations lend a steady, sturdy purpose to an extended run of music, a stepping stone path of a track list that wraps up an almost 3-year block of fun, but indistinguishable singles. It’s not the best representation of what a major label like Atlantic can offer, but there’s raw material within Ava Max, one that hasn’t yet been tapped by truly innovative pop, the kind that gives songs an instantly recognizable personality. I would love to see what Max with a top-tier producer like Justin Tranter could come up with, though I worry that three years of little growth bodes ill for a journey to the next level.

Whenever You CallArashi: “Whenever You Call”
(2020.09.18)

It’s a shame that Arashi have reached a genuinely interesting stage of their career moments before calling it quits. Everything from a relatively robust Internet presence, to a Netflix documentary, to experimenting with popular social media platforms like TikTok that utilize their strongest appeal (personality), Johnny’s has finally allowed this group the space to grow, as the last year before hiatus, and what was sure to be a spectacular crowning performance at the 2020 Olympics went up in flames, comes to a close. This single, written by Bruno Mars and produced by D’mile is just another curve ball from the group this year. Technically, Mars’s name does not hold the same weight it would have five years or so ago, but his skill hasn’t waned in the four years since he hit a peak with 24K Magic (both the song and album). “Whenever You Call“‘s mid-tempo pace does a stellar job of covering all the group’s worst weaknesses, including some serviceable but awkward pronunciation (this doesn’t bother me, but it’s obvious most of the members are struggling a bit), and the video’s robust choreography that doesn’t quite match the laid back tone of the song (this routine has none of the chill that is a hallmark of Mars’ personality — even when he’s on his knees, he’s always in charge). Otherwise, this simple number is perfect for Arashi: bland enough to fit neatly into the group’s discography, but interesting enough to add a bit of flavor and genuine pathos to a long list of stuffy love songs. It’s no coincidence that Arashi is finally taking fun, sometimes lopsided, risks knowing that they have nothing left to lose, and it really makes one wonder what the group could have been if they had cared enough to think outside the very rigid confines of the Johnny’s formula ten or fifteen years ago instead. Of course, I have liked them just fine for the last few years, but imagine!

Movements: No Good Left to Give
(2020.09.18)

I feel a little guilty admitting that I think that Feel Something is one of the greatest debut albums of all time: the lead singer had barely reached legal drinking-age when the band put out one of the most honest and sincere depictions of depression set to audio. Does the album surpass its years to express a mature, wiser-than-its years clarity upon the subject? No, and all the better for it. The very heart-on-its-sleeve, sometimes angry, sometimes okay see-saw is the reason it works, a collection of haphazard emotional turbulence that only the young can, heart whole, deliver un-ironically. The dedicated post-hardcore touches only added to its mystifying success. Three years after its release, it’s still one of the CDs that sees the most re-play on my morning commutes. So with some apprehension, I queued up their follow-up album No Good Left to Give, already wincing at the train wreck of an album jacket. Luckily their sophomore album returns to the same trademark atmospherics of Feel Something. The genre has remained the same, but the execution feels more evolved and fleshed out, with a bit more specificity in its storytelling (“Seneca“) that lends songs a high relatability factor, and an overall less at-the-precipice than already-over-the-cliff commitment on the production side. The album can be a bit unforgiving in its relentless drive to play up the half-empty mindset when the music itself already does so much of the heavy lifting, with the lyrics an overkill at times and the spoken-wore segments still a distraction (also, note for note the same melody as the ones on Feel Something so it sounds — not in a good, come-full-circle way — like the exact same song), but this is still a world I can see myself spending as much time in as its predecessor, an aural space perfect for the bleak landscape we’ve all found ourselves in this year.

Kylie Minogue: “Magic”
(2020.09.24)

When Kylie announced the title of her new album, Disco, and revealed the cover art, I was hardly imagining the sound of “Say Something,” the first single released. But this is more like it! “Magic” perfectly captures the tone of “grown-up disco” that Minogue hinted at almost a year ago. With good reason, it lacks the serious resonance of Jessie Ware’s disco odyssey, reflecting, instead, the poppy fun we’ve come to expect from Minogue. It might not be so much grown-up, as an attempt by a grown up to capture the same nighttime feeling you only get at the club in your 20s, but it says a lot more than its predecessor. It also has a better, carefully social-distanced music video — okay, there’s only like six people total in the club and an invisible glass barrier surrounds our star, but we’re in the club again! Dancing! Celebrating! You can be nostalgic for 1979 and 2019!

July 2020: Highlights

I guess this is the accidental no-boys-allowed edition which is a good time to ask where all the great K-pop boy bands went. With any luck, YG’s new group set to debut in August will be neither male equivalent-BLANKPINKs, nor the type of clones who take all their inspiration from BTS like most of the recent crop of boy bands (though with a title like THE FIRST STEP : CHAPTER ONE, it’s not looking good). I have listened to every major boy band release this year, from SF9 to to 1THE9 to AB6IX to ATEEZ and everything in between and can’t help wondering — when is SHINee coming back?

Ayumi Hamasaki: OHIA no Ki // Dreamed a Dream
(2020.07.04) // (2020.07.31)

Despite cancelling her remaining tour dates, Ayumi Hamasaki has been working as always in 2020. In July, the singer released her first two digital singles of the year, the first an ode to her infant son whose existence she revealed in a surprise post on the first day of the New Year (sadly, my response was eerily prescient). “OHIA no Ki” debuted on the finale of the height-of-soap drama based loosely on her early career, Ai Subeki Hito ga Ite, starring Kalen Anzai and Shohei Miura. The song is typical of many Ayu ballads, and should come as no stylistic surprise with long-time producer Kazuhito Kikuchi at the helm. Kikuchi, who worked on past singles like “appears” and “HEAVEN,” hits all of his signature beats: soft pianos and swelling strings playing tag amidst a playground of leisurely vocals and an ascending major key chorus. It’s very pretty, but too similar to previous ballads to be anything more than another extremely competent, but rote, single. Its sweetest spot is the story, Ayu’s lyrics expressing the type of sentiments able to melt the freeze off the iciest cynic, sharing slices of the joy, fear, and relief that mark the firsts every parent experiences with a child. You really have to be a toad not to appreciate its charm, at least a bit. The second single, “Dreamed a Dream,” is the Tetsuya Komuro-penned comeback that fans have been waiting for. Komuro, busy spending the last few years lapping up nostalgia projects and taking liberties with words like “retirement,” took the time to produce this new single, which luckily has more teeth than his first contribution to the 46/48 franchise, a late-stage trf outtake, presumably. This is a very comfortable space for Ayumi, and like “OHIA no Ki,” it doesn’t add anything novel to the canon with its frenzied pace, thin guitar solo, and piano exit, but it’s nice to see jacket art that isn’t B&W or sepia-toned, and this year we really have to take any positives we can get.

Red Velvet-IRENE & SEULGI: Monster
(2020.07.06)

While track records are never 100%, there are some labels you intrinsically expect to deliver great hits. SM Entertainment is up there in the Top 5 (or 3, as it were…): there are few records labels, let alone Korean ones, that have released more enjoyable groups and hit songs than this monolith, and when word started going round about a favorite group’s new sub-unit, I couldn’t help but prepare myself for new favorite songs. But, alas, never 100%. So where does Monster go wrong? This EP feels half-baked, a collection of B-sides and filler album tracks, like Red Velvet’s Velvet side without any of the mystery or understated cool. Its inability to be more like Red Velvet shouldn’t work against it, yet “Jelly,” the EP’s most RV-esque track, is its strongest and least mid-tier. This is the kind of disappointment that hits on two levels – dashed expectations, and abuse of an otherwise high-quality production. The lazy name of this sub-unit should have tipped me off, but old loyalties die hard.

Katy Perry: “Smile”
(2020.07.10)

A new album from Katy Perry was obvious considering how many singles she’s released since Witness. The real kicker here is that “Smile” is 100% okay. The mellow vibes of neither “Harleys in Hawaii” nor “Never Really Over” provided any clues as to where the Katy of Teenager Dream was hanging out these days, but at least they weren’t as insufferable as “Never Worn White,” with its very Beyonce-at-the VMAs reveal (that’s two pop titans taking cues from Queen Bey in the same column!) or as boring as “Daisies.” My expectations for Smile were immediately relegated somewhere to the basement, next to that new Hitomi Arai single, but this lead-single is decent enough to have piqued a very, very mild interest. The album cover had me hoping for a concept a little more along the lines of Chaplin’s “Smile” (I am going to be disappointed if it’s not sampled anywhere on the album) but the performance video is more of an undeveloped alternate-universe Joker, one where Arthur Fleck’s mental health is quite stable, actually, and his passion and talent for bringing laughter and joy to the world was acknowledged and rewarded accordingly, leading to a happy and fulfilling career and personal life. So, very mindful, enlightened, centered, me-time Katy Perry, ca. 2020! I’m not sure the world is ready to receive a record as earnest as this right now, nor does it seem to promise any retribution for the tiresome C-level hits we’ve been getting since, oh, “Wide Awake.” I’m happy for Katy, but I’m not exactly sure this hyper-positive me-time is meeting the moment.

YUKIKA: Soul Yeoja
(2020.07.21)

Consistency is still a problem in K-pop. Look, of course it makes sense, from a money-making standpoint, to put all your resources into creating one hit single and culling the budget for album tracks that often exist for purposes of extra “content” rather than artistic continuity, but it’s harder to reconcile with the genre bait-and-switch that promises listeners something truly innovative, only to be a one-off. As far as I know, one of the few to really commit the whole way though was Wonder Girls. So YUKIKA’s Japanese city-pop angle is a revelation, a chance to truly give the industry something that’s maybe no longer fresh (not after almost a decade of Bandcamp tributes), but certainly different. Too bad it falls just short of committing all the way. Soul Yeoja leads with its jazzy, laid-back singles like “SOUL LADY” and the glimmering “NEON 1989,” the album giving every indication of a proto-Korean Dance for Philosophy before devolving into standard K-pop. Take “Yesterday” or “Day for Love,” which go for the bare minimum in vintage before “pit-a-pet,” an adorable homage to puppy love, boasts all the familiar tropes found on a standard GFRIEND or OH MY GIRL album. The songs themselves deserve little of the blame, for what is proving to be a lack of commitment on the production side. An album like Feel, that takes the less-traveled road of bravely ignoring the pressure to drop a traditional K-pop ballad, deserves every morsel of praise in its critical arsenal, but it’s hard to throw kudos to an album that chooses to play it safe when it’s clearly capable of taking it all the way. I like this album, and certainly appreciate what it’s doing the majority of the time, but I want to love it, and all I can do, now that YUKIKA is a full-length album in, is imagine the potential.

Kylie Minogue: “Say Something”
(2020.07.24)

Anything longer than 24 months is too long without a Kylie Minogue album, especially when that last album was Golden. While it’s nice to see artists try something new, it’s always disappointing when those visions don’t quite work the way they might have been pictured in pre-production. So it was good news when late last year Kylie spoke to The Guardian about working on new music that would get her “back on the dancefloor,” hinting at “grown-up disco,” and dropping the tantalizing adjective “shimmery.” This month, we finally get a taste of what she was talking about when Minogue announced her new album, Spartanely, but hopefully not too tastefully, titled Disco. The album cover is a thousand word, 12-pt font, double-spaced essay to describe that genre’s campiness, but the lead single “Say Something,” is mostly silent on the subject. The short pop song is less Golden Age-Donna Summers and more Sally Shapiro minus inspiration. There’s still plenty of unheard content on the album to look forward to, but if it’s just more of this, it’d do better to drop the “grown-up” tag and commit to youthful hedonism. It’s greedy to expect two world-class revival records in the same year when we already got Jessie Ware’s What’s Your Pleasure?, especially when no one was expecting Minogue’s so soon, but you can’t dangle an album cover like that with Kylie Minogue’s name on it and not deliver 100% of the fun and cheese it implies.

Taylor Swift: folklore
(2020.07.24)

Who knew that seven years after Queen Bey dropped Beyonce to an unsuspecting nation always hungry for “content,” that surprise album-drops would be one of the defining moves of her legacy? While she may not have been the first to do so, “a release of this nature was unheard of from someone of Beyoncé’s magnitude,” and since then, pop stars from Ayumi Hamasaki to Ariana Grande have labored in secret, only to parachute in from seemingly nowhere with full-length albums. But in fact, at this time last year, when Swift was spending months hyping her newest album Lover, it was still one of the few things she hadn’t done. The element of surprise and capture just doesn’t fit Swift, who’s prone to elaborate teasers, extended to heighten anticipation with her audience. Incorporating hidden images, weaving clues in visuals, and even working seemingly innocent hints into interviews is how she operates. This kind of fan interaction takes lots of time and forethought, none of which were given in Swift’s first official out-of-nowhere album drop folklore, announced less than 24 hours before it hit streaming platforms (and a record sixteen different physical versions). The confirmed album artwork down through the list of producers and co-writers were maximized to prepare listeners for an understated album of slower, more acoustic numbers, an album very different from the niji-iro Lover (though it’s a shame that Swift is making the rookie mistake of equating black & white photography and lowercase lettering with maturity, and sophistication). Slower, more acoustic numbers were never my favorite Swift tracks, so I went in with low expectations and suffered no disappointment. It’s a fairly satisfying album to listen to, and gives fans some primo content to chew, but it’s re-play value is nearly non-existent for me. I’m on the cynical side of the fence here with Andrew Unterbreger, who points out that “[b]y releasing it overnight with what for her is an unprecedentedly minimal amount of build-up, she frees Folklore from all of these questions and expectations [that “would have marked something of a risk if rolled out like one of her previous albums.”] If fans love it and consume it like crazy, then great. If it gets a lukewarm response critically and/or commercially, then she can underplay it as a quarantine-released personal project, not subjected to the same standards as one of her ‘official’ albums — like a mixtape, basically.” Very, very smart move though Swift is still too big to fail completely, and the sound here isn’t radical enough from songs here and there to divide fans as, say, Gaga’s Joanne did. If anything, it’s a return to Swift’s story-telling and songwriting roots with all the maturity and technical experience that she has acquired over years of honing a skill that is as second nature to her as posting cat pictures. Many songs have the usual stylistic notes and flourishes of a Taylor Swift chorus, citing note changes and key shifts present throughout her previous albums that identify her as succinctly as a sticky thumbprint. I’m not completely immune to its rustic-chic charm, but I’m no fan of the National or Bon Iver sound, so my curiosity tapers here. That’s the drawback to surprise-albums: the anticipation is always, if not more than, half the fun, so as quickly as it arrives it can be forgotten, like the last twenty tumblr posts you just scrolled through, and the twenty after that.

June 2020: Highlights

What should be one of the best months of the year for pop music is instead one of the most disappointing. Pickings were understandably slim this June: there’s not much to celebrate; clubs, concerts, and large gatherings of any kind are still verboten; and the fatigue of endless 90+ degree F humidity makes it very hard to appreciate all the sunshine we’re finally getting (at least here in the appears music lounge). That leaves very little inspiration for songwriting or incentive for labels to release jams of any kind. Nevertheless, here are some interesting releases, served for our still-responsibly-staying-at-home consideration — the rest of us can keep listening to Chromatica, I guess.

Jamal Green: Skelattack (Original Soundtrack)
(2020.06.05)

Since Danny Elfman is one of the most well-known and iconic producers of modern film soundtracks, it’s almost cliche to cite him as an inspiration, and borderline psychotic to attempt imitating his sound. Yet Jamal Green does just that for the soundtrack to the video game Skelattack. Full of all the moody atmospherics of the composer’s best horror soundtracks (and there are so many), the music is a fitting soundscape to the inherently all-ages, Tim Burton-theatrics of the game’s spoopy game play. It can all get a bit your local Michael’s Halloween arts-and-crafts aisle, but that’s always been my favorite aisle (outside of October, it’s the pen and marker one).

Cosmic Girls (WJSN): NEVERLAND
(2020.06.09)

There were plenty of girl group comebacks to go around in June — and boy bands too — TWICE, IZ*ONE, and NATURE to name a few. Hot take: All of these were miles ahead of their male counterparts, who keep flirting with ways to sound more like their predecessors, with half of the motivation. As a long-time fan, I’m inclined to think WJSN’s NEVERLAND leads the pack. Though we have yet to receive a genuine, marketed-as “summer single” from K-pop, “BUTTERFLY” soars as close to that burning sun as we might get during this pandemic summer. (But it’s only June! Surprise me!) Still, we could do worse than the pastel brushstrokes all over these breezy watercolors. There’s nothing original about the title or concept art here, a very Anne of Green Gables meets Disney Golden Age, but I get enough pleasure and imagery out of mere words like “beach towel,” “popsicle,” and “Coppertone SPF50” to understand the power of sticking to the traditional, and very safe, playbook, the kind of joy sparked by the powerful pull of word association in touch and taste, in sight and smell, and in sound.

Chloe x Halle: Ungodly Hour
(2020.06.12)

There are other artists out there who can do what Chloe x Halle do, but few who do it so earnestly. As two young women who debuted at the age of 13 and 15 respectively, we have been given the opportunity to watch them grow, smoothing out the wrinkles of identity and personality that we do. Ungodly Hour sees them now confronting some of the more complicated and unpleasant compromises of adulthood, with their signature downbeats and twinkling harmonies. There are bittersweet moments all over this album, including a youthful production that hints that as far as they’ve come, they still have a way to go; no one emerges a Homecoming-Beyonce before putting in the work of a Destiny’s Child-Beyonce. After naming The Kids Are Alright one of the top ten debuts of 2018, and spending some time with its follow-up, I’m happy to continue keeping my eye on this duo’s evolution and obvious drive not just to create something great, but to contribute something truly unique and singular to the genre.

Poppin’ Party: Breakthrough
(2020.06.24)

Like many anime and game idol-franchises before them, from Creamy Mami to the ubiquitous Oricon presence of iDOLM@STER, Poppin’ Party, the group from BanG Dream!, releases music to the public as any real-life band or idol. They are, after all, backed by real-life seiyuu like Ayaka Ohashi, who enjoy success through the mixed-media marketing strategy that easily parlays into solo careers. Because these groups are a dime a dozen now, and many up-and-coming vocalists will have gotten their start in one of these animated or virtual arenas, the music itself is instantly recognizable: upbeat, rock-driven, and lyrically focused on recurring themes of goal-setting, and the self-determination, drive, discipline, and relentless perseverance that it takes to reach them. Poppin’ Party already released one big compilation of their anthems last year, and it was fairly enjoyable. Breakthrough coasts on the same energy, but unfortunately filters out most of the personality that made Poppin’on! so memorable. This sieve-like effect, where the second round is similar enough to warrant consideration, but missing a vital essence, is nothing new for a concept that is now reaping diminishing returns with the sheer number of more-of-the-same options. It’s a genre in desperate need of some novel, revitalizing gimmick, and one that I eagerly hold out for in between high-quality, but self-congratulatory echo chambers like this.

Jessie Ware: What’s Your Pleasure?
(2020.06.26)

It’s nice to get the follow-up to Fever that we all deserve, and it’s none the worse for coming from Jessie Ware, who has released what is the best disco album of the year, and probably decade. This is actual disco, not electro-pop with some strings pinched into the production, or whatever modern K-pop tries to pass off as “disco-inspired” on occasion when it’s better off just being promoted as great pop. Ware brings a levity and seriousness to What’s Your Pleasure?, one that feels as grown-up, and uncool, music-for-adults as some of the best of the genre’s vintage origins. As someone who grew up with ABBA, I respect and admire the attention to detail and unwillingness to compromise on irony for the sake of a wider audience; Random Access Memories this is not, though de Homem-Christo and Bangalter could take some serious notes if they’re looking to craft songs that are more than just technical marvels, but beating hearts, too.

NiziU: Make you happy
(2020.06.30)

The Japanese idol business has had a steady influence on K-pop long before NiziU, from Girls’ Generation on up, but it’s the sound that seems to be the main talking point with NiziU, who made their (pre-)debut this month with “Make you happy,” the type of throwaway effervescence common among debuts from Red Velvet’s “Haengbok (Happiness),” to the aforementioned SNSD’s “Dasi Mannan Segye (Into the new world).” It’s hard not to root for them when they’re following in such hallowed footsteps. The J-pop connection is a bit muddier; the group sounds heart-whole K-pop here, with the precise cut and paste choreography of their contemporaries. A Japanese word in their name and harmony-less shouts don’t a J-pop idol group make. If anything, this EP sounds a bit like early DalShabet, a “Mr. Bang Bang” send-up that makes me a little achey for a decade ago, when groups aimed to sound more like this all the time than “How Do You Like That.”