February 2020: Highlights

LOONA: [#]
(2020.02.05)

I was ready for the next LOONA project a year ago when they released the brilliant [x x], which made the Top Ten Albums of the Year list, but [#] was not what I was expecting. It seems the group has gone back to the K-pop girl-group-template drawing board with lead track “So What,” a generic chunk of electro-pop I can picture any number of current trendy groups like ITZY or EVERGLOW releasing. It’s not a bad song, but it’s void of any unique identifying marker that makes it unmistakably LOONA, and not, say, peak-era f(x). It’s unclear where the magic of this group has gone: the entire project was founded on an exquisitely drawn-out reveal campaign, capped by an album that seemed just as enigmatic as the girls’ origins. Now that all identities have been revealed, BlockBerryCreative are treading water by falling back on well-worn concepts, in this case, a tough-as-nails clap back anthem that doesn’t float, and stings for all the wrong reasons.

Birds of Prey: The Album // Daniel Pemberton: Birds of Prey OMPS
(2020.02.07) // (2020.02.14)

Ever since Kendrick Lamar’s Grammy-winning Black Panther: The Album lent legitimacy and prestige to film projects, soundtracks curated and/or produced by pop stars have become another sign of a singer’s cultural status. Last year, we had Beyonce’s very serious The Lion King: The Gift and Ariana Grande’s frothy Charlie’s Angels entries, the latter having somewhat bombed, though I personally took it for the escapist, mainstream-feminist bait collection it was and thoroughly enjoyed it. This year’s first entry is Birds of Prey: The Album, and though it lacks a central figure behind it, is filled with original tracks from some of the brightest new figures on Billboard, like Doja Cat, Megan Thee Stallion, Halsey, and Summer Walker. This is somehow even more fun than Charlie’s Angels, boasting fifteen tracks that range from hip-hop, to dance, to silky R&B, all bent on juicing the hell out of the film’s theme of female independence (I’m assuming, based on the trailer — I know nothing about American comic books and super hero films). It doesn’t always stick the landing, but the spirit and energy it gives off feels exciting: production levels on this are turned up to eleven, with the compression and volume mix on these songs dominating every amount of space in the room. Imagine my surprise when Daniel Pemberton’s score was released a week later, the unsuspecting mirror-image to this rainbow-pop palette revealing that parts of the songs were actually extrapolated from the score. Charlotte Lawrence’s “The Joke’s on You” is from “The Fantabulous Emancipation Explosion” and “Harley Quinn (Danger Danger)” brought to life by Jucee Froot’s “Danger.” It’s a chance to play in some of the songs’ scaffolding while also bringing to life a somewhat unorthodox score that relies on its visuals to do most of the heavy-lifting, with tracks sounding less like a traditional score than the industrial beats backing old PlayStation racing video games. Still, it’s a cool twist on a practice I expect to continue seeing pop up, though I suppose it’s too much to hope for a companion to one of the scores I’m most excited for this year: Wonder Woman 1984, which drops in June.

Rocket Punch: RED PUNCH // Cherry Bullet: Hands Up
(2020.02.11)

A few girl-group debuts caught my eye last year, two of which were Rocket Punch and Cherry Bullet. Potential is a weak foundation to base hopes on, but you never really know which group will (or even can) end up being the next SNSD or 2NE1, and that is part of what makes debuts so exciting, and so disappointing when follow-ups fail to hit the same mark. Both groups released new music on the same day, Rocket Punch with their second mini-album, RED PUNCH, and Cherry Bullet with single “Mureupeul Tak Chigo (Hands Up).” The latter is near-abysmal: a sloppy “Fur Elise” sample, the lead (and arguably only) hook, has no chance of carrying this thin, lethargic hip-pop meringue that, as The Bias List points out, “is almost too obvious to work. Its repetitive use borders on cloying.” Luckily, RED PUNCH picks up the slack with lead track “BOUNCY,” a dynamic song with tempo modulations that keep the energy and novelty as bright as the title suggests. The rest of the EP is not exactly a masterpiece of the genre, but it extends the atmosphere introduced on PINK PUNCH, and this undervalued lack of pretense makes it one of the best K-pop releases of the month.

FANTASTICS from EXILE TRIBE: FANTASTIC 9
(2020.02.12)

I have long since given up on keeping track of the EXILE TRIBE franchise, mostly because it has never really struck me as worth paying attention to. Furthermore, now that my favorite iteration of this extended universe is coming to an end, it hardly seems worth investing any additional time. Still, it’s always nice to get in on the ground floor of a group: it always feels easier being there from the beginning as opposed to jumping into the middle of a career and playing catch up on albums and singles and scandals before you feel comfortable forming opinions. If you relate to that feeling at all, FANTASTICS is the newest train you still have time to get on before they leave the station for good (that and MCND, who delivered a decent debut mini-album, memorable mostly for the stand-out lead track). The group has released four singles over the course of the past year and just released their debut album FANTASTIC 9 this past month. The album is as predictable an EXILE album as you can imagine: there are no surprises hidden among this bloated 15-track collection (but still only second to the ironman triathlon that is BTS’s new album) complete with two unnecessarily drawn-out instrumental interludes (presumably archived here for future dance-showcases during live events), but it’s also as fun as you’d expect, too: it’s the dancier, poppier, gentler cousin to GENERATIONS. The emphasis here is on dance, not hip-hop, and it all goes down as smoothly as some of the more Western Hey! Say! JUMP cuts. I’m not blown away, but I’m impressed! FANTASTIC 9 needs some serious trimming, but it’s salvageable, and hopefully some of this stems more from an over-eagerness than lack of direction — the former can be harnessed, the latter can pull you under quicksand fast. I don’t think anything can fill the hole that E-girls will leave behind, but there’s potential for welcome distraction here.

KARD: RED MOON
(2020.02.12)

It’s tough out there for co-ed groups, but as someone who got into K-pop because of a group like Koyote, I can’t help rooting for these underdogs. I don’t know what it is about these groups that audiences seem so averse to when they used to be something of a norm — they’re a bit more popular in Japan, with groups like AAA (oops, never mind, they’re going on hiatus) and lol still representing for Avex, a label that never once succeeded at something twenty years ago that they think they can’t keep doing forever (literally no one is asking for more super eurobeat, but like clockwork, compilations continue to be released), but I guess it’s one of the few 90’s touchstones no one is ready to revive yet. Co-ed groups (especially dance-focused ones) peaked in the 90s around the world, with groups like trf, Real McCoy, move, and Koyote, but were left behind in K-pop during the big girl- and boy-group boom of the Second Generation. The last co-ed group I remember making any sort of impact was Co-Ed School, and while there are a couple of co-ed groups releasing music today, something like Triple H is the Yeti of the monster world: seasonal, and rarely standing out. I rather like “Red Moon,”: the song rests comfortably in the footsteps laid by groups before them — upbeat, trendy, and hardly groundbreaking, but extremely competent. Perhaps it’s just easier to market single-gender groups when you’ve got your target audience whittled down to a marketing science, but I’ll always root for those daring to take the difficult road and rising to the challenge.

Tink: Hopeless Romantic
(2020.02.14)

While researching TAEYEON’s solo album Purpose last year, I came across the very Wikipedia-like term “PBR&B,” a “stylistic alternative” to R&B. I”m not 100% sure I can distinguish this sound from contemporary R&B, or maybe this just is the sound of R&B now, and we’ve reached the apex of its transition, the point where it is now the default, rather than the alternative. The Weeknd’s early mix tapes are surely one early iteration, as are artists like Frank Ocean and Drake, but it is really women who have taken the reins of this sound and made it both mainstream and meaningful: SZA, Summer Walker, Kehlani, and Tinashe are just a few that instantly come to mind — Walker’s debut album Over It, in particular is still treading water in the Billboard Top 50 more than four months after its release, and her duet with Usher is a great example of the sound I’m referring to, whatever it may be called. It brings to mind softer 90’s ballads, but without the cheese; certainly more explicit — at times downright crude — but also insanely liberating. I slept on Doja Cat’s Hot Pink last year and after quickly correcting my mistake this month, I was determined not to let anymore of these gems pass by. Tink’s Hopeless Romantic is another addition to this shift in sound, rolling in on a bed of red satin and rose petals. She’s no newcomer to the sound, bringing a near-decade of experience to Hopeless Romantic, and the result is an effortless mix of drum machines set to scandalous soirees and storybook bodice-rippers. Listen, I’ll be happy if I never heard the phrase “in my feelings” ever again, its clipped millennial motto now a lazy shorthand meant to prove, rather than do the work of conveying, depth, but Tink’s use of it is justified. Perhaps in-my-feelings-R&B isn’t any less offensive or silly as PBR&B: it certainly gets to the heart, if not soul, of the matter.

Hitomi Arai: “Shoujo A” PV
(2020.02.19)

It has now been five years since TOKYO GIRLS’ STYLE’s last album, a time so interminable as to be equal to a lifetime in the entertainment world. In the idol world, groups have risen, peaked, and fallen in less time. While Avex clumsily fumbles around with what used to be their greatest girl-group of the decade, member Hitomi Arai, has been getting some unusual solo time. Last year, the sub-leader covered Ohta Takako’s 80’s hallmark “DELICATE ni Suki Shite.” It’s now obvious Avex has some grand plan for Arai that involves an older audience that can best appreciate these Golden Age hits with a cover of Akina Nakamori’s 1982 classic “Shoujo A”. But what do these songs really have in common? They were both the first true hits in both artist’s careers and propelled them to stardom — that first-time feeling being what producers are most likely homing in on for Arai herself, who is now no longer a new-face herself, but whose career has stalled so long in TGS that she might as well be. Unfortunately, the covers, while fun natsukashii-bait aren’t strong enough on their own: they’re not different, or improve upon the original, enough to be memorable in any way. The PV for “Shoujo A,” released a month ahead of the official single release, seems redundant, the wig coming off as gimmicky rather than clever after we’ve seen every iteration of this concept, from parodies to critical satires, to really earnest job well-dones over the past decade. But worst of all, Hitomi Arai is clearly a star in search of a galaxy, someone who deserves a lot better than these half-hearted projects that rely entirely on unoriginal, already-proven-successful material. Immediately after watching this PV, I re-listened to Killing Me Softly, the last great TGS album and thought, Is there life after TGS? And wondered why the real question couldn’t be, Is there a way to revive and reignite the magic of TGS? To correct all the mistakes made after the departure of Ayano Konishi?

Allie X: Cape God
(2020.02.21)

Despite my appreciation of Allie X, I wasn’t too impressed by the singles leading up to her new album Cape God. While still steeped in the mystical art-pop style that has become her signature, they seemed a little too self-serious, missing some of the smart humor of tracks off of CollXtion II or Super Sunset. I suppose that’s all par for the course when you’re drawing inspiration from opioid-addiction documentaries, and anyway, no one goes to Allie X for mindless pop formulas (though there are a couple of slightly more conventional bops, like “Sarah Come Home,” and “Life of the Party”). But in the end, despite the whip-quick hooks, Cape God is a slow, quiet burn — there aren’t many bells and whistles adorning this one to make it more palatable for a casual listener, nor have I been able to process my reaction as easily as I can on most first-listens. This is a record I see myself necessarily returning to many times with pleasure, and not a little bemusement, that only time can help clear.

Lady Gaga: “Stupid Love”
(2020.02.28)

Three big music videos were released during the last week of the month: Lady Gaga’s new song for “Stupid Love,” Doja Cat’s “Say So,” and Taylor Swift’s Lover-cut “The Man.” Upfront, the best of these is, Doja Cat’s “Say So,” which is practically a shoo-in for my favorite music video of the year in all its gorgeous, decadent, campy, low-key-is-for-basics glory. But none of these videos are understated — Taylor Swift’s video is as subtle as a hammer to the head, and while I really appreciate its general message and amusing tone, it seems a tad smug about what are essentially very literal retreads of points that have been made for years. Swift (and technology) does an amazing job of transforming into a man, but each scenario is more like a knowing chuckle than a wow, that’s funny and I never thought about it like that before. Is this really an attempt to critique the patriarchy or just one asshole in particular? It is hardly the same. But it’s Lady Gaga’s video that has made the most waves. I’ve read a lot of mixed responses to this and mine tends to err more on the disappointed side. It is indeed a return to Lovegame-era dance-pop, but I would have preferred a continuation of the growth exhibited on Artpop. I know that album divides fans, but it had some amazing album cuts that were lost in the shadow of a mediocre lead-track like “Applause.” “Stupid Love” feels like it hit rewind just a little too long, past both this album and Born This Way. The video, which looks like it was assembled over a weekend in a frenzy of aluminum, spray paint, and hot glue guns is fun (and luckily, Gaga seems to be having a blast filming this), but inconsequential, a mere side quest on the journey that is The Legend of Gaga. It is not impossible that this was rushed due to the song’s leak, so I hope that with time and the proper rollout, Gaga still has some tricks up her sleeve that will make LG6 the true Artpop follow-up everyone deserved. Until then, God bless Doja Cat for getting us through this month.

Top ten East Asian pop/rock albums of 2019

When Johnny Kitagawa passed away this summer, it was accompanied by a muted, collective sigh of relief, rather than the quiet, mournful sigh at the passing of a legend. I don’t know, maybe people loved this guy, but it seems as if in his last days, Kitagawa was more like the crusty, embarrassing grandpa nobody likes but everyone has to put up with, wielding the iron fist of tradition, opposed to any and all business strategies that might take him and his mega-successful company into the present, let alone the future. On July 9, you could practically see balloons being released into the sky: happy days were here again. Like dominoes, the country’s most successful producer of boy bands began falling into the warm embrace of social media. YouTube accounts sprung up, celebrities appeared on Instagram, wow, album covers weren’t immediately wiped off of the face of the Internet. Meanwhile, Arashi began their Olympic campaign in earnest, uploading videos to YouTube and singles onto the streaming platform Spotify and a member’s nuptials was announced with an eye-roll, merely confirming an open secret.

As far as defining the capabilities and limits of the last decade of J-pop, Johnny Kitagawa’s death is as momentous as any event; it’s sheer lucky coincidence that it happened around the same time the Heisei era ended and the new era, Reiwa, began. Two monoliths passing the torch, one in peace, one fighting the whole way down.

The rest of the musical year has been rather predictable, with the expansion of the 48/46 groups, Gesu no Kiwami no Otome.-clones riding the success of the group’s low-key J-rock, plenty of mediocre solos, and the demise of many more of your favorite idol groups (including E-girls in 2020, which I am not emotionally prepared to discuss at this time). Across the sea, tragedy returned to K-pop once again, claiming the life of more beloved performers, while at the same time, K-pop’s star continued to rise overseas, led by YouTube-trailblazers like BLACKPINK and TWICE, and Billboard-favorites BTS and NCT, while rookies continued to churn out tepid debuts and earnest comebacks. And yet, as always, there was so much music to wade through, that is wasn’t difficult to unearth hidden gems hidden among the tropical-house drops. Like a lot of music released in 2019, I would not necessarily say the year produced many J- or K-pop albums that we’ll still be talking about in a decade or two, but they kept things going moving along nicely, with a few that are worth examining in depth.

LOONA // [x x]
2019.02.19

LOONA could have been nothing more than one of the greatest K-pop marketing campaigns in history, but if so, nobody would be talking about anything more than the process, which isn’t the case. While I’ll never get over the disappointment of the phenomenal pre-debut singles never being collected into a single compilation, the group did release their first original EP, [++], in 2018, which was re-released in 2019 under the title [x x], and included six new songs, all which convey the singular, interstellar space in which LOONA lives, and it is indeed a mood. Unlike TWICE, LOONA comes off as a witchy and wise older sister: check new tracks “Butterfly,” “Curiosity,” and “Where you at,” which build on the older, faster-paced tracks. There’s a subtle brilliance to these songs, an ice-cold chill that benevolently provides as many goosebumps as it does ear worms. We’re all unworthy of a follow-up in 2020, but pray that LOONA chooses to bless us anyway.

Key // I Wanna Be
2019.03.04

SHINee just celebrated ten years since their debut last year, so it was only fitting that three of the four surviving members began prepping for their great military-service hiatus, while baby TAEMIN went off to pursue jopping with the other Korean Avengers on Ellen. Luckily, the group left behind treasures to enjoy during the break, including last year’s The Story of Light trilogy. But the greatest was Key’s solo album FACE, released in 2018, and re-packaged this past March as I Wanna Be. The re-package includes three additional tracks, among them the title track, featuring Soyeon of rookie group (G)I-DLE. This album feels like the true successor to 2015’s Married to the Music, an ode to K-pop boy bands and a testament to the pop aesthetic of SM Entertainment in a nutshell, both which are at their strongest together. The number of hooks on this record are stratospheric, and while I’m not convinced that Key is any better on his own than with his band mates, he brings the exact level of vocal enthusiasm these tracks deserve. It’s a hasty prediction, but this album should be enough to keep fans going for the next two years or so.

BAND-MAID // BAND-MAIKO
2019.04.03

Performers in the Japanese and South Korean music business (idols or otherwise) are some of the hardest working in the world, so you’ll have to excuse me if the constant mantra of Ariana Grande releasing two albums over two years doesn’t impress me much when it is has been de rigeur for a group like BAND-MAID to release a new album every year — and two in 2019. Obviously, the sort of work ethic that pushes K-pop idols to train and perform for 14 hours a day is by no means practical, safe, or just. With a group like BAND-MAID, there is also the possibility of not just physical and mental, but creative, burnout. Up until now, BAND-MAID’s releases have been on a strong, upward trajectory with each release topping the last: they have been featured in the top ten albums of the year list here for the last two years. But interestingly, it is not the late-entry CONQUEROR that makes this list, but the shorter EP released in April, BAND-MAIKO. CONQUEROR is a strong album, but it’s the first one that I haven’t been instantly taken by, and while I let that album continue to percolate and work its magic on me, I’ll let BAND-MAIKO speak for itself. As if to preempt a rut, the group changed things up for this special EP by giving a few of their signature metal hits a traditional Japanese sound, complete with taiko drums and shakuhachi flutes piping into every available space left in the production. This idea could have been a silly, ineffectual gimmick (perhaps like being forced to wear maid costumes?), more Wagakki Band-rip off than genuine novelty, but the melting of the two styles are perfect, offsetting, collaborating, and molding themselves into something just as hard and heavy, but with a unique texture. It also gives the band a chance to ditch the maid outfits and don traditional kimonos in music videos for “secret” and “Gion-cho” — I’m not sure they were any more comfortable to shoot in, but they certainly make for stunning visuals (women’s fashion  throughout history, I guess). So far, the EP has been a one-off, but I wouldn’t mind seeing this little side-experiment blossom into a regular gig. It’s a gorgeous, sweeping testament to how adaptable and open the metal genre is, and how hard BAND-MAID work every day to keep innovating and challenging expectations, while proving the band is anything but out of ideas.

Nao Toyama // Gunjou INFINITY
2019.04.03

Seiyuu solo albums are a hard sell when so many can sound nearly identical. This isn’t inherently a bad thing if that’s exactly what you’re looking for, but it can get difficult to distinguish between them all if you listen to a dozen or so a month. “All pop music sounds the same” is easily one of the laziest insults to hurl, but the older you get, the more you realize there’s nothing insulting about stating merely uninformed facts: after all, even the most manufactured idols can create alchemy with the right songwriters that produce potions that keep a cauldron bubbling throughout the year. Gunjou INFINITY seems to have hit upon that very wizardry, taking Toyama’s lithe vocals and peppy guitars to a level beyond what she hinted at on her debut album. There’s not going to be anything here for those who saw the word seiyuu and immediately turned heel, but for those still on the carousel, check the extra synths on “Action,” the traditional instrumentals woven throughout “Tomoshibi no Manimani,” and the frenetic one-two punch of “Living Dying Kissin’” that make an album like this, adrift in a sea of so many like it, stand out. Nao Toyama has been on my radar since Rainbow, but she hasn’t proven herself until now, a woman more than capable of keeping up with the Nana Muzukis of the world, if given half a chance in a fickle, over-saturated market…and several return trips for draughts of that elusive elixir.

The Dance for Philosophy // Excelsior
2019.04.05

The Dance for Philosophy have been one of the strongest indie idol-groups since their debut, releasing one quirky, vintage-inspired album after another since 2015. While it was easy to lump them in with the rest of the Tower Records-set alongside Michiru Hoshino, Negicco, and especia, The Dance for Philosophy songwriters took their inspiration from 70’s soul and funk, mixing in just a hint of City Pop for thematic relevance. The result has been adorable, dorky albums, almost too earnest for their own good. This year’s Excelsior tries its hardest to be just a but more slick, a bit more chill, but of course it’s a losing battle, and all the better for it. The group is at their best when they’re at their least cool, breaking out all the horns, cliche sparkle effects and almost-Mickey Mousing sound effects on tracks like “IT’S MY TURN,” and “FREE YOUR FESTA.” But it’s smoother tracks like “PARRHESIA” and “HEURISTIC CITY” that hit the sweet spot in-between, and luckily The Dance for Philosophy spend quite some time in this zone. It might not have all the idol bells-and-whistles of their previous albums, but it’s a more mature, albeit tiny, step forward for the group’s sound that I sincerely look forward to hearing evolve at a pace slower than evolution, all the longer to simmer and enjoy.

TWICE // Feel Special
2019.09.23

TWICE had a better year than any other K-pop girl group in 2019, and that includes Internet phenoms BLACKPINK. While the group has always been hit-or-miss for me, never achieving a level of consistency that precluded enthusiasm for comebacks, they scored three amazing releases this year, including two Korean EPs, and an original Japanese album that hit #1 on the Oricon the week of its release. It’s their second EP, Feel Special, that has stayed on heaviest rotation. From the title track on, it’s a burst of sparkling energy, with the dance-pop glitter parade hitting peak ticker-tape on the stomping triplet “Get Loud,” “Trick It,” and “Love Foolish.” The album winds down with “21:29,” the nostalgic missing piece from Seohyun’s 2017 Don’t Say No. It’s a perfect example of K-pop from a group that has released more than seven original Korean mini-albums since 2015, but who still bring enough innovation, enthusiasm, and need to prove themselves to feel like a rookie group.

BABYMETAL // METAL GALAXY
2019.10.11

BABYMETAL were mired in a bit of controversy this year, the type only surprising to those unfamiliar with the Japanese entertainment industry, but enough to derail the group’s international momentum. When Yuimetal was reported mysteriously missing from live shows, conspiracies abounded until a press release confirmed the usual story: Yui Mizuno would not be returning due to poor health. Betrayed fans punished the withholding of information by insta-damning their newer singles as inferior, lacking in the same quality and depth of their early releases. It seemed the group was doomed to the same recycle bin and sudden irrelevance as other Japanese crossovers. So imagine my surprise when I tuned in to the new album and found myself charmed and impressed. METAL GALAXY, five years removed from the group’s debut album, is their poppiest to date, relying on metal as a production style, rather than a genre. The album still soars with riffs and earnest vocals, but it’s softer, a bit more diffused around the edges, with the endearing addition of a ballad and what can only be aptly described as soaring choruses. Rest assured, there are plenty of cheeky moments sprinkled throughout, like the bubbly rap-interlude on “DA DA DANCE.” There’s a reason this album is wedged into this category and not metal: it’s as laser-focused as any idol group on this list, just with a heart worn on a spikier sleeve than most.

TAEYEON // Purpose
2019.10.28

The slow demise of Girls’ Generation, from down-one-member, to down-a-couple-members, to let’s-just-give-them-all-solos, to hmm-how-about-this-pointless-subunit is one of K-pop’s saddest horror stories. This is not to say anything of the solo releases, which for those who have opted to stay with SM Entertainment, are as top-quality as ever, and some, in fact, being astonishingly good. TAEYEON, as one of the three biggest vocal powerhouses of the group, and now the highest-selling female artist in K-pop, has been given solo opportunities since 2010, and official solo albums since 2015, when the albums started to come in earnest. Of all of these, 2017’s Voice has been the strongest collection, but Purpose has blown that album out of the water. While it doesn’t necessarily showcase TAEYEON’s vocals so much as use them in the best, and holiest, way possible, it’s a chance for TAEYEON to get some great pop songs under her belt, by way of the usual overseas heavy-weights like LDN Noise, and Dsign Music who have been behind your favorite East Asian pop songs since 2013. As usual, the music is a mix of glossy R&B influences coating sultry pop (“Ha Ha Ha (LOL)“), and the type of sad song you play on the way home from a long day of work after your exhaustion has got you brooding (“Wine“). TAEYEON is an expert at this point, ringing emotion out of every last note, and so the album feels effortless. TAEYEON might be portrayed as a bit of an ice-queen in the media, but Purpose, both cool and confident, is surprisingly warm.

Hey! Say! JUMP // PARADE
2019.10.30

It will be interesting to see how Johnny’s entertainment will grow, mature, and respond to their musical competition, now that Kitagawa has passed and the handcuffs have come off. As mentioned above, there are already massive steps being taken to join the rest of the entertainment industry in 2020, and it bodes well for the years ahead. There will surely be many great, successful, working things the company will want to hold on to as it moves forward, and one only hopes that one of those things is a rich musical history. It has taken me nearly all of the last decade to truly appreciate the particular style of J-pop that Johnny’s produces, and though I would not call myself a super-fan, and remain skeptical of most of their performing groups, it’s been a wild ride to slow down, and carefully study, understand, and appreciate what these groups offer to the genre. At its worst, they indulge in the sort of outdated, saccharine idol-pop you’d find as filler content on a CD produced in 1978 from the clearance section of Half-Price Books. At its best, it fuses vintage styles with modern production to create something fizzier and more nuanced than the individual pieces, as do one of Johnny’s most successful modern groups Hey! Say! JUMP, whose name alone now endearingly dates them. They’re all set to take over once Arashi vacates the top spot, and aside from drama with a former member who was swiftly and quietly put to sleep like a rabid dog, they seem more than capable of carrying the torch. PARADE is Johnny’s at its best: long, winding choruses, slightly-awkward rap breaks tempered by pleasing disco strings, Western-pop and EDM pop-ups, individual vocals twining into the distinctively joyous group singalongs. It can’t possibly be less-than-average compared to the intellectual records littering year-end lists over at The Ringer or Pitchfork, and it won’t win any awards for bringing anything innovative to the table, but in that way, it’s like Johnny’s itself, leaning so heavily on the personality and charisma of its stars. Perhaps that’s why so many continue to draw from this particular well, year after year, and who’s comparing it to those stuffy lists anyway?

Cosmic Girls (WJSN) // As You Wish
2019.11.19

Like TWICE, Cosmic Girls had two above-average EPs to choose from this year: the frothy soap bubbles of For the summer, a giant, shimmering, sunshine-in-a-bag collection of K-pop, tailor-made for what is still the one season of the year most likely to have you throwing caution to the wind and, if you are unlucky enough to work a 9-to-5 like the rest of us, playing hooky or gazing out the window, wishing you had the guts to do so. But it is As You Wish, their autumn entry, that brings a bit of levity to the songs that showcase how great WJSN is when they are less gimmicky, and focus on what makes them work so well as a group. Some of the same songwriters appear on these tracks, such as FULL8LOOM, but the addition of newcomers KZ, Nthonius, and B.O. add some much-needed gravity to the parade of hooks on tracks like “Iruri (As Your Wish),” “Luckitty-Cat,” and the album’s strongest banger “Badaboom,” which veers into beloved T-ara territory with its catchy, repetition of “Badabing-badabing-badaboom-yeah.” WJSN and TWICE have had a similar musical evolution, and both groups have released work this year that reflects their status as worthy contenders beyond their beginning as SNSD-clones, but WJSN has the added benefit of being the type of group you can always count on to deliver consistency in great songs and great visuals.

Honorable Mentions


Wa-suta: Cat’ch The World
TAEMIN: FAMOUS
OH MY GIRL: Fall in Love
Flower: F
SUPER☆DRAGON: 3rd Identity