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.

January 2020: Highlights

As expected, maybe due to the sheer amount, the majority of music released at any given time in any genre is either average or forgettable. There are, sometimes, hopefully, less than we’d like but still, a few that end up being excellent. But if they can’t all be excellent, they can at least be interesting. Whether or not any of that music manages to avoid the trap of being derivative or just plain bad, it gets people thinking and talking, and that is, by far, one of the greatest by-products of the relentless pursuit of excellence. So let’s dive into some of the interesting releases of January 2020, with perhaps a smattering of excellent or excellent-in-training among them.

Shingo Katori: 20200101
(2020.01.01)

Former SMAP-member Shingo Katori is no stranger to collaborations, having released one-offs with several fellow J-poppers during his time in the mega-successful boy band, most notably with Tomohisa Yamashita on the short-lived, but fun, project THE MONSTERS in 2012. But now that SMAP is no longer, he’s free to indulge in a full-length project, and I really hope the first-day-of-the-new-year release date is a flex signaling his intent to pursue this type of thing full-time in the next decade — so says Takuya Kimura, too, but no one is feigning surprise over the music of Go with the Flow, a literal parody of safe J-pop. Meanwhile, Katori’s album is filled with borderline bizarre collaborations with artists ranging from TeddyLoid to SCHA DARA PARR to AINA THE END of idol-group BiSH (the BiSH members have been getting around, though, so maybe that’s not notable). As you can imagine from such a varied roster of guests, the album is musically all over the place, its central thesis being Katori himself, who brings a surprising sense of wonder and delight to these tracks that run the gamut from J-rap to disco. This box-of-chocolates approach is the last thing I expected to be hearing and enjoying during the first week of 2020, and is all the more welcome knowing the alternative was probably a Go with the Flow. Katori has set a new bar for SMAP solo albums: good luck clearing this one boys.

YOUNHA: UNSTABLE MINDSET
(2020.01.06)

Who is Younha? This is a bad question to be asking in 2020, both of a singer who has been quite prolific for the last fifteen years, releasing a large amount of albums in both Korean and Japanese, and for someone I’ve somehow never even heard of until now. Personal shame aside, UNSTABLE MINDSET is the sequel EP to 2019’s STABLE MINDSET, though it’s hard-pressed to form any immediately obvious correlation outside of the linked cover art. Acoustic, indie-sounding ballads of K-pop are my Achilles heel, the Korean genre I am least interested in and most likely to avoid, so maybe it’s not surprising this one didn’t register. But I guess the slow rollout of January releases had this one rising to the top in a way it never would have in June or July. There’s all the usual hallmarks of this subgenre, not least the devastatingly heartfelt vocal performances, but most of all, it is gentle, just the type of music to open a new year with. Going back to hear some of her earlier releases hasn’t inspired me to continue looking into the singer, or anticipate future work, but I like the unexpectedness of how this one turned out, how there’s always room to be surprised, and how one of the least exciting months in K-pop on record can make you appreciate even the small things.

Selena Gomez: Rare
(2020.01.10)

I’ve already written a bit about Rare, the first great pop album of the year, but that doesn’t mean it has left me entirely. No, none of the hooks require more than a few chews to digest, but it has got me reconsidering the references I dropped to Taylor Swift and Ariana Grande. Pop stars mining their personal lives for hit songs is nothing new, but it does make me wonder if everyone would have been as interested in an album that didn’t indulge in obvious nods to exes and personal struggle. We live in an era where everyone, even grandma, wants you to check out their very important, personal-brand curated Twitter, fashioning drama out of every mundane breakfast known to humanity. Would this album have felt like such an event if it steered clear of finger-pointing and back-clapping? If it refused to give fans and hungry audiences exactly what it wanted? Is it possible to create an album that’s not so personal, yet universal? Does anyone want to listen to an album like that? Is it cheating to walk upon the bridge laid by the paparazzi you complain about, if the story you told and responded to didn’t need overt explanations because it was assumed, by the foundation they planted, that we already know about Pete Davidson and Mac Miller and Joe Alwyn and a kidney transplant? I don’t know! But I do know it didn’t make Halsey’s album any more listenable, so there’s clearly skill involved in pulling it off successfully.

Poppy: I Disagree
(2020.01.10)

Poppy has left the world scratching its head: there are plenty of stereotyped “millennial” artists now flourishing in the music business (Billie Eilish, Kim Petras, anyone making overt homages to Y2K culture), but none as Internet-savvy as Poppy, who has fashioned her entire brand on being a weird hodgepodge of social media and “shock” culture, the type of thing that is giving me Dark Web vibes when it’s not making me wonder if “Concrete” is the first actual American J-pop song I’ve ever heard. It’s not all a success, as the vocals and lyrics rarely reflect the instrumentation, which mostly invokes a quasi-experimental meets industrial, nu-metal spirit. Still, I can’t shake this one, and I keep returning to it: it feels a bit like being given pieces to several different puzzles and asked to both separate and construct them, and I for one, knowing the final picture might not result in a genuine accomplishment, am having a good time putting it all together.

Eminem: Music To Be Murdered By
(2020.01.17)

Controversy aside, I wasn’t expecting anything from a new Eminem album (the last time I noticed Eminem was seventeen years ago when he starred in a weirdly successful film that made an actual Academy-Award winner out of him), so this was a nice change from the usual Billboard-Hot-100-rap, the Top 40 being as far as my curiosity and exposure to the genre takes me, and what you hear there is mostly the rattling hi-hats of trap. It’s almost like looking into a fun house mirror, a brief reminder of why almost everyone I knew in sixth grade had memorized the words to “My Name Is” (because there were only two music videos being requested and played on The Box, and it was this or Aerosmith’s “Holy in My Soul,” that’s it, for like three years). Actually, Tom Breihan summed up what I found most moving about this album: “the thing that really sets Music To Be Murdered By apart […] is the way it flaunts Em’s obvious and overwhelming love of rap music.” And later, “the Eminem of this album sounds present and focused. He seems to love rap music again. That’s something.” Something is not to be scoffed at when you expected nothing. Trim off the dead weight (the Ed Sheeran song, definitely, but like five other tracks, too) and you’ve got something that feels close to victorious.

Sumire Uesaka: NEO PROPAGANDA
(2020.01.22)

Technically a seiyuu, Uesaka has cultivated a unique brand of off-the-wall idol-pop that is mostly due to songwriters and producers, though that doesn’t exclude her from the creative equation. In addition, she’s the perfect vehicle for the poly-tempos and speed shifts that weave throughout her poppy, techno, sound effect-heavy onomatopoeia odysseys. She fell back on a more traditional J-pop sound with NO FUTURE VACANCES, but NEO PROPAGANDA boasts song writers both old and new like Kenji Ohtsuki, Ryohei Shima of The Dresscodes, and MOSAIC.WAV who have imbue the album with all the hallmarks that have defined her sound from rolling Rs and high-pitched shrieks, to gonzo interpretations of Russian culture, all wrapped up in highly-stylized song titles like “Bon♡Kyu♡Bon wa Kare no Mono♡” and “Run Fast, Rasputin!” Unpredictability would make it an exhausting trek to the end of this album if it wasn’t so much fun; I can’t help but root for this colorful collection of odds-and-ends.

The Weeknd: “Blinding Lights”
(2020.01.21)

As someone with mixed, but mostly positive, feelings about Starboy, I was pleased with both “Heartless” and “Blinding Lights” when they were released just before the new year, the former which had, and continues to have, a ton of repeat value for me. These two songs are the well-known yin-and-yang of Tesfaye, the “Starboy” and the “In the Night,” the dark, brooding self-flagellating nightmare-scape of indie mixtapes, and the groovy, darkwave pop star who flirts with fame and Max Martin-level stardom so at least he can dance while it destroys him (is there anybody more consistently conflicted about their fame in music videos as Tesfaye and like, Ayumi Hamaski?). “Blinding Lights” finally got a video release, this one both a sequel and car advertisement that illustrates the previous point perfectly. Both songs have been getting some unique performance visuals on late night, the first when “Heartless” was performed on The Late Show with Stephen Colbert with a very cool, very re-watchable, very vertigo-inducing stage set-up, and then “Blinding Lights,” both on Colbert again, with box and audience participation, and seemingly immediately after he stumbled off the streets of the music video, on Jimmy Kimmel Live! I love when an artist goes all in on a concept, and as the term “era” (as in Starboy-era, and Like a Virgin-era) has been plucked from the trade pubs and into the tweets of the casual-listening public, I hope we get an album announcement soon, so we can put a decent name to this deliciously decadent-in-Vegas, sinfully-red jacket era and hashtag it immediately.

CY8ER: “Renai REALITY-sho”
(2020.01.22)

The electro-pop boom has long since bust, but believe it or not, there was a glorious time when Yasutaka Nakata ruled J-pop and nobody could go two weeks without some official collaboration or production credit or eager knock-off fighting for prime headphone real estate. But it’s been a while since Nakata was able to pull off anything as game-changing and seminal as his early work with Perfume, MEG, Ami Suzuki, Kyary Pamyu Pamyu, or his own passion project with capsule. Still, that laundry list gives you an idea of how prolific he was and it’s not something any one can easily dismiss after a few years of disappointments. I might be losing hope of anything interesting from Perfume and Pamyu, but I see a cred with his name and my heart still skips a beat. “Renai REALTIY-sho,” for idol-group CY8ER, is a very safe and comfortable space for him. It’s the bread-and-butter of Nakata-pop, that while bereft of any depth, does give off extra thick slices of the year 2008. It’s a welcome respite from some of the forgettable, slower-paced music he’s been putting out with Perfume, and it fits CY8ER like a VR glove. Unfortunately, the video, which does have some really cool visuals, is an exploitative mess, and this pretty-good-but-nothing-special track is the highlight of their new album Tokyo. Still, it was nice, just for a few minutes, to be transported in musical time, and I hope others continue to keep their minds open to Nakata, as I believe that he is still capable of surprises. But mostly, I hope that the increasing staleness of his particular sound, like that of Tetsuya Komuro’s in the early 2000s, doesn’t hamper his ability to adapt and adjust, or discourage him from putting in the effort to grab new listeners.

LatuLatu: Mangekyou ETERNITY
(2020.01.22)

If rock is dead, I’m not sure how to even think about J-rock, which sometimes seems plagued with an identity crisis, trapped between visual-kei inspired anime-pop and indie math rock. At the wayside has fallen the type of rock music that showed both how technical and how fun the genre could be. Bands like B’z and hide with spread beaver, who didn’t take themselves too seriously, who appreciated a big hook and a satisfying riff, and didn’t suffer the type of fools who objected to chart-appreciation. This is not a lament on the State of J-rock Today, nor is LatuLatu (not 100% on the romanization here, is it LatouLatou? I’ve yet to see it in its native habitat) here to save the genre, but boy did I have more fun listening to Mangekyou ETERNITY than I have listening to J-rock in a long time. The group, which might have made my best debut list last year if I had any idea who they were two months ago, were billed by HMV as a “desktop rock unit” that gained some fame on TikTok. They released their first official single in September and their first mini-album this month, which has gotten a bit of much-needed press. If you like ONEOKROCK, you won’t find anything objectionable here, though note that the comparison applies more to the energy and earnestness of this set than ethos. Neither rock nor J-rock is dead or has ever been dead, but it’s always nice when something comes along that feels like it could breathe some fresh air into the lungs of a sometimes-anemic genre.

SixTONES: “Imitation Rain”
(2020.01.22)

The last weekly #1 for the Oricon chart this month is a doozy, the type of thing that makes me wonder who talked whom into bringing this into existence. The double A-side single featuring the debut of two Johnny’s groups, SixTONES (pronounced “stones” because the alphabet is meaningless) and Snow Man, were dropped last year, and I remember noting Snow Man’s super fun, super K-pop approach (yes, it is 2020 and J-pop is still trying to Frankenstein pieces of K-pop) not only in sound, but in production, styling, visuals, all of it. It’s nothing special, but it was different and I liked it. I would call it a success. But SixTONES’s “Imitatation Rain” is actually doing better on social media, and after finally watching the video I have no idea why: it’s like one giant step backward. The ridiculous over-the-top emoting, drama, rainfall, the spoken interlude, it all made sense when I saw the production credit for Yoshiki, X Japan’s tireless and now inescapable leader. You can go back and pick out every single Yoshiki-ism in this: the piano, the whiny, soap-opera monologue (I can’t resist, here is a sample, and try to pretend you haven’t already heard this at the end of every X Japan ballad since 1988: “What’s the meaning of life, what’s the point of getting it right? / Cause’s everything’s fake, everybody breaks. […] Breaking down, I am breaking down / peace of mind is shutting down”), the entire catalog of his favorite English vocabulary (rain, life, dreams, endless — the only one missing, I think, is crucify and scar, but I’m going off of the shortened-PV version). There is even a point at the end of the video where one of the guys plays air piano! Air piano! As choreography! I wish I could like this because I love the idea of established producers taking their talent and tackling genres outside of their comfort zone, but this is the opposite of where Johnny’s should be taking their Reiwa debuts (among other actions they should strongly reconsider), and the fact that it made #1 was purposely inevitable, rather than indicative. I’m not writing this group off just yet, but needless to say, Snow Man wins this round. I hope someone handed Yoshiki his paycheck and politely declined any further contact, but a #1 doesn’t bode well.

Dua Lip: “Physical”
(2020.01.31)

What completed Dua Lipa’s transformation into a bonafide pop star? Was it “Don’t Start Now,” and its dance floor-therapy music video? Was it the blonde hair? The homages to past pop movements stacking up like dominoes, as if to absorb the essence of all of the past greats through musical osmosis, from the Spice Girls to Kylie Minogue and now all the way back to Olivia Newton-John? Her utter commitment to the trendy nostalgia-for-the-90s Look, from performance to red carpet? Dua Lipa was great when she was just Dua Lipa, but Future Nostalgia promises something bigger and better, a Dua Lipa with enormous ambition and a record company that knows what it’s doing. This is her Oops…! I Did It Again moment, a cataclysmic pop event that Warner is drawing out in excruciating, exquisite anticipation. It’s going to be a long, hard road to April 3, but so far, I have no reason to believe it won’t be worth the wait.

Selena Gomez’s Rare: Watch her go

In many ways, Selena Gomez is a textbook pop star: she has been trained for celebrity and stardom since childhood, has had a slew of mega-famous boyfriends and personal drama that has kept her in the public eye and the tabloids, is beautiful in a way normal people are not, and despite not possessing spectacular vocal ability, has a talented team producing amazing, trendy pop music behind the scenes of her career that expertly minimizes flaws and maximizes strengths. We got a glimpse of it in her first solo, non-Hollywood Records release, Revival, back in 2015, and now we finally get Rare.

Rare feels different, not just because fans have been teased with Selena Gomez collabs and feats for years, but because the singer’s statements regarding gossip-heavy story lines involving her love life, re: Justin Bieber, mostly, but also The Weeknd’s Abel Tesfaye, feel more personal than ever. There’s no hidden message or subtext behind songs like  “Lose You to Love Me,” or “Look at Her Now,” and even in “Dance Again” and “Rare,” she’s not shy, lyrically, about claiming her own “narrative,” a casual word she tossed out on Jimmy Fallon, but a loaded buzz-word among her and fellow entertainer/close friend Taylor Swift. But they’re also a genuinely skillful set of hooks, programmed to keep the ear worms coming. It’s the album we were going to get from Camila Cabello’s Romance, until it most definitely wasn’t, and done only the way Gomez can do. As Chris DeVille wrote in his The Week in Pop column for January 9, it is the song writers and producers like veterans Justin Tranter and Julia Michaels (even Bebe Rexha has a cred on “Crowded Room,” though I was disappointed not to see a single mention of Max Martin — you can’t win them all) who are the heroes here, with  the “writing and production […] smartly catered to the subtle, breathy vocals that best serve her voice.”

Musically, it doesn’t feel as thematically on point as the lyrics, but the tension and slower pacing of the majority of the songs (“Vulnerable,” for example, and “People You Know,” the song nobody seems to like but me) make up for some of the weaker tracks like “Ring” and “Kinda Crazy.” The Target-exclusive edition comes with an additional five tracks, mainly all the feats and collabs mentioned earlier released over the last few years in the run-up to Rare, like “It Ain’t Me” and “Bad Liar.” They’re inessential and don’t belong on the album proper, so it feels right to tack them on optionally as bonus content; the “narrative” feels here and now, while the older tracks feel like shed skin, a form and size that no longer fit. Instead, Rare is both a telling and re-telling, a study and a re-examination, of fresh pain on old wounds. Scabs over scar tissue. It feels honest, but most importantly for a pop star like Gomez who is playing in the Grande leagues, it feels authentic, a collection of hits you can bop to and empathize with.

Rare is a strong opening to 2020 and it’s doubly appreciated to have it during a week and month that usually sees very little consequential work being released in any genre. And like any really good pop album, it should have the strength to at least get us through, what? The rest of 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

Top ten pop/electronic albums of 2019

Usually, the Western pop category is the easiest list to put together, but this year proved difficult, and it was all I could do not to go on a last-minute listening binge to try and find more albums to bulk up the quality of this list. Nonetheless, despite an absence of heavyweights, and most of the great pop albums sprouting from the debut category this year, there were still some good albums released this year, as long as you aren’t looking for any game-changers.

For example, it is practically redundant to include Ariana Grande: thank u, next is an album you will be hearing a lot of during awards season next year, and for good reason. The album seems to have reached a wider audience than last year’s Sweetener, perhaps because of its dramatic, but relatable story line, or maybe because of Grande’s always immense voice and steadily maturing approach to songwriting. Max Martin still appears on the album, but his influence seems largely absent, with moody R&B taking precedence over hummable hooks. We’ve been spoiled with Grande content so it seems greedy to voice high expectations for her next project, but it’s hard not to anticipate what she will come up with next.

Other female soloists making this list include Maren Morris, who still clings to the country in her country-pop, and Lizzo’s Cuz I Love You, the breakout star of the year, but not Taylor Swift or Carly Rae Jepsen. I’ve already spoken about my ambivalence toward Lover, which has only increased the further we get from its release, but Jepsen continues to rankle me. I have listened to Dedicated many times since its release, and each time it simply fails to spark the same joy as E-MO-TION; maybe my expectations were simply too high. There were enough fun songs on the album like “Julien,” and “Now That I Found You,” to make the honorable list, but not enough to elevate it to the same playing field as its 2019 peers.

Rounding out the list we have a few male soloists, including Post Malone, who continues to fascinate and frustrate, with his almost scary instinct for hooks that work despite bearing very little melody, but whose lyrical content belies any sense of growth or intellectual curiosity. Khalid’s Free Spirit may have been a disappointment to many as a follow-up to American Teen, but I quite like the languorous vibe emanating off of this collection of nap-enhancers. As a compliment, that comes off as back-handed, but I mean it in the best possible way. There are some inexcusable inclusions on this list that I’m loathe to defend, suffice to say they surprised and delighted, and it became increasingly apparent to me as 2019 wore on that that was the best I was going to get from a pop record this year. One of these is an outlier: the Charlie’s Angels Original Soundtrack (not to be confused with its score). Normally, this list would never include soundtracks that are merely curated-collections of pop songs, but I am the lone cheerleader for this year’s fluffy iteration of Charlie’s Angels, which was produced by Ariana Grande. Immediately upon hearing this soundtrack, I knew this would be the best thing about the film, and audience and critical reaction confirms this. Grande co-executive produced this short and tidy little jewel of pop hits which is composed of original material featuring a yearbook of 2019’s most popular from Normani to Kim Petras. This film might have been dubbed Forever 21: The Movie when its trailer came out, but I can’t think of a soundtrack that better captures the roller coaster that is third-wave feminism, for better and worse. It’s not reinventing pop, breaking barriers, or changing narratives, but its bright, cheesy, inconsequential Max-Martin-penned effervescence is something I think we all needed a slice of in 2019 — and I know my 1999-self would have eaten it up. And I repeat: pickings were slim.

Ariana Grande: thank u, next // Red Soda: Decades to Midnight

Various Artists: Charlie’s Angels (Original Motion Picture Soundtrack) // Nina Nesbitt: The Sun Will Come Up, The Seasons Will Change

Adam Lambert: Velvet: Side A //Lizzo: Cuz I Love You

Maren Morris: Girl // Emarosa: Peach Club

Khalid: Free Spirit // Post Malone: Hollywood’s Bleeding

Honorable Mentions


DAWN: New Breed
Carly Rae Jepsen: Dedicated
blink-182: Nine
Sarsa: Zakryj
Veronica Maggio: Fiender Är Tråkigt

Top ten debut albums of 2019

After the dumpster-fires that keep erupting around news of K-pop trainees, from grueling schedules to crash-diets to the lack of resources for mental health care, I am continually surprised (and, shamefully, grateful) that anyone still chooses to sign contracts and put themselves through the ringer for a chance at fame and fortune. After all, where would we all be without entertainment companies continuing to debut groups, with rookies taking on the burden of sometimes broken systems to hone an incredible array of talents, with artists continually mixing and matching influences past and present to create new music we’re all just blessed to hear?

We’ve had both disappointing and promising K-pop debuts this year, from the stale tropical and electro house drops that dominated lead singles, to yet another company hoping to hit on the same supernatural alchemy that generated hometown heroes Girls’ Generation and overseas warriors like BTS. On that front we had groups like Cherry Bullet, repping for the Red Velvet-lovers and TXT (TOMORROW x TOGETHER), the latter who in their youthful ear-worms released not one, but two enchantingly sweet takes on pop, channeling all the BTS-but-twice-as-earnest charm they could muster, with a similar look and vibe, too, as if spawned from the very rib of their big brothers (both groups are under Big Hit Entertainment). And it was nice being swept away by the joyful ambition of a group like ARIAZ, whose Grand Opera proved that the staple girl-group sound still has the ability to work new melodies into the same old bottles. I’m not sure any of these groups, from BVNDIT to Purple Beck to Bz-Boys, will have any staying power (especially the last two), but they deliver on everything K-pop promised back in 2009, when the future was a bright horizon promising fresh sounds you’d never heard before in beautiful, unblemished packages. Listening to something like “Drama” or “Dream Line,” you can almost believe that’s how it all turned out.

One of the most interesting things in music this year, previously only hinted at in bits and pieces, has been the mainstream emergence of the late 90’s and early 00’s aesthetic. It’s been done before (actually, as with any recent trend, I can almost always confidently say f(x) did it first), but with the 20th anniversary of Y2K looming, we’ve gotten two albums that solidified their dedication to the Western girl-group boom that gave us such gems as Dream’s “He Loves You Not” and “Hit Me Baby One More Time“-Britney Spears in LIZ’s super fun Planet Y2K and Slayyyter’s eponymous mixtape, the latter whose vocals embrace the same uncanny coo that Max Martin coaxed out of the young Spears, taken to its more gratuitous ends. The former boasts hyper-pop like the ooey-gooey-cheewy “Bubblegum,” Dream-esque “Intuition,” and Ace of Base-lite “Lost U 2 The Boys.” It’s one big celebration of and homage to kitsch Millennium, an early 00’s Kylie Minogue-music video brought to life, with all the glorious, nostalgic elements safely intact. Slayyyter fast-forwards a few years to the MySpace-era, but is no less dedicated to authenticity — it’s more sleazy, more skeptical of what happens when you’ve grown up on a steady diet of plastic backpacks, Von Dutch hats, leaked sex videos, and a wall of carefully curated glitter .gifs. They provide the same time-machine experience, but two very different perspectives, and it’s hard not to find a guilty pleasure in both, and hope to see more from these promising curistas.

J-pop is usually a genre that doesn’t get much representation in this category: it’s harder to get a sense of promise from a genre that has trouble generating hype without making you meet it halfway, and the more time passes, the more difficult the hard sell is. And then there are the logistics. Here are two prime examples of groups that caught my eye in 2019: the first, BBHF, who released two EPs this year (the second one, Family, being the one that piqued my interest when it hit the Oricon top 50), but they are, unfortunately, an old band under a new name, and don’t technically qualify. The second is another indie-rock group, GENIE HIGH, who released their debut studio album GENIE HIGH STORY at the tail-end of November. I was under the impression that they were operating under the obvious influences of Gesu no Kiwami Otome., before learning that Enon Kawatani, the front man of Gesu is actually in this band. Of course! It has all of the Kawatani hallmarks: dandy, ragtime pianos, thin, peppy drums, and vocals that have been coached into constant falsetto icecapades. GENIE HIGH STORY is incredibly fun, interlaced with quirky bits and skits that propel the album along at a crisp speed, and though it is largely inconsequential, it is remarkable for a debut album. Then again, Kawatani is a veteran at this point, and its similarity to Gesu makes it seems like cheating to land in this category. I mean, is SuperM a true debut group for that matter either? I make exceptions, but at the busiest time of the year, I don’t have time to play around with these kinds of logistics. In the end, these lists are as inconsequential as this album will be to the history of J-rock, and in the same sense of amusement, and anticipation of more from this group, I’ll allow it.

The debuts wrap up with two outstanding angles: two metal albums from musicians who, with the power of studio wizardry, turn their one-man acts into the sonic equivalents of group therapy. Discovering that Sermon’s Birth of the Marvellous and Ethereal Darkness’s Smoke and Shadows were essentially the products of a single mind was quite lovely: neither of these albums are seamless at hiding the flaws inherent in attempting to be their own islands, but they are achievements nonetheless, and as debuts, they promise future improvement with a little extra experience and resources at their disposable. Now contrast this with the technical proficiency of a group like Paladin: any band would be lucky to release Ascension as a second or third album, but these guys pulled off a nearly-flawless debut. In some ways this could be a handicap, as it will be hard to top this thrilling mix of thrash and power metal. But I look forward to the attempt and encourage everyone to keep an eye on this group.

Keep an eye on all of these people: the excitement of debut albums is the herald of new voices, new sounds, of getting to be a part of an artist’s journey from day one. They’re all at different stages of their evolution on that day, but Summer Walker, Mabel, Runaway June, and all the artists who didn’t quite make this list, have one thing in common: the ability to blow you away, now or in the future.

Summer Walker: Over It // GENIE HIGH: GENIE HIGH STORY

Ethereal Darkness: Smoke and Shadows // Sermon: Birth of the Marvellous

ARIAZ: Grand Opera // Slayyyter: Slayyyter

TXT: THE DREAM CHAPTER: STAR // LIZ: Planet Y2K

Paladin: Ascension // Sigrid: Sucker Punch

Honorable Mentions

Cherry Bullet: Let’s Play Cherry Bullet
Mabel: High Expectations
Felivers: Felivers
Runaway June: Blue Roses
Dreamchaser: Heart

Top ten remastered/reissued albums of 2019

Every year, it seems more albums are released and made available for streaming than the previous year. Having so much music at a moment’s notice is thrilling, especially as more and more overseas artists get on board. It is nearly impossible to ignore the lure of shiny new album covers, the promise of a new favorite song, the inane attempt to make a small dent in the pile, and the nagging duty to move the music everyone is talking about to the top of the pile to remain a part of the ongoing, unceasing pop culture narratives that define our lives. This can make re-listening and taking deep dives into albums that actually punch you in the gut seem like a distant dream, a selfish indulgence to be tickled only sparingly as time rushes past.

But every year, a handful of albums get remastered or reissued as if to gently tap you on the shoulder and remind you of albums you’ve loved and lost in the Spotify rabbit-hole, of the gems that lie in the archives waiting to be re-discovered or re-visited, of the fulfilling experience it is to spend quality time with music that was meant to last longer than the one-week release cycle. Here are ten of those, because what’s a better reminder of an artist’s enduring legacy than an album that sounds as good today as it did twenty years ago? From the ubiquitous vinyl reissues being churned out like chocolates in Lucy’s factory, to giant, commemorative anniversary editions, to the reissues that put an exclamation point on an artist’s career, to not one, but two of the greatest video game soundtracks of all time, let’s first take a moment in our celebration of the year in music to step back in time and enjoy some old favorites.

James Horner: The Mask of Zorro [Vinyl] // Florence and the Machine: Lungs (10th Anniversary Box Set)

Ayumi Hamasaki: LOVEppears / appears -20th Anniversary Edition- // Yasunori Mitsuda: Chrono Cross Original Soundtrack Revival Disc

Whitesnake: Slip of the Tongue (30th Anniversary Remaster) // The Beatles: Abbey Road (50th Anniversary Super Deluxe Edition)

Nobuo Uematsu: Final Fantasy VIII Original Soundtrack Revival Disc // Negicco: Melody Palette [Vinyl]

LUNA SEA: SHINE [Vinyl] // New Kids on the Block: Hangin’ Tough (30th Anniversary Edition)