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ultrakdramamama · 8 months

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To size up the impact South Korean superstars SHINee have had on music is a difficult task. With a panorama that spans both K-pop and the world’s stage, the band’s dominance has grown exponentially since their debut 15 years ago. With their latest album, it’s also clear that SHINee’s future could only get even brighter.

When someone goes around muttering, “Hard like a criminal, hard like the beat” under their breath for about two months straight, it’s bound to attract a few stares at the workplace. Especially when you yell, “We go HARD” when your colleagues enquire about your state of mind. But that’s SHINee’s effect for you. The lyrics from the title track of the legendary band’s eighth Korean language studio album, fittingly titled HARD, tend to imprint themselves on the listener’s temporal lobe. But this isn’t a new phenomenon for SHINee. Fifteen years since the band’s debut, it’s safe to say that they have created K-pop’s (and pop in general’s) most satisfying earworms and anthems, from Replay (2008) to Ring Ding Dong (2009), and Amigo (also 2008) to View (2015), to name a nanoparticle of songs off a daunting discography. ONEW, KEY, MINHO, TAEMIN – and the late beloved JONGHYUN – together form one of the finest, most well-rounded groups to emerge from South Korea’s competitive music industry, and their longevity speaks volumes about their talent and relevance. This includes solo projects, too – each of their individual offerings is a class apart.

So, how does one even begin to dismantle SHINee’s hypnotic hold on both their Korean and global devotees? To be honest, there is no need to divide them because once a ‘SHINee WORLD’ (the name given to the band’s beloved fanbase), always a SHINee WORLD regardless of age, gender or geographic distinction. With their vocal prowess, stage mastery, and dexterity of movement, they’ve filled stadiums worldwide through the course of a 15-year-long juggernaut. ONEW possesses one of the most iconic voices known to this oeuvre, with a dominant baritone and operatic tenor. KEY’s aura and presence is impossible to translate into words. MINHO’s a towering personality in terms of both talent and charisma. It’s also not hyperbole to state that TAEMIN is the king of movement – an unparalleled dancer, and a star. Together, they’re extraordinary. Solo, their personalities jump off the screen too. They’re each lovable matrixes of sass, humour, gravitas... clumsiness (the fans will attest to this). If one were to sum them up, ‘real’ would be the word to choose. Even though they’re revered in the industry, and active in all its different aspects – variety shows, musicals, performing on OSTs, solo projects, etc – they’re as humble as the day they started.

In this email interview, three of the band members dive into their music, providing perspective on the landscape they inhabit. ONEW, the leader of the band, is currently on hiatus for health issues. (However, he did send out a message to fans to reassure them of his rest and recovery and his imminent return.) One thing is for sure – it’s SHINee’s world, and we’re happy to be living in it.

You’ve always been completely ahead of the curve when it comes to genre, often blending several sonic elements in one album. In this album, for instance, you have wobbly drum and bass and soulful vocals on The Feeling, a really fresh take on the clear drum breaks of ’90s hip-hop on HARD, and dance-pop on Identity. Yet, you can tell a SHINee track from a mile away. How do you connect so many diverse sounds to the SHINee colour, and what – in the first place – would you say is SHINee’s colour? KEY: Rather than defining SHINee with one colour, I believe SHINee’s colour consists of all the colours each one of our fans sees us as. MINHO: SHINee is quite an interesting team because we have the ability to make any song into SHINee’s own colours. It’s our biggest weapon. We’ve built up this skill since our first album, and it only strengthened as we tried out various genres and concepts. Now, all our members know how to make any track SHINee-like. TAEMIN: SHINee’s colour is a combination of the various music styles we’ve experimented with. Without being limited to a specific genre, we capture several different colours and find SHINee’s own way of uniting everything into one.

Having said that, can you reveal the most “SHINee” song on this album for you, and explain why that would be your pick? KEY: For me, that would be the title track Hard, because it shows best all the efforts we’ve put into the visuals, performance, and recordings to demonstrate the genre of hip-hop. MINHO: It’s hard to select just one track. Many might say The Feeling but, rather than selecting one, I’d like to say this album in itself is “SHINee”, and it opens up our new chapter. TAEMIN: I’d say Satellite, because it shows the harmonious vocals of SHINee.

SHINee has a way of tapping into a collective sense of nostalgia – whether we go back to View, Married To The Music, or 1 of 1 even. Yet, you somehow manage doing this in a future-forward way with both your look and sound. How do you access and communicate a wide spectrum of emotions for people across borders and gender? KEY: Songs and melodies are very effective in expressing emotions and conveying messages to different people and genders. Though the lyrics might be interpreted differently depending on one’s culture, I believe a melody has a relatable power for everyone. MINHO: We try to convey emotions directly instead of hiding them. One of those characteristics is being upfront about how one feels and not hiding one’s emotions. TAEMIN: Even if we do not speak the same language, it’s the energy we’ve poured into this album that makes it possible for us to connect and communicate with those who listen to it.

Often, when you’re with a group of people who end up knowing you inside out, it helps you to see yourself more clearly. How would you say the close bond that exists between all of you has affected or changed you? TAEMIN: I was able to learn a lot from my (fellow band) members since they are all very talented. The bond we’ve formed through our time and experiences together is such a valuable gift to me.

People say there is always one side of the brain that’s more dominant. The left brain vs right brain – largely the analytical vs the creative. The artistes in you must make use of the right brain, but, to navigate this industry and learn from it, the left brain has to come into play. Given your successful ongoing careers, how do you balance the two sides? KEY: Balance is something I’m constantly thinking about not only as SHINee’s KEY, but also as an entertainer on variety shows so that I can continue to better myself and grow. MINHO: This is an interesting question that I’ve never thought of before. I probably use my left brain more since I’m always thinking about things that others might not have done yet or tried before. TAEMIN: When I tested myself, I found that my right brain functions better than my left!

Is it possible, as an artiste, to be happy and satisfied at the same time? MINHO: I’m not quite sure if happiness and satisfaction can be felt at the same time, though it’s different for each person. Even if I’m happy, I might not be satisfied, but I think that’s because I’m a bit of a perfectionist [laughs].

Can you talk about how the performance aspect of music has evolved for you over the years? Does it feel more poignant being on stage together again after a break? [The members of SHINee fulfilled their mandatory military enlistment duties, staggered, over the last five years.] KEY: I’m not sure if this properly explains it, but I’d like to think of our growth as ‘still strong’. As the years add on, there is a sense of pressure from wanting to show our best selves and great performances but, through this album, SHINee was able to show persistence and strength. Whenever I step on stage, it’s an overwhelming feeling. MINHO: You can see just how much we’ve grown through our performances. Compared to before, we’re more experienced so there’s a sense of ease. Yet we do feel more nervous when we return to the stage after a long time. ‘Will I be able to perform well on this stage? What if I make a mistake?’ These are the kinds of thoughts that run through my mind but that’s what brings out a perfect performance. The most important thing in all of this is to look as if you’re not nervous! [laughs] TAEMIN: The K-pop market has grown, and we’ve also benefited from that. The lifespan of K-pop idols has also increased compared to before, but I believe it’s (everyone’s) hard work that’s made this possible.

What sort of music are you gravitating towards right now? Do you connect music and movement given how proficiently you link the two? TAEMIN: I usually listen to calm music. I also enjoy humming or dancing along to whatever I’m listening to.

Fifteen years down the line, what is something you know now that you wish you had known then? KEY: That I don’t need to have any regrets because I’ve done my best throughout. MINHO: There are many things I wish I had known but, since I didn’t know anything at that time, I’d want to keep them a secret [laughs]. TAEMIN: What we’ve learned throughout holds greater value and meaning because of the process. If I were to say one thing to my past self, it would be to travel around the world more and study English.

Does the desire to experiment and the ability to actually be able to follow through with ideas become easier with time? KEY: It becomes harder with time but that’s why I make sure to put in more thought and effort to bring out the best I can.

As the world evolves at an almost breakneck speed, music evolves with it; you’ve also been witness to the shift in the influence of K-pop. How would you say the K-pop industry has also changed over these years as it has become a global phenomenon? KEY: From training to performing, everything has become very systemised and specialised. There’s also a wider variety of messages that can be delivered through performances. MINHO: K-pop has changed rapidly and, as a part of the generation that has seen that process of change, it is quite fast. The best development is the fact that the whole world can see what I’ve uploaded in seconds! TAEMIN: As a person who has been in this field for quite some time, I am amazed by K-pop. There have been a lot of changes through the years, changes that I did not realize at the time!

Looking back to when you started, would you say you are where you want to be as an artiste at this stage of your life? MINHO: I’m getting closer to where I dreamed I’d be when I debuted, but there’s still quite a way to go to get there.

How does the future look? KEY: SHINee will always remain the same. MINHO: The future will always be SHINee. TAEMIN: I’d like to live a happier life by giving back to our fans with good music and maintaining the precious relationships we have together. And I hope to perform overseas more often.

Would you please send a message to SHINee WORLD in India – any thoughts you’d like to share? KEY: I’m very much looking forward to the day we’ll get to meet our fans in person. Thank you for always showering us with love. MINHO: I’ve been to India before, but have not had the opportunity to perform. I hope that chance will come sometime soon, so please wait for us! TAEMIN: I really want to meet our fans in India and I’m sorry we haven’t been able to visit. I promise you we will create precious memories together!

#SHINee #Onew #Key #Minho #Taemin #FEMINA #Ambika Muttoo #interview #femina.in #Jonghyun

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psycho-lizard9 · 6 months

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Late 2019 I tore my soul in half and gave each half to a man I had never even met. Those men were Sakurai Atsushi and Fujisaki Issay. For four years they have owned those pieces of me, and in return they have blessed me with beautiful music and performances. Their work quickly took over my life, and now almost everything I do is related to them. They had given me a reason to live, something to always look forward to, something to love. Never before had I loved somebody nor their work so deeply, and I don't think I will ever love like this again.

I would have never expected them to die at such young ages. Issay, 61. Atsushi, 57. Neither would I have ever guessed they would die the same year, let alone so closely after each other. August 5th and October 19th. My soul is still divided, they each took their half of my soul to their grave with them, just like I am left with their works, now no longer in their hands.

I would do everything to return them to our world, even if they would then decide to retire. It is not only their work that was of importance to me, it was their lifes, knowing that they were doing well, happy, and having fun. I know death is inevitable and that it would have come for them eventually no matter what, but the time is not right. In ten or twenty years, maybe... Maybe then I could have accepted it, but not now, not while they were still so young, despite officially having been old.

Issay and Atsushi, both such inspirations. Issay, an openly gay man who felt like he did not necessarily have a gender. And Atsushi, a man who was not afraid to show his feminine side and affection to other men. The both of them were not afraid to show their emotions and speak their minds. They were truly people to respect and look up to. In a strange way, they were like parental figures to me, despite me also looking at them very... "respectfully".

Two men both beautiful in every way imaginable. Beautiful voices, beautiful faces, beautiful personalities/souls and for as far as I have been able to see, even beautiful bodies. Atsushi also had the best thighs I had ever seen on a man. Age had never taken that beauty from them, and they were both so kind and caring. Despite having been 57 and 61 years old they were both unbelievably stunning, not only on the outside, but on the inside too. In fact, I believe that their inner beauty shined through, and with every passing day it turned them more and more beautiful.

They have left us with so much to remember them by. Both BUCK-TICK as well as Der Zibet have such great discographies. BUCK-TICK, 23 albums, 46 singles, over 60 recorded tours and over 80 music videos. How many bands can achieve this? And if only Atsushi had lived longer, I am sure they would have done so much more. Der Zibet, 19 albums. Maybe they did not have as many singles, music videos and recorded tours, but their discography of music was surely not small. Besides that, Issay had so many projects on the side. PhI, Hamlet Machine, his solo album, ISSAY meets DOLLY, KA.F.KA.

And it was not only music that had become Issay's career, his life, it was pantomime too. His love for pantomime was undeniable as he often used it for performances with his band as well. I will always remember those little mime acts he would put up as they played the song Der Rhein. He also often talked about his love for pantomime. We may have only been able to see one performance of it, yet even through just one show you could see his passion. His mime career had started even earlier than his music career, and he actively worked on both until the day he died.

Sakurai Atsushi too had more than just BUCK-TICK. He had a solo album, SCHWEIN and The Mortal, growing his discography even further. Besides that, his special skill, that not many singers possess, was his ability to sing most of his songs even better live. And not only was he an incredible live vocalist, he too possessed a mesmerizing stage performance, gifting us either very magical, elegant and gothic performances, or something that could only be described as purely sexual. His moans will never leave my mind, and this is not a complaint. I only have to think about it and I can already see him ride a stage in thigh high stockings as he moans to either Sapphire, Mudai, or any of his other songs.

Something else I will never forget, for both Atsushi and Issay, is their smiles, their laughs and even how beautiful their voices were if they simply talked. They were both so cute with everything they did, truly adorable. Atsushi with his cats, they were his biggest love, his babies. Issay too was so cute with pets. Besides that they were both also funny, always able to make me laugh. They were just everything that was good.

Sakurai Atsushi and Fujisaki Issay, two very unique personalities that will not easily be found again, especially not in combination with their beauty, voices and skills. With their deaths, I have lost most of myself, and I feel empty. I hope the work they have left us with will be enough for me to fill this void that has grown inside of me, despite the fact that I want more, especially from BUCK-TICK as no other band will ever reach such perfection. It may be selfish and unrealistic, but I wanted them both to live and create forever.

That could have never been reality, but I would still have appreciated it if death could have waited 20 more years before it took the two most important people to me. It still feels unreal, how could they both die so soon? One of them was already difficult, yet both? It is as if I am a side character in somebody's horror fiction that Atsushi and Issay were the main characters of. It is worse than a nightmare, as a nightmare I could have woken up from.

BUCK-TICK's last album was Izora, an album with a cover art that symbolizes infinity. Their last music video was Mugen Loop, a video that truly was a loop, something that just went on forever. Despite the fact that BUCK-TICK will now most likely end, their music will exist for eternity, Atsushi’s voice will never disappear. The same counts for Issay.

I wish I could just tell them one thing, cause I want them to know how much they have meant to me. I know they can't hear me, but I'll still say the words and hope the wind carries them to wherever they are. All I would tell them is "thank you for everything you have done, for everything you have created." And I would tell them that the world misses them, and that I personally promise to always love them, even if I were to grow out of their music... which I am pretty sure will never happen. They will forever be my favorites, and their work will for always be part of my everyday life.

Sakurai Atsushi and Fujisaki Issay, thank you. I hope you both rest peacefully and without regrets. You have been perfect. I hope you two will take care of each other, wherever you are.

#sakurai atsushi #issay #personal #thank you

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why-so-serious-lucifer · 6 months

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K-pop Discography Deep Dives: Only One Of (Supplemental)

A Disclaimer: I was planning, when I first started Tumblr, to be a lurker, but then I began an office job and needed something to listen to to keep myself occupied. And then, I started going through entire K-pop groups’ repertoires, album by album, and jotting down my thoughts. And then, I stumbled into K-pop tumblr and decided, you know what, there’s at least four people on this hell site who would read in depth rants about these discographies and at least five who wouldn’t read it and then get mad because it’s kind of our job as K-pop fans. My lukewarm takes should be taken with an entire silo of salt and the knowledge that this is completely for fun and occupying my very bored, very neurodivergent brain. All this to say, for the love of god, I’m a sleep-deprived student and I don’t have time for internet hate, so don’t kill me. With that being said, enjoy!

So, since I’ll probably be tackling some groups with large discographies, both now and in the future, I thought it’d be good to shine lights on some smaller groups and soloists who either aren’t as popular and/or have much smaller repertoires, so that’s what we’re doing today! These are going to be a lot more chill than my deep dives because they’re really more of a fun break than anything else.

Here are my credentials: I’d already been a fan of SHINee for a while before, but it was actually OnlyOneOf that helped me realize that I wasn’t just a girl group stan and SHINee weren’t just a one-off. I’m mainly a fan of their Underground Idol solos series so I’m looking forward to hearing more of their other titles and b-sides. Let’s do this!

OnlyOneOf debuted in 2019 with seven members: Love, Nine, Yoojung, Rie, KB, Junji, and Mill (Love left in 2021). They’re most known for their…concept in a way? Basically, for basing their music around queerness, while not stating their actual orientations. This is thorny territory, as k-pop is infamous for its shipping and fanservice-heavy culture, which we could argue about until we’re so blue in the face that we’d be mistaken for smurfs. Is it queerbaiting? Is it representation? I know what I believe, but is that “right”? I don’t know. Either way, it’s important to keep in mind (even as I’m going to praise them for the good work they’ve done) that what they’re doing is, at the end of the day, proving profitable.

We start off with Savanna, which has one hell of a music video intro. The song is more subdued than I’m used to from their later singles, but with a similar subject matter. It gives me Taemin vibes with its self-assured sexuality, but speaking of sexuality, what would later make them famous is basically non-existent here. I do like this song, especially the slowed-down reverb and distortion, but it’s not especially unique, and it didn’t have a lot of staying power with me. I love the drama of the visuals though—I’m a sucker for cathartically lighting things on fire. (For the FBI agents reading this, I promise that that was a joke.)

From the Dot Point Jump single, I enjoyed the chill soft-rock of Time Leap, which absolutely did have staying power for me and I added it to my playlist. I really liked that chorus, and by the end of the first one, I was in. I think their voices both blend better and feel more unique in this one than in the title, which is probably another reason I liked it so much. Blossom I enjoyed less but it reminded me more of what I’m used to from them.

Sage is up next, and again we have a really odd MV intro. A lot has changed since Savanna—now, the song has much more sing-talk, feels more disjointed in terms of when the tempo changes, and it has a greater focus on the cyberpunk citypop vibes than before. It also adds a greater sense of drama with the slight strings and the control in the voices. It took me a few listens but I like this one too, more than Savanna, and I can see how the singles are slowly shifting to become the OnlyOneOf they are today.

Line Sun Goodness is a pretty solid EP, and I enjoyed the whistling hook in Boss, the chill guitar in Desert, and the breathy layers of vocals in Only One Of Me (which was my favorite). However, the songs, despite the few quirks I mentioned before, sound very similar to each other. None of them are bad, but none of them stick out either.

Dora Maar goes even further in the direction that Sage began, with its harsh background clanging, its heavy use of percussion, and reliance on more intentional frying in the vocals. I wasn’t as big a fan of this one as Sage, to be honest, because I felt like it went from the calmer (yet still fried) parts to the harsher ones, and I got a bit of whiplash.

Angel was a song that I’d heard before, but I actually had no idea that it was by OnlyOneOf. It’s catchy from the outset, and has a self-aware humor that I could get behind. It’s also softer than their usual titles, and that little bit of vulnerability is a good balance for the flashier parts of their discography. That repeating rap in the pre-choruses caught me off-guard every time, I have to say, and by the time I’d gotten used to the new tempo, we were back to the usual. I have no idea why it's there, because it really didn’t have to be. I really liked Heartbreak Theatre from the single, because I love some drama and that piano was perfect.

A Song Of Ice & Fire pulses with a great energy, and I was nodding my head through the first verse. I was worried they’d go with the dreaded anti-drop chorus and they kind of did in the second half, but thankfully the rest of the chorus is quite strong. I liked this one, but I actually have the opposite comment I have on the rest of their songs, which is that I wish it carried through that great build up through the chorus, because they were almost there…but no. I didn’t have a hidden gem for this single.

Libido is the song that I think most people know from OnlyOneOf, and it’s obvious why: unlike many of their singles, it’s pretty unique. I was surprised that what they’re so known for started here and not before though. Between the choreo, the lyrics, and the music video, it definitely breaks the boundaries of what’s normal in k-pop. It’s a song I appreciate more than enjoy, I’ll be honest, but I do like the pre-choruses. I know the whole point is that the chorus comes out of nowhere, but it’s not for me. I admit though, the “girl I just wanna know” makes me cackle every time, because what girl? Where? There is not a girl within a 10 kilometer radius, folks. If we’re aiming for plausible deniability, that train left the station halfway through the first verse with whatever the hell Nine’s character was doing watching Love take a bath.

From Instinct (Part 1), my favorite was Instinct, because it has good drive and its vocals match perfectly with that distorted guitar instrumental in the background. It’s definitely not a combination I’ve heard before, but it works quite well. The other songs are similar to other b-sides from earlier, in my opinion.

Coy is calmer and more subdued than their usual singles as well, while still keeping the smooth sexuality that defines much of their work. I think it needs more of a show stopping moment, personally, but this isn’t a song for me. I don’t have a hidden gem from this single, but I did like Night Flight.

Skinz gave me a jumpscare right away, I admit it, with that scratching noise grating on my ears. It continues the queer themes from Libido. Unlike a lot of their other work, it doesn’t have enough of a balance between the harsh distortion and the gentler moments, because there really aren’t enough gentler moments for that to happen. It’s just not a pleasant experience on my ears, and not one I want to repeat either. OnlyOneOf has a lot of charisma but none of it carries through enough for this one, and quite frankly, I don’t like it. From the single, I think that Suit Dance would’ve made a better single with its well-flowing vocals and jazzier beat and I also liked Ultimate Bliss.

It’s nothing new for idols to release solo music while still part of a band, but Only One Of’s “Underground Idol” series is absolutely unique. The members were divided back into their branded pairs for this, and each pair told the story of a couple from two different perspectives. Yoojung and KB were the first in Begin and Be Free, Junji and Rie were the second in Be Mine and Because, and Mill and Nine were the last in Beat and Beyond. This series is both where I found them and where, at least to me, a discography that could have been seen as queerbaiting-for-profit becomes something that genuinely means so much to so many queer people, myself included.

Begin, fittingly, begins the solo series, and expertly captures the feeling of boredom expressed in the music video until, of course, we get the meet-cute and literal crash into each other that begins the relationship too. The song is a gentle, breathy city pop sound, and feels both hopeful and resigned (“when you’re free from prejudice, freedom will begin”), reaching a catharsis in its understated bridge (“It’s time, and I know it.”) as Yoojung’s character takes care of KB’s when he’s drunk. Never has a k-pop song title so fit a song, because it’s about so many different beginnings: the relationship, the freedom, and even the journey of coming out itself. I like this one.

Be Free is Begin’s other side, and starts where it left off. As befits the title and its character’s personality, it’s far more open from the beginning and knows what it wants right out of the gate (“Hey guess what?”), while also embracing a funkier, brighter sound that feels more joyful. The relationship continues, and the characters bond deeply in the space of a night (a very queer thing in and of itself), before they end up waking up together, shirtless. Genuinely, the first time I watched this, I was shocked that they were so open about it, despite the fact that nothing is shown, and it was this that began to change my mind on the subject of queerbaiting. The story shown here is given an open ending—we have no idea what happens after that one day—but the final line (“You never know, baby. One more time could make it right.”) seems to hint that it won’t end here. I like this one more than Begin, but it’s not my favorite.

Be Mine starts the second of the three stories, and, again fittingly to the title, feels softer and more romantic with its gentle piano as Junji’s character runs after Rie’s. This duo shows an established relationship between its characters as they have a summer romance that involves dancing, listening to music, cooking, and just spending time together. Its slow and settled melody isn’t for me, personally, and neither is its seemingly out-of-nowhere rap verse, but on the whole, the song is very sweet.

Because was actually the first song I’d heard by OnlyOneOf, since it was recommended to me about a week after it came out, and, as previously stated, changed my mind that I was only a girl group stan. I was surprised by it right out of the gate, and was soon won over by the quite convincing intimacy between its two characters, its quiet folding of paper cranes, and overall bluntness of its subject matter. The song is nostalgic and feels lived in, waffling between comforting and melancholy as the characters have a fight and go their separate ways while all their best memories replay, then reconnect many months later (though it’s left open whether they get back together). It’s genuinely quite touching; I wince when Junji’s character smacks the paper cranes off of the table and I hurt for Rie’s when he’s heartbroken. It was my favorite of their songs when I first watched it and it’s stayed that way since.

Beat marks the start of the third and last series, and sticks out from the rest of the songs in the solos with its harsh beat and most of the song is either sing-talk or outright rapping. Mill is the group’s rapper, so I do get it, but this one is just too grating for me. The video shows two students falling in love with each other while facing hinted-to-be-homophobically-motivated bullying and dealing with both the fear and the excitement of that love. The song does fit the video, I’ll give it that, perfectly connecting with the insecurity and genuine danger the characters face (“wanna tell them to beat it, beat up, beat out”), and the video ends with Nine’s character falling into Mill’s arms after getting beaten up.

Beyond is the last of the Underground Idol series, and rather than match the harshness of Beat, it goes the exact opposite way, and is quite an understated slow burn mixed with citypop that makes the most of Nine’s smooth and soothing vocals, meaning that I enjoyed this one much more. Its lyrics are quite lovely with how they mix floral imagery (“perhaps it’s withered; my heart is dried up, but you take root”), and openness (“Baby, I wanna make you mine”), and captures the head-over-heels feeling of first love quite well. These two videos don’t push boundaries in the same way as the first two sets do, only because they tell what is a quite well-trodden story rather than breaking new ground, but seeing the characters take care of each other is very sweet. The quiet, mutual moment of realization at the end where they’re lying next to each other and move to kiss feels very comfortable and honest.

The description box written for Beyond on their official YouTube channel states: “How did our music reach you, who are far away? How did our small melody crafted in Korea reach you, who are on the other side of the world? To all those lovers who do not feel like they’ve been given the blessing, we hope our music will comfort you and cheer you up. We hope you’ll dream the same dream as us.” Is it a little cheesy? Perhaps. But does it make me emotional? Absolutely. Does it still matter? Hell yes.

The thing that really felt meaningful to me was the mundanity with which the characters live their lives; they may face internalized or external homophobia, but what the solo series gets across so well is how normal and everyday these people are, no matter who they love. The best way I can explain it, as a queer person myself, is that it feels like another queer person wrote and planned these six songs. They feel very honest and self-reflective, and don’t try to tiptoe around their subject matter, which I really appreciate. Look, I’m not going to speculate on whether any of the members of OnlyOneOf are queer themselves, because I frankly can’t stress enough that unless one of them bursts through my window at 2 am with a megaphone and tells me to share it with the world, it was and remains none of my fucking business.

Seoul Drift is their latest comeback, and similarly to many of their other full-group singles, it’s not that fun to listen to. It follows Skinz; there isn’t really a break in the song, which normally I’d be a fan of, but here it just makes it feel overwhelming and unnecessarily harsh. I like the idea of it—the lyrics are pretty good and the whole idea of loneliness and the intensely fast pace of life in Seoul in the MV intrigues me—but the execution just doesn’t win me over.

From the album, Seoul Collection, Blue Blue Seoul stuck out to me. It’s breathy and soft, and it moves along with an inviting, almost warm feeling. It feels a lot like a song from their Underground Idol series, which is probably why I like it. I love the way the voices are layered and how the minimalistic background gives them a chance to grow.

OnlyOneOf have gained attention yet again this year, not only for their earlier comeback but for their participation in Bump Up Business, a short drama adaptation of a BL webtoon that stars Mill and Nine as two k-pop idols forced to do a “business gay partnership” (basically, act like they’re in a gay relationship with each other), who actually end up falling in love. You can see why this is causing a stir, when their whole concept already has people declaring it queerbaiting.

Personally, I honestly don’t know where I stand, because I do think that they do genuinely important, boundary-breaking work, but they also play into the queerbaiting and the lines between characters they play and the idols themselves are intentionally made smaller. I applaud them for acting in this and having the guts to actually kiss on screen, and despite how toothless the show is, I did watch it and go “aww” at several points.

I’m glad I did this! Even if I didn’t end up becoming a Lyon or a fan, I did still have fun with this, especially watching the series and the solos, and a couple interviews (which gave me some good laughs, so thanks guys). I also learned that Nine and KB are very involved with the writing and composing of OnlyOneOf’s music, which is something I really appreciate that happens to be quite rare in k-pop.

My top 5 songs from Only One Of are Because, Time Leap, Heartbreak Theatre, Be Free, and Beyond, with Only One Of Me as an honorable mention. Only One Of gets a 7.75 / 10 from me. To be honest, I’ve found that besides their Underground Idol series and a few odd b-sides, their music is mostly not for me. I do really appreciate the self-production, the important messages, and the experimental quality of a lot of their work, but at the end of the day, this is my blog and it comes down to personal preference.

Next time, we’ll be doing part two of the Red Velvet deep-dive and next week we’re restarting the one-group-a-week schedule with a boy group. Tschüss!

#onlyoneof #k-pop #review #k-pop deep dive #k pop boy groups #yoojung #kb #rie #junji #nine #wookjin #mill #love #be free #underground idol #bump up business #Spotify

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iznsfw · 11 months

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I must confess to you, fellow WIZ*One l, that I was one of those who wished to see the group disbanded. It isn't because I didn't love them anymore. Rather, it really hurt me to see their well-earned efforts being invalidated by those haters. I believe they only want to make us happy and yet, I for one cannot even do ONE DAMN THING to shield them from trouble since I cannot even approach them.

It really hurt me to see them part ways but still, I'm happy now that they're being recognized in their respective careers.

I wish that someday, when everything's okay, they can do a comeback. WIZ*One out.

I understand your point of view.

People love to invalidate IZ*ONE, especially on social media. I don't bother much with haters because come on, it's useless, but because I love the girls, I felt angry whenever people said their success was just because of a survival show. And when people said that the members were untalented and were only popular because of their visuals, which is insanely untrue.

While IZ*ONE are all beautiful, they each have their own talents that contribute to the authenticity of the group:

Yena, Yujin, Chaeyeon, and Eunbi are the aces of the group, and;

there's Ssamyul with their insane vocals.

Wonyoung's iconic lines and power as a center alongside Minju and Sakura are what draw people into the group.

Hitomi and Nako are the most stable vocal-wise and brought their knowledge of dancing to their Japanese groups after dizbandment.

Hyewon brings a lot to the group with her strong variety show personality and soft vocals that carry IZ*ONE's harmonies.

IZ*ONE went through a lot, too. Due to the pandemic, WIZ*ONEs weren't able to physically be there for them. Hyekkura always got hated on because they had zero lines and because they're falsely untalented. I was glad that they got to show off their voices (Hyem's solo, and Sakura's rap in Ssera.) People were hating on the "rigged" members even though the court declared that the girls were victims in the situation, too. Some creeps were sexualizing Yujin and Wonyoung even when they were minors. The best we could do was be their fans and report the pedos, and we did what we could, so don't feel bad.

I think they were held back in IZ*ONE, although they were excellent as twelve, so seeing them shine on their own makes me both proud and nostalgic. They're being recognized more and more. Eunbi's being called the best post-IZ soloist with her amazing discography. Yena and Yuri got their first win and are venturing into comebacks. Chaeyeon's song KNOCK is charting well. Minju and Hyewon getting modeling and acting deals left and right. Nako's on the path to becoming an actress, too, and Hitomi's shining as AKB's center. Annyeongz and Ssamkkura are now more popular than ever in their new groups and get to be the unnies like they wanted. I'm beyond proud of them and will support them forever.

I can only wish for a reunion, but I'll also support them if they wish to continue on their own paths because I love the girls.

So, I understand what you're saying and can agree with some. Let's all support the girls forever.

iz, out.

P.S. Sorry for the long post. I just love the girls so much.

#ask #anon

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ask-humphrey-bone · 5 months

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Dear Humphrey, what are your favourite composers/singers/bands from today and from your era?

Hello to you, lovely anon. This is a great question, one that’s put a spring in my step! ❤️🗡️

Those Tudors were a very musical family. Thinking back on it, the works of Robert Fayrefax first comes to mind. Now, he had passed about a decade before my birth but his music lived on. His musical prowess, most importantly what he had written for the Field of Cloth of Gold (go on, give it a ‘Goggle’!) was really one for the Henrician courtly age. As was that of ‘Greensleeves’ itself. Personally, I don’t like to think it was my Lord Father’s words about some common whore that went down in history.. or maybe I’d rather not think of him swiving another woman. Ah well. It’s a nice little ditty; might as well get it stuck in ya head whilst you still got it, eh?! A little while later and Van Wilder got to have his time to shine. I distinctly remember that of Eddie’s coronation. There was a right choir, some viols, drums, trumpets. One of ‘em even blew down a sackbut. What a racket that was!! Heheh, sackbut.

There were plenty of courtly ballads and rhyme in my time too. Maybe I can ask Alison to link a couple things here when they spring to mind. I had some musicians around the hall from time to time; they’d play something giddy and French, I forget the name. All in all, lute solos tended to blur all into one after a short while!

Nowadays, I seem to be rather into whatever young Michael has playing. It’s not like we all have much of s choice!! That being said, myself, Pat and Julian have been going through the new Rolling Stones album. I’m hoping to hear more of their discography in the future!

Humphrey x

#mr cheese has spoken #bbc ghosts #sir humphrey bone #humphrey bone #lord father bone

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kkooongie · 5 months

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hihi !! anything new or different in your day recently? i don't think we've liek. really interacted interacted so yep i felt curious abt another shawol carat + also, what is your favorite shinee song? (like. including full group and their solos) bc i wanna look into more of their bsides :0

hiiiii! apart from the usual misery and anxiety ive been feeling since the past week, nothing new! except...i bunked college today

yeah we haven't interacted much apart from tag games but i would love to interact more with you! your comments and reblogs on my smau really, really make my day and i always look forward to your thoughts.

BUT OMG YOURE A SHAWOL?? NO WAY BYE WE REALLY REALLY NEED TO TALK MORE.

i dont really have one fav shinee song but if i had to choose one it would be odd eye. this song deserves more attention truly.

as for solos;

for taemin- its his entire discography. yep. definitely can't choose. bbbbbbbbbut in a situation where imbeing held at gunpoint and being forced to choose...i would say strings. THAT SONG GIVES ME THE FEELS

for key - it's definitely bound. that song is crazy and i still cannot believe he sang it.

for onew - oh his entire dice and circle album was a heaven istg. but my fav would be rain on me! love, love his vocals its so comforting honestly!

for jonghyun - can i even choose??? but lonely by him ft. taeyeon has a really, really special place in my heart tbh.

for minho - sorry this man barely has any solos and then one he gets wasn't even that great in my opinion. so cant really say i have a particular fav

honestly its hard picking one fav. instead i can definitely reccomend you more songs of each of them and as a grp they have so so so many good songs and also cus i need more shawol moots.

#wray right?#im sarah!#asks.

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kpopsongrecs · 1 month

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Comfort Songs from Female Artists:

Heart - Taeyeon Heart is a phenomenal ballad from Taeyeon. The heartbeat-like guitar pulse is a very clever touch, and immerses you into an emotional state of mind immediately. The lovely but simple arrangement allows for Taeyeon’s signature piercing vocals to absolutely soar. The Korean title “품" means hug/embrace, a very apt title for a song that truly feels like a comforting hug. The lyrics are full of warmth and meaning. Especially the lines “You recognize the scar that I wanted to hide the most, give a kiss on it, gently pacify it and make it heal", highlighting the powerful message that the ultimate act of love is recognizing someone's vulnerability and treating it with tenderness.

LMM - Hwasa LMM might have more recognition now, since Hwasa performed it at this year's Blue Dragon Awards to pay respect to the passing of actor Lee Sung Kyun. A very touching song, it made for a very touching tribute (so thoughtfully swapped into the performance lineup by Hwasa herself). Her rich and raspy voice is perfectly soft and haunting in the verses, yet emotional and filled with power in the chorus. Hwasa's signature to her solo work is the deep and contemplative nature of her lyrics. LMM (standing for "Lost My Mind") is a perfect example of this. “Flowers bloom even in the falling rain” is a very poignant way of expressing the message of keeping resilience and strength in the face of dark times.

Breathe - Lee Hi Being one of Jonghyun’s most famous songs that he wrote, Breathe has a certain lingering perception to it. But just as Jonghyun deserves to be fully celebrated for his remarkable artistry, this song deserves full appreciation as the balm of comfort and healing it was written to be. Ultimately, Breathe tells everyone going through burdensome times that you are worthy and have permission to breathe through it all. Lee Hi is the perfect artist to deliver this, as there is a rawness and realness to her vocals, making the impact of this emotional ballad hit that much harder. 정말 수고했어요.

As Time Goes By - Yoon Mirae Yoon Mirae is a music icon in S. Korea, but very regrettably does not earn much widespread recognition for her contributions to the k-music scene from international fans. (A travesty!) Though she's most celebrated for her rapping, there is a reason why her singing voice remains in high demand for Korean OSTs. There is a rare present quality to her voice that makes you feel that she's in the same room as you, and singing to you directly. This album and track was released all the way back in 2001 so it's a rare chance that newer fans are familiar with it, but it's such a wonderful classic R&B number that instantly soothes the soul.

It Hurts (아파) (Slow) - 2NE1 An R&B-flavored ballad delivered by one of the most iconic Kpop girl groups of all time - It Hurts highlights the advantages of ballads sung by groups vs. solo artists, as every member's unique vocal color shines in the trade-off of lines, perfectly demonstrated by 2NE1 (a group so ahead of their time). It Hurts is possibly one of 2NE1’s most underrated B-side tracks and one of the numbers that best showcases their powerful and beautiful vocals (given their otherwise dance music heavy discography).

Star - Jessi Star is less of a crooning ballad and more of a mix of ballad singing with the charismatic rap we associate with Jessi. The absolute vulnerability she portrays in the vocals of this song can take you aback, given Jessi's usual outspoken and boisterous image. Yet she showcases her sensitivity so openly through her singing, which is undeniably beautiful and (no pun intended) the star of the song. The powerful rapping and lyrics in true Jessi fashion, holds nothing back while expressing the challenges of her career and life. The mix comes together in a truly underrated track from her that is equal parts strong and touching, and maybe one of her best.

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louisupdates · 1 year

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Louis Tomlinson's Silver Tongues: Exclusive first listen to latest Faith In The Future single

On Silver Tongues, Louis breaks new ground sonically while embracing more abstract approaches to songwriting

By Carl Smith

When Louis Tomlinson spoke of his latest single Silver Tongues earlier this year, he had a certain sparkle in his eye. Explaining it's his 'favourite' song on upcoming album Faith In The Future, released this Friday, Louis told us it's a piece of work he's 'immensely proud of.'

Today, Silver Tongues finally becomes yours.

At 2PM GMT, Louis will release the song that, in his own words, made him 'really confident in what's to come.' And he was kind enough to give us an exclusive first listen of the single.

Written alongside Hurts' Theo Hutchcraft, The Courteeners' Joe Cross and David Sneddon, Silver Tongues is a soaring statement of self-expression; but that isn't necessarily apparent from the outset.

Some lyric spoilers ahead, just FYI.

The track begins with Louis' vocals atop a sparse piano melody, not too far removed from that of Walls album track Fearless. Delivering a vocal drenched in confidence, the unlikely subject of the song soon becomes apparent.

"Air Maxes with silver tongues, settle in for another heavy one," Louis sings; the lyrical content a sharp contrast to the instrumental.

Louis' incredible growth as an artist is already noticeable here. He's taking risks, avoiding the obvious and embracing more abstract approaches to songwriting.

Then, 30 seconds in, Silver Tongues takes a complete 180.

Shifting sharply from ballad-esque chords to an arresting, upbeat guitar riff, Silver Tongues sees Louis break boundaries sonically. While pop-rock sensibilities are certainly synonymous with his solo music, this track steps that sound up a gear. Or five.

"You know it’s times like these we’re so much happier. Nights like these, we’ll remember those stupid jokes, only we know..."

Now we're in proper, stadium rock territory.

"You know when I’m with you, I’m so much happier. Nights like these, we’ll remember those songs we wrote, only we know...You smile at me and say ‘it’s time to go,’ but I don’t feel like going home."

Not entirely dissimilar to a football chant, Silver Tongues' chorus is truly anthemic; akin to that of his 2017 single Miss You. It's safe to say this song will shine in a live setting and prove a standout on Louis' 2023 tour.

What follows post-chorus is a raucous piano and electric guitar-led instrumental that's perhaps one of the most euphoric moments across Louis' entire discography. This isn't where we saw the song going based on the opening verse, but we're certainly not mad about it.

As we enter verse two, Louis' inimitable Doncaster inflection comes out to play.

"You said grass was a dirty drug, you like to preach with vodka in your mug. I love other things, you know, but I’m king on a 50-metre rope."

Louis' artistic development is clear once again; something he attributes in part to Silver Tongues co-writers Theo, Joe and David.

Speaking to OfficialCharts.com, Louis explained: "Me, Theo, Joe Cross and David Sneddon did a writing camp together, and what was great about that was that – from the off – we were all on the same page.

"Theo is vastly intelligent and an incredible writer. Even just being around these people, getting into their brains and taking on their different ideas; I’ve learnt so much more making this record than I did the first. That’s purely from being around the right kind of people.

"I'm a massive fan of both Hurts and The Courteeners. Even the fact they were willing to work with me, I was buzzing about that. We’ve got some really great songs out of it."

On his love of Silver Tongues, Louis elaborated: "It’s one of the first times that I’ve written a song that I could definitely imagine myself listening to, had I not written it.

"The track’s very much in line with what I listen to and love musically anyway. Writing that made me feel really confident that I was writing the album I wanted to write. I feel really confident in what’s to come."

Louis Tomlinson's Silver Tongues is released at 2PM GMT, November 9. His new album Faith In The Future is out this Friday, November 11 via BMG.

#louis tomlinson #official charts #09 november 2022

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luuurien · 5 months

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Jeff Rosenstock - HELLMODE

(Power Pop, Pop Punk, Indie Rock)

With a luxurious studio and financial support from Polyvinyl, Jeff Rosenstock lowers the heat on his fifth studio album so gorgeous textures and catchy indie rock can take precedent. Despite HELLMODE’s shift in sound and resources, Jeff Rosenstock remains confident in his sharp-witted, reflective punk rock.

☆☆☆☆½

Jeff Rosenstock’s never made concessions to the music industry, even with Emmy nominations under his belt. The now 41-year-old musician has been a lynchpin in modern punk, from Bomb the Music Industry!’s rebellious power pop to his ska-punk collective The Arrogant Sons of Bitches fusing atmospheric and playful post-2000s indie rock with skank rhythms and melodic hardcore riffing, his solo career starting with 2015’s We Cool? taking those core values to even greater heights. But after over eight years of creating music on his own terms, Rosenstock took up the opportunity to record his next album at EastWest studios, a recording space best known for fostering the luxurious pop of Pet Sounds and I Will Always Love You, experimenting with echo chambers and studio trickery to give HELLMODE a distinct shine. It’s easily his prettiest album to date, replacing the blown-out mixing of 2020’s NO DREAM with glittery lead guitars and sugar-coated performances, HELLMODE Rosenstock’s answer to the past few years of lockdown and massive social upheavals. Where his last album sought respite in disorientation, HELLMODE aims its efforts towards Rosenstock’s privileges and paranoia to use them as fuel for the long haul. Rosenstock’s been fighting for independence and community since the start of his career, and expensive studio sessions have only served to heighten his message.

Despite the pristine mixing and catchy, melody-focused instrumentation, HELLMODE isn’t far from Rosenstock’s past albums: HEAD’s ferocious synth punk comes right out of the gate three minutes into the album; LIKED U BETTER nods to ska with its offbeat guitars and vocal chants; the seven-minute closer 3 SUMMERS is one of the loveliest songs in Rosenstock's discography; his use of EastWest’s resources to heighten the effect of his already fantastic power pop rather than try and reinvent it results in tamer but songs able to balance warmth and clarity with the euphoria rush of double-time rhythms and syncopated basslines. He also leans further into acoustic cuts and smooth indie rock to create distinct peaks and valleys rather than his usual barrage of killer punk rock, HEALMODE a sensitive singer/songwriter track allowing him to explore his new relationship with Los Angeles after relocation from his longtime home of Brooklyn, city rain and pine needles revealing a romanticism and gentleness rarely seen in his music, while something like the mellow first half of DOUBT slowly builds into its explosive final quarter, sludgy changes and one final crescendo into double time a glorious payoff from Rosenstock’s reserved and careful performance at the beginning. HELLMODE doesn’t use all the extra production polish and instrumental details to distract you from the core of these songs, Rosenstock instead keeping the music simple so all the extra effects stay exciting and fresh - he may be recording in the same studio that brought about Let’s Get It On, but he uses all those extra flavors sparingly.

Fitting to HELLMODE's musical renovations, Rosenstock’s writing finds itself less anxious and detached, focused on the future and continuing to fight against systemic injustices despite how slow progress can be. WILL U STILL U opens the album with questions of commitment and forgiveness that permeate the entire tracklist, its overarching worries of how far someone can extend their understanding before needing to fight back (“Will you still love me after I’ve fucked up? / After I’ve shown I don’t deserve your trust / …And would you transcend time and space so you can punch my stupid face”) brought about in GRAVEYARD SONG’s calls for destruction and HEALMODE’s desire for simple, uncomplicated connection, but also in the exhaustion from watching the world continue to spiral in the exhilarating skate punk highlight FUTURE IS DUMB and HEAD’s fiery outpour of anger towards republican pundits and violence against protestors, Rosenstock aware of the resources and opportunity he has and the responsibility inherent to it. He directly speaks of that culpability in tracks like 3 SUMMERS and FUTURE IS DUMB, the acute awareness of how your privileges affect others and trying to do as little damage as possible making Rosenstock’s most electrifying songs to date, the same language and message he’s been pushing since the start of his career given a new frame of reference as he entrusts his music to carry those ideas further than he could alone. It’s no surprise, then, that despise HELLMODE being the most expensive album of his career, Rosenstock still released it entirely for free a day early on his Quote Unquote Records website, still championing for artistic independence even with all the other worries hanging over him - he may not be able to change the entire world, but still takes every small chance to do what he believes is right.

It’s easy to imagine any of HELLMODE’s songs slotting somewhere on one of his previous albums, but the album remains distinct in how its eleven tracks reign Rosenstock in together, a prettier and less overwhelming album from him than ever before that’s still unpredictable and fun. He uses the extra funding given to him by Polyvinyl how he wants to, creating some of the loveliest pop punk in recent years that’s true to him in every way, doubtful and comedic and full of energy with excellent musicianship to back it all up. It’s not particularly surprising hearing him sing about the music industry or relationships or capitalism, but HELLMODE engages with the fuller spectrum of Rosenstock’s emotions, exploring his convictions through both furious punk rock and contemplative fingerpicked guitar, his storytelling sent through more than the usual power pop and indie rock and coming out the other side with one of his strongest releases yet. HELLMODE is simple, but that’s why it works: Jeff Rosenstock’s always known his music’s purpose, and what’s here is no different. His explosive, existential calls to action remain necessary as ever, and a new coat of paint is all he needed to make HELLMODE this year’s premier rock album. If you’ve liked Jeff Rosenstock before, there’s everything to love about HELLMODE.

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edmturnmeon · 7 months

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12 Best Heartfelt K-Ballads by TAEYEON

A carefully curated collection of TAEYEON Best Hits, from contemporary ballads to high vocal range songs IvanYolo Taeyeon is known for her ability to captivate audiences' hearts, especially when she sings emotional ballads. She brings life to her performances with her raw emotion and passion. However, it's not just her powerhouse vocals and stunning visuals that have captivated fans worldwide. Taeyeon's best heartfelt K-ballads have also played a significant role in establishing her as a solo artist with a unique and compelling musical identity. Lately, I have noticed an influx in the number of fans who find themselves drawn to some of her emotional songs.I was inspired to compile a comprehensive list of Taeyeon's best heartfelt K-ballads that showcase her exceptional talent and deep passion for music and having a post-concert syndrome after attending her The ODD of LOVE concert. I have thoroughly analyzed her lyrics, vocal range, and tone to ensure that only the finest songs from her discography showcase her exceptional ability. From "Fine" to "Can't Control Myself" and beyond, every song on this list is a true masterpiece that will surely touch the hearts and souls of anyone who listens.

List of Best Heartfelt K-Ballads by TAEYEON

As the leader of Girls' Generation girl group, Taeyeon embarked on her solo career in 2015 with the release of her first EP, "I." Her discography is filled with various music genres, but it's her emotional ballads that have struck a deep chord with fans. Her ballads are known for their raw emotion, heartfelt lyrics, and her extraordinary ability to convey complex feelings through her soul-stirring vocals.So, get ready for an unforgettable experience as you listen to her powerful and emotional vocals. You are in for a treat, and we guarantee that you will be left feeling deeply moved and touched by her incredible voice. I also ensure that the list I have created is unique and distinct from other sources.

1. TAEYEON - Dear Me

https://www.youtube.com/watch?v=bho0m505qVA"Dear Me" has been met with an outpouring of love from fans and music enthusiasts alike. Many listeners have expressed how the song has served as a source of inspiration during difficult times, with its message of self-compassion and strength. It is not just a song but a heartfelt letter to oneself that reminds us all of the importance of self-care and personal growth. It was released in January 2020 as a part of her second extended play (EP) titled "Purpose." One of the best heartfelt K-ballads by Taeyeon worth listed here.

2. TAEYEON - Can't Control Myself

https://www.youtube.com/watch?v=RccDIpx4ZMM"Can't Control Myself" by Taeyeon from her 3rd album INVU is a true masterpiece of contemporary pop, a shining gem within the album. It brilliantly blends Taeyeon's soulful vocals with a heart-pumping beat, showcasing her incredible range and impressive vocal control. This track exemplifies Taeyeon's signature style and artistry, further solidifying her status as a standout figure in the world of K-pop and contemporary music. "Can't Control Myself" is a must-listen for anyone looking for a powerful and emotionally charged pop song, and it stands as a highlight within Taeyeon's impressive discography.

3. TAEYEON - Fine

https://www.youtube.com/watch?v=NHXUM-6a3dU"Fine" is a song that captures the essence of moving on from a painful breakup. Taeyeon's honest and heartfelt lyrics resonate with anyone who has ever experienced the rollercoaster of emotions that follow the end of a relationship. Her powerful vocals and the vulnerability in her performance make "Fine" a truly moving experience and a standout among K-ballad hits. "Fine" serves as the title track from her inaugural studio album, "My Voice." One of the best heartfelt K-ballads hits that made you listen again and again.

4. TAEYEON - Four Seasons

https://www.youtube.com/watch?v=4HG_CJzyX6A"Four Seasons" by Taeyeon is not just a song; it's a heartfelt journey through love and its ever-changing nature. Its poignant lyrics, Taeyeon's passionate vocals, and the grand musical arrangement make it a memorable addition to her discography. The song's ability to touch the hearts of its listeners and its enduring popularity reflect Taeyeon's artistry and her position as a respected figure in the world of K-pop and music in general. "Four Seasons" holds a special place as one of my all-time best heartfelt K-ballads to listen to.

5. TAEYEON - 11:11

https://www.youtube.com/watch?v=ulr0muQKjk0Taeyeon's vocal delivery in "11:11" is a testament to her extraordinary talent. Her voice effortlessly conveys the emotions of the song, evoking a sense of yearning and nostalgia. She starts the song with a soft, heartfelt tone that gradually builds into a powerful and emotionally charged chorus, mirroring the rollercoaster of emotions that the lyrics describe.

6. TAEYEON - UR

"UR" is a song that carries a universal message of appreciation and love. It reminds us of the importance of expressing our feelings and gratitude to those who have made a difference in our lives. The song resonates with anyone who has ever felt deep affection and gratitude towards someone special.

7. TAEYEON - If (Hong Gil Dong OST)

One of Taeyeon's most beloved ballads is "If," the OST for the popular K-drama "Hong Gil Dong." This song beautifully captures the pain of longing and heartbreak, resonating with listeners who have experienced the same emotions. Taeyeon's delicate and poignant delivery in "If" has made it a timeless classic in the world of Korean music, earning its place among the greatest K-ballad hits. A very emotional vocal with heartfelt ballad tunes, get ready some tissues!

8. TAEYEON - Some Nights

https://www.youtube.com/watch?v=a7NoogZ2eFo"그런 밤 (Some Nights)," a song from Taeyeon's third album INVU, delves into the theme of nostalgia and missing someone. The lyrics paint a picture of longing and a yearning to relive precious memories shared with a special person. Despite the inexorable passage of time, the singer wishes to revisit those moments. The song emphasizes the importance of appreciating memories and moving forward in life without letting them turn into sadness. It encourages the listener to hold cherished memories close to their heart while embracing the present and future. I really like her voice in Some Nights and the flow of the music.

9. TAEYEON - Timeless

"Timeless," a captivating track from Taeyeon's third album INVU, is a musical masterpiece that defies the constraints of time. Its heartfelt lyrics, Taeyeon's exceptional vocal performance, and the song's emotional depth make it a memorable addition to her discography.

10. TAEYEON - Nights Into Days (Prod. by Naul)

https://www.youtube.com/watch?v=qSdyigEP2jYTaeyeon's "Nights Into Days (Prod. by Naul)" is a heartfelt reflection on the absence of a loved one. The song expresses her deep loneliness and the heavy burden she carries when separated from her beloved. She questions if her love can be felt or heard by the absent person, highlighting the intense longing she experiences. The lyrics depict the difficulty of enduring each day without her loved one, where the weight of loneliness weighs her down.

11. TAEYEON - Rain

https://www.youtube.com/watch?v=eHir_vB1RUIReleased in 2016, "Rain" is a melancholic ballad that speaks to the loneliness and sadness that comes with a rainy day. Taeyeon's ability to infuse her voice with the weight of these emotions is nothing short of extraordinary. The music video and its dreamlike atmosphere add an extra layer of depth to the song, making it a standout in Taeyeon's repertoire of K-ballad hits.

12. TAEYEON - My Tragedy

"월식 (My Tragedy)" explores feelings of emptiness, detachment, and the desire to move on from past pain, ultimately highlighting the singer's growing resolution to let go. It paints a picture of a lonely day fading into a red night sky, symbolizing a slow descent into darkness.

Conclusion

The emotional K-ballads of Taeyeon are truly remarkable and serve as a testament to the extraordinary talent that she possesses. What makes her stand out as a musician is her ability to deeply connect with her audience and evoke a wide range of emotions through her music. Taeyeon's tracks such as "If," "Rain," "Fine," and "UR," are incredibly powerful pieces that have the power to move and comfort listeners in ways that only exceptional music can.As a solo artist, Taeyeon has achieved a great deal of success and has become a force to be reckoned with in the K-pop industry. Her emotional ballads have played an integral role in solidifying her reputation as one of South Korea's most cherished vocalists. Fans eagerly anticipate what emotional masterpieces Taeyeon will release in the future, as she continues on her successful musical journey with grace and sincerity.What do you think of the list I've curated above? Also don't forget to check out Taeyeon's best K-pop music playlist if you like something new and more K-pop vibes. I hope you will like it and have a good time enjoying listening to it. Share This: You Might Also Like Related Posts Read the full article

#Girls'Generation #K-Pop #MusicPlaylist #SNSD #Taeyeon

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seasurfacefullofclouds1 · 1 year

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Today, Silver Tongues finally becomes yours.

At 2PM GMT, Louis will release the song that, in his own words, made him 'really confident in what's to come.' And he was kind enough to give us an exclusive first listen of the single.

INTERVIEW: Louis Tomlinson gets candid on his new-found 'creative freedom'

Written alongside Hurts' Theo Hutchcraft, The Courteeners' Joe Cross and David Sneddon, Silver Tongues is a soaring statement of self-expression; but that isn't necessarily apparent from the outset.

Some lyric spoilers ahead, just FYI.

"Air Maxes with silver tongues, settle in for another heavy one," Louis sings; the lyrical content a sharp contrast to the instrumental.

Louis' incredible growth as an artist is already noticeable here. He's taking risks, avoiding the obvious and embracing more abstract approaches to songwriting.

Then, 30 seconds in, Silver Tongues takes a complete 180.

"You know it’s times like these we’re so much happier. Nights like these, we’ll remember those stupid jokes, only we know..."

Now we're in proper, stadium rock territory.

As we enter verse two, Louis' inimitable Doncaster inflection comes out to play.

"You said grass was a dirty drug, you like to preach with vodka in your mug. I love other things, you know, but I’m king on a 50-metre rope."

Louis' artistic development is clear once again; something he attributes in part to Silver Tongues co-writers Theo, Joe and David.

"I'm a massive fan of both Hurts and The Courteeners. Even the fact they were willing to work with me, I was buzzing about that. We’ve got some really great songs out of it."

On his love of Silver Tongues, Louis elaborated: "It’s one of the first times that I’ve written a song that I could definitely imagine myself listening to, had I not written it.

#silver tongues #spoilers #louis tomlinson #9 november 2022

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wallisninety-six · 1 year

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Defining a Legacy: The Historical Significance of “The Smile Sessions” (2011)

It’s not that it wasn’t meant to be; it needed to grow- and it needed time, to shine on it’s own.

October 31, 2011 marked the day that would change The Beach Boys forever: 44 years after the much-anticipated Smile album was scrapped, and only 7 years after Brian completed the album as a solo project- Smile was finally released not only as its own 19-track album, but also was included and released as a legacy compilation with vast amounts of the original recordings named “The Smile Sessions”

Coincidentally or not- 2011 was the 50th anniversary of the Beach Boys’ formation as a band in 1961. As such, its release and its wide swaths of material to listen to feels like a total culmination for not only the band’s discography, but for Brian Wilson and his legacy: not only did it live up to the near-impossible expectations for both critics and fans alike, but as one of the group’s final releases- The Beach Boys finally got to define their legacy largely on *their* own terms, not critics who lost faith in them while they struggled with blacklists and personal tragedies and even abuse.

And all of the original surviving members of The Beach Boys slowly started to put a major cap on their career together with the band as we know it- not with embarrassment (as with their much-derided “Stars and Stripes Vol. 1″) but with one of massive triumph and exceptional quality that made even the most seasoned and established musicians (like Brian’s creative rival and friend Paul McCartney) turn their musical world upside down with how deeply unique, unusual, yet masterful and often deeply complex the 2011 Smile album and all its recordings sounded. For once, the world’s reaction to the band was not one of pity- but one of massive respect for all the incredible creativity and hard work from Brian, songwriter Van Dyke Parks, the band members, and The Wrecking Crew musicians that birthed this album.

The Smile album included- while still unfinished, sounds remarkably whole and practically complete thanks to the engineers Dennis Wolfe, Alan Boyd and Mark Linett (as well as Brian himself) largely basing the album off Brian’s 2004 solo album, and taking whatever fragments they could to compile and create finished tracks- a massive undertaking for a big project, especially one whose history is incredibly long and complex in itself. Whether we like it or not- this is as officially finished the album will ever be, and what’s here is breathtaking.

Smile itself is a powerhouse of musical work- completely varying in sound from A Capella, atmospheric baroque pop, almost-demonic chants and incredibly abrasive instrumentals, haunting orchestral arrangements, yet also delightful country rock, experimental psychedelic instrumentals, and so many others as we are taken on a strange journey of the birth- and death of America and the American dream. All of it dizzying yet also sounding unified, each track blends to the next almost seamlessly with song cycle form- cementing its status as a concept album. And even beside the album itself, listening to the other tracks as well as hearing Brian direct during the sessions offer a vivid glimpse into a completely different time: for the band, and for music.

Brian’s production and editing techniques here were virtually unheard of and un-attempted- and even now, it all sounds unlike anything music has made ever since. And not only that, his editing, tape manipulation and production methods were so complex that they would be incredibly difficult to replicate until the advent of digital music editing around the 2000s- decades ahead of everyone else. With the Sessions album released, what we thought we knew in terms of musical production history were immediately challenged as music professors and producers studied Brian’s production methods to then try and pass down to new learners of music for years to come.

Indeed, considering the massive amount of material produced and composed, and especially considering the near-impossible task of compiling all this music into one album with massive technical, legal, and personal limitations, as well as severe mental health crises of Brian in the 60s- this is perhaps the only real way Smile could have ever been released while nearly satisfying everyone’s expectations. And perhaps this is the most important part: Smile could never, ever in a million years be released *unless* it was on Brian‘s own terms- a scenario that was completely impossible for him in 1967. It’s no coincidence at all that Smile Sessions came out after Brian finished the project in 2004.

Possibly a first for Brian, he was largely surrounded by people not constantly telling him “no” at every turn- but by those who truly believed in the project’s realization and in Brian’s talents as a whole, thanks to individuals like Darian Sahanaja (who would later preform in Smile’s live performances) giving Brian his support to finish the project how *he* wanted to. And as a result from the Smile Sessions’ release, many more musicians continued to be inspired by the completed project like Kevin Shields and his band’s most recent MBV album.

With the troubled history of the project in mind- the massive and unanimous critical acclaim for Smile, The Smile Sessions, and for Brian and The Beach Boys were way overdue, yet entirely deserved. It’s a triumphant moment for a man who nearly died for this album yet lived long enough to see his musical world and ideas validated. And thanks to Smile Sessions’ success, The Beach Boys have started releasing other archival releases of post-Smile albums, offering us a glimpse for the first time stirring & incredible compositions from him and his late brothers Carl and Dennis Wilson for the very first time in the process, while giving more exposure to the band’s largely unknown later albums for the wider public.

Henry Rollins- former leader of hardcore punk band Black Flag perhaps put it best in his review of The Smile Sessions: “Sonically, the album is one of the best things you are likely to hear in all of your life. There are moments on SMiLE that are so astonishingly good you might find yourself just staring at your speakers in unguarded wonder, as I have."

Smile’s world truly is one of wonder, showing us the unlimited possibilities for creativity in music- fans have been (and even moreso now) compiling their own versions of Smile, allowing them to test their musical chops, make their own edits of the album and its tracks and experiment with music with a fiery passion, transforming Smile from a mere musical project into a living, breathing album. And this, indeed may be the greatest gift Smile and Brian has given to the world: Sharing full creativity and spreading a love of music in people’s own unique way.

And I wouldn’t want it any other way.

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lunetual · 1 year

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how was CIX??? I'm seeing them Friday and I'm so excitedddddd

ooh you’re going to have such a great time!!! they’re so good live and i think they have one of theee strongest discographies of their generation, so the setlist was just a joy from start to finish! we saw them last year too when they came through and i think they’ve grown in confidence as performers and seemed so at ease! all the members have their shining moments definitely — i think hyunsuk’s solo stage was my favorite but they were all so good. also feel like i should note that baejin is seriously like. you can’t take your eyes off of him when he moves to the center. i am NOT joking when i say i couldn’t breathe during movie star LOL. and we got lucky and our seats got upgraded from the balcony to like, sixth row front and center?? and he was so overwhelming 😭 i think you’ll see what i mean when you see them!!

i hope you have the best time friday!!!! and you know where to find me if you want to yell in my inbox about them 🫶 i always LOVE hearing about concerts!!!!

#asked and answered #anon

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why-so-serious-lucifer · 7 months

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K-pop Discography Deep Dives: The Rose (Supplemental)

Here are my credentials: I’m absolutely a fan of The Rose, enough to consider myself a Black Rose (their fandom name), although I’ve only been one for four months or so. I’ve heard most of their songs, and liked basically all of them, but since I’m going to see them in concert soon, I figured I should get to know their b-sides and so they’d be a good choice to be my first supplemental. Two birds, one stone, sort of thing. Let’s get started!

The Rose was formed a bit differently to most K-pop groups, because they aren’t exactly K-pop. They fall more in the category of an indie-rock band, with Woosung doing vocals and guitar, Dojoon on keyboard, Hajoon on drums, and Jaehyeong on bass. They also met organically while busking and then joined a company already formed, rather than the company putting them together. They later left that company and began their own, which they still work under.

They were a band for a few years before, but officially debuted in mid-2017, with the song Sorry. Sorry is different from many k-pop songs of the time; it’s slower and feels more grown-up, not in the least because it’s an apology, which, contrary to public opinion, is one of the most grown-up things a person can do. By the time everyone’s voices came in in the last chorus, I was completely invested. The combination of the guitar and very obvious piano was lovely, and I especially liked the piano solo at the end.

Like We Used To, the other song from this first single, also falls into the emotional indie rock category, but focuses more on the electric guitar and is a little more upbeat. I like them both, but this one just a little bit more. Also, I love Woosung’s voice. It’s not a “usual” k-pop voice at all; it’s a little raspy and incredibly emotive, and doesn’t sound the same in every song, which, speaking as someone who sings (albeit not this publicly), is harder than you’d think

For another quick digression…The clear emotion on display here in both of these songs is precisely one of the reasons that I think more k-pop idols should be given the ability to write their own songs, because when they sing them, it feels so much more genuine and they can bring their own thoughts to life in exactly the way that they want to.

I.L.Y starts much slower than the other singles so far, which makes sense given the subject matter and the very careful vulnerability portrayed. For an indie rock band, I really appreciate how much they use and center their piano and the quiet guitar plucking and a-capella in the last verse. I liked it, but didn’t love it.

From Void, the EP, I had trouble choosing between Candy and Baby, so I’ll talk about them both. Candy is chill and the guitar gives me gentle surf rock vibes. Baby, meanwhile, is also emotional rock, although leans more into the outright rock than the other songs have before, to great effect. Unlike a lot of rock songs, it has time to breathe between those great choruses.

Red feels more like a K-pop song than the others before (which I want to stress isn’t a bad thing). I liked this one right away, from the more electronic production to the clapping in the background to the anthemic nature of the chorus. I especially enjoyed how pared back the instrumental is in the verses, how it builds in the pre-chorus, and how it lets loose in the chorus, especially the last one. California, the b-side, is a bit more calm, and feels like a road trip song.

It’s not technically a single, but I wanted to give a shoutout to Strangers, their OST for the k-drama Strangers From Hell, because its tense building fits perfectly, and I had no idea when I watched it the first time, which is quite funny in hindsight.

She’s In The Rain has an acoustic background that I wasn’t expecting after the electric driven ones before, and I really liked how it kept their central sound but expanded upon it, using the same components but in such a different way. It’s such a lovely message of solidarity to anyone going through a difficult time and the change in the choruses between “I’m in to the rain” to “she’s in the rain” to “we’re in the rain” really affected me, especially as they all start to sing. I loved this one. My favorite b-side from Dawn, the EP, was definitely Take Me Down, which was actually the first song I ever heard of theirs. I love the melodic vocalizing that bookends it and especially the last chorus.

Black Rose is a special song for their fans that they made right before Dojoon, Hajoon, and Jaehyeong enlisted for military service. Song-wise it actually isn’t one of my favorites, but meaning-wise it never fails to touch me. Plus, the movie video is so sweet that it won me over. Basically, it’s not a song I’ll search for on my own, but if it comes up on my playlist, I’m not going to skip it. I quite like the “love is the way” ending too.

Beauty & The Beast is their first song after their return from military service and I think it’s one of their best combinations of melancholy vocals, guitar, and piano. It has an excellent build-up (that’s earned), with each verse and chorus just a little brighter and happier than the one before, and just like the original fairytale, it feels like it pulls you out of the darkness.

Cure is backed by a sunny piano and thundering drums, and its message of enjoying the world wholeheartedly, whatever the context, really touched me. It’s a way of life that I try to embrace when I can. I enjoy the gentle acoustic guitar in the chorus and of course, the anthemic vocalizing, especially towards the end. It’s probably one of the ones I’m most excited to see live.

Childhood is a gut punch of a song that, despite being so quiet with such minimal instrumentation, had me hooked from the first verse. By the time of the bridge, I had stopped my multitasking and just sat there for a minute to think about it and process, which in my view is the mark of an excellent song. As has been clear since the beginning of my time reviewing, I am, first and foremost, a sap. Give me a song about friendship or growing up and I’m a mess on the floor.

Sour is almost ethereal in its blurred blend of guitar, vocals, and drums, and I liked it more than I thought I would. It’s the lead single from the album and I admit I liked the other two singles better. That doesn’t mean I don’t like this one, which I did, especially the breakdown and the ending, but it feels like it’s in the middle of the quietness of Childhood and the loudness of Cure and it doesn’t quite find the right path to take.

Hidden gems from Heal are definitely Yes (whose feature I enjoyed more than I thought I would) and Time (which balances sadness and maturity so well) , with a special shoutout to the a-capella section in Definition Of Ugly Is. Shoutout to the intros and outros from both Heal and Dual by the way, they really help give them balance.

Clearly I didn’t know what I was talking about when I called Sour ethereal because You’re Beautiful is practically the dictionary definition of the word. It’s so atmospheric that it feels like floating, and the lyrics add to it perfectly. This is a perfect example of a song that achieves exactly what it sets out to do, knows exactly what it is, and is still exactly not for me. I enjoy songs like this in certain contexts, but I have to remember that they exist when I’m in a certain state of mind or I won’t enjoy them the right way. So this is more of a personal preference thing.

Alive, like Sour, fits right in between the softer, slower track of You’re Beautiful and the jump-up-and-down rock of Back To Me, but I feel like it still manages to carve out its own route that sets it apart. It’s…how can I say this without making myself sound five hundred years old…groovy? Well that didn’t work. But I don’t know a better word to describe it. It had me nodding my head and feeling like I should be listening to it walking down a city street in a party dress. I especially liked how odd it is, with the off-beat instrumental, chopped vocals, and electronic breakdown before the end.

Back To Me is my favorite song from this album, and despite not being the first song I listened to of theirs, is the one that made me a Black Rose and the one that made me immediately think of buying tickets and phoning my friend to make him come along when I heard that they were doing a tour. I’ve called so many of their songs anthemic, but like “ethereal” with Sour and You’re Beautiful, the word has no meaning until you hear this song.

It got stuck in my head from my first listen, then made its way onto my running playlist, and then just became an absolute favorite. That chorus is golden, and they all sound like they’re having the time of their lives when performing it, which only makes me like it more. Hidden gems from the album are Lifeline (which has a more understated catchiness), Eclipse (for its sense of grandeur and classical background), and Nauseous, (for making me genuinely laugh.)

So, as is becoming a theme here, I’m very glad I did this. I’m surprised by how many songs I actually hadn’t heard of theirs, so it’s good that I know them now, and it made me both appreciate the diversity in their work more, and appreciate the evolution of their sound. It’s hard to keep every song feeling like “yours” while also diversifying, but I would say they did a pretty great job.

My top 5 songs of theirs are Back To Me (shocking I know), Cure, Red, Childhood, and She’s In The Rain. Honorable mention goes to Eclipse. The Rose gets a 9/10 from me, which I can acknowledge is personal bias. But, I think that everyone should check them out. If nothing else, I’d wager you’d find yourself at least one new song to enjoy. As for me, I’m watching their Mindset series for Dive studios, and I have a couple more singles to memorize since I’m now even more excited to see them live (with, of course, the friend that I dragged along).

Next week I’ll be doing a female soloist supplemental and Part 2 of the BTS deep dive, so stay tuned. Tschüss!

#k-pop #review #the rose #the rose kpop #the rose band #woosung #dojoon #hajoon #jaehyeong #Sammy #Dylan #Jeff #Leo #K-pop deep dive #Spotify

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barelysanereviews · 2 years

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2022 Midyear Faves

Shaniqua

To say that 2022 has been tough on me is an understatement. It felt like a putting out a series of wildfires, each one springing to life immediately after the last one died, wreaking havoc on my health (physical and mental), self-esteem, relationships, and finances in turn. But in the middle of that mess, I managed to find some shining lights in the darkness to keep me, as we like to say, barely sane.

(Side note: I recently went through our archives on a whim, and can you believe BSR started in May 2014??? What a ride it has been.)

Music:

We've already revealed ourselves to be kpop fans, so there's no point hiding it now. Unfortunately, kpop was one of the major natural disasters in my life this year as my favorite group disbanded around my birthday. Maybe I'll finally post my kpop journey on here as a tribute to them, but in the meantime, here are the songs I've clung onto to fill the void.

fromis_9 - DM

I've managed to chop up this song into bits that basically narrate my life, from the opening soliloquy "Hey you, 지금 뭐해?", to the very cathartic "Doesn't matter~~~!" every chorus, to the release of energy in that whistle note towards the end. It's just an oddly comforting bop that I keep coming back to, and I'm happy to say that I fell in love with the girls' discography in the process. Stream Stay This Way!

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(G)I-DLE - Tomboy

I've followed Soyeon since Produce 101 (the curse/blessing that got me into kpop) and have stanned (G)I-DLE since their debut. I gotta say - Tomboy is a masterpiece. The way they came back with a shot heard around the world after losing a member and a year of solo activities is the cheffiest kiss. (6)I-DLE forever.

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Honorable Mentions: VIVIZ - Loveade; Le Sserafim - Fearless; Taeyeon - INVU; and of course, NU'EST - Again

Film:

Love and Leashes (2022)

Though I watched last year's Let Me Be Your Knight for my bias, my favorite discovery of 2021 was Lee Junyoung. His character Taein was so endearing and charming, but a bit too similar to his previous roles. When I heard he was going to star alongside SNSD's Seohyun in a movie about BDSM, I had no idea what to expect. What I got instead was a weirdly sweet and loving film about two people learning to trust each other as they navigate their own preferences and desires. So excited for what he's going to do next, with or without barking.

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Honorable Mentions: Turning Red, Minari

TV:

Do we still call it TV if we don't watch it on a TV?

Strangers From Hell

I actually watched more kdramas this year than I usually do to fill the void that Nu'est left behind, so I got to watch some of the more popular ones as they aired. But what can I say, I'll always be a sucker for a good dark kdrama. This one features one of my faves, Im Siwan, as he slowly goes insane from living in a rundown goshiwon whose inhabitants may or may not be murderers.

Pretty Proofreader

One thing I love about jdramas is that they can make anything - from an underrated sport to an overlooked profession - sound rewarding and exciting, and this charming little story about a wannabe fashion editor who gets assigned to the proofreading department of her favorite magazine is no different. As a fellow optimist, I felt so represented by Etsuko. Satomi Ishihara's extra outfits paired with her uplifting smile got me through Covid.

Honorable Mentions: My Liberation Notes, A Business Proposal, Spy x Family, Alchemy of Souls (ongoing)

Colleen

I watched a lot of TV shows the first half of the year because ya girl was unemployed for a while. Here are my top 5 picks and some honorable mentions.

TV:

Our Beloved Summer

I don't know why, but I got so obsessed with this show. Choi Woo Shik and Kim Da Mi had so much chemistry, and their characters just drew me in. The show is about two high school students--the top student (Yeon Su, played by Da Mi) and the bottom-ranking student (Ung, played by Woo Shik)--who are put together for a documentary. After getting to know each other while shooting the documentary, they fall in love and date for years. They eventually break up but are forced to reunite to do a sequel to the documentary, this time documenting their lives as adults. There was just something about the way the story was written, how well Woo Shik and Da Mi played the characters, and the summer vibe and visuals of the show. It just sucked me in. I rewatched scenes a million times and even did an ugly drawing inspired by a scene in the show. I look forward to seeing these two work together again.

My Liberation Notes

I love a kdrama that follows a group of characters and really digs deep into each one. You would think that the romance in this would be highlighted more than the character arcs (because kdrama), but the show balanced the romance and the characters' growth really well. There were several moments in this show where I saw myself in the characters and it also made bold story choices. I knew this would be good because the show's writer, Park Hae Young, also wrote My Mister which I also really liked.

Film:

Moonlit Winter

I found out about this film on IG, where I saw that Kim So Hye (of Produce 101 fame) starred in a film a few years back. I liked the aesthetics of this film, the slow pace, the quiet affection between the characters. It had the same vibe as Little Forest, and it also had that mother-daughter journey from miscommunication to friendship. The mother's story is heartbreaking and is not often told, and I liked how the film subtly subverted narrative tropes and let her story of yearning overflow.

Strawberry Shortcakes

This one's a rewatch. I saw it years ago, and although I forgot about the title and most of the story, I found it interesting how I still remembered a few parts of it even years after. I decided to rewatch it this year to refresh my memory and see why the film stuck with me. Strawberry Shortcakes shows the inner lives of four Japanese women: a sex worker who sleeps in a coffin and has a singular obsession with a man she knows from high school; a stone-worshipping assistant whose innocence sticks out in a workplace that sells sex; a sleep-deprived, solitary artist struggling to succeed in a money-driven industry; and an office worker who's looking for love. It's rare to see a story that revolves around a group of women who live complex lives, and the film also makes notable choices in cinematography.

Book

The Soulmate Equation

Romance novels are perfect for me right now: not too deep, but enough to make me feel things and escape life. This one is really cute and has an interesting premise: Jess, a single mom and statistics expert, gets matched with River Peña, the cold-hearted creator of a dating app called GeneticAlly, which matches people based on their DNA compatibility. If you're looking for a lighthearted romance read, check this out.

#Youtube #soulmate equation #christina lauren #romance novel #books #movie #film #tvshow #kdrama #my liberation notes #our beloved summer #moonlit winter #kim dami #choi woo shik #fromis_9 #(g)i-dle #love and leashes #strangers from hell #pretty proofreader

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