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plasticflwrs · 2 months

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—﹒ ∬ ﹒PLASTIC FLOWERS RETURNS TO BAR PERFORMANCES AT CHEEKY'S IN SEOUL!

—﹒ ∬ ﹒DESCRIPTION TAKEN FROM AN ALLKPOP PUBLISHED JULY 15, 2023.

In 2023, Plastic Flowers made their return to their hometown bar CHEEKY'S for a new era of live performances! Located in Gangnam, Seoul, the bar takes takes inspiration from the bar culture of Nashville and has been in operation since 2017.

Cheeky's popularity began to rise with the attendance of Plastic Flowers on weekends soon after their lead vocalist, Oliver, became a legal adult in 2019. Plastic Flowers performed there for three years straight ( 2019 — 2021 ) until their 16 month hiatus from public life. Since then, Plastic Flowers has become a mainstream success both domestically and internationally with multiple tracks peaking at number one since 2022.

In a surprise post from Cheeky's Instagram, they announced that the band would return on July 14, 2023 for the rest of the year. The five band members and even their agency were quick to repost the news to confirm.

—﹒ ∬ ﹒IF YOU WANNA GET IN, YOU GOTTA FOLLOW THESE RULES (TAKEN FROM A TIKTOK POSTED BY JUNYEONGLUVR ON JULY 18, 2023)!

"So, you want to attend a Plastic Flowers performance at Cheeky's in Seoul? Here is everything you need to know to avoid getting kicked out!

First: don't be weird with the band. They are normal people and are here to make money and have fun on stage. This is not time to have an Y/N fantasies about the members falling in love with you. Unless it's Junyeong, then you probably have a chance at sleeping with him.

They are keeping the same rules about requests from 2021! Unless specified otherwise, all requests are 25,000KRW. The more money you pay, however, the more likely they are to play that song sooner and you can request a specific member to sing that song! For example, back in 2020, I requested a cover of Clario's BAGS with SERIN as the lead vocalist and got it pretty quickly for 40,000KRW!

However, there are multiple songs that will cost 100,000KRW because they are requested at every show. This is often achieved through crowdfunding and is very rarely paid for by a single person. The songs that cost 100,000KRW are ANY OF THEIR TITLE TRACKS, FREE BIRD by Lynyrd Skynyrd, anything by DEATH VALLEY, and MIROTIC by TVXQ.

You can also buy the members drinks! They are always so thankful for this and every one has their own favorites. There will (hopefully) be a sign of all their drink orders at the bar since they have changed since 2021.

Don't be afraid of audience interaction! Oliver and Salem particularly love going into the crowd and taking pictures and videos with fans. Sing along and dance like an idiot, it makes them more excited to be performing if the audience is also having a good time."

—﹒ ∬ ﹒THE MUSIC.

Coming into the nights, Plastic Flowers does have a set list they prepare for the beginning of the show and requests are just starting to come in. If you like the darker side of Plastic Flowers music, this is the perfect place for you as they often cover old emo hits from the 1990s and 2000s. For the right price, they will truly play anything unless it's by nature controversial or a weird request.

The full set list has not been reveled yet and all the songs played are always complied by their many UPDATE ACCOUNTS across Social Media. Because of all the difference audience they play, no set list is ever truly the same and is either played in a different order or features completely different songs. Some common requests and songs played include: FOR YOUR LOVE, I'M ALIVE, READY TO FLY, 505, FREE BIRD, MAMA, NO SHAME, and BALLAD OF MONA LISA.

Depending on whose in the crowd, you can also get some COVERS of songs by their friends and other idols in the audience!

They also often play UNRELEASED songs that will either never be played again or make it into the next few albums, it's a fun guessing game with them! Songs previously unreleased that were performed here include: WAR , THE CHAIN , SINNERS & SAINTS , SOBER , and NORMAL PEOPLE.

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sanstropfremir · 3 years

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this is random and idk if you've already talked about it, but what do you think of stray kids' cover of my house by 2pm? i come back to it every once in a while because i like it as a song but i always thought the performance was so... emotionless. and impersonal. and i think part of that is because of the fact that they're lipsyncing. ik it's not their song and 4th gen already lip syncs as it is, and the chances for that are even higher when you're covering a song and don't want to mess it up out of respect i suppose (and even more so if it's actually your company senior.)

BUT!! even aside from that, i've noticed that like half of them look down at some point, like they're so concentrated on not messing up the moves or something, so aware that they're on stage, that it's a bit uncomfortable. i know it was during last year's award season which had no audience, but still. i much like it when an artist keeps it nice even when they're not center. i'm also aware that they might not have had the longest time to prepare for this, they performed for every award show i think so it's only natural that they were a bit worried.

surprisingly for me, my favorites in that stage are lee know and changbin, and lee know especially is not a member i pay too much attention to. but they're giving off at least some attitude. lee know's seems much too fabricated, so to speak, but changbin, especially in the beginning of his rap, seems very natural.

i have not talked about this stage actually! i don't remember watching it during the end of year shows but i was pretty laser focused on the wild shit that taemin was doing so that's not surprising. i think rookie groups of the big three have it rough when it comes to covering their seniors songs, because usually they have really fucking big shoes to fill. i can imagine that yea, skz were probably nervous as all hell to cover my house because hello, it's my house. i agree with most of your points here, i do think they probably didn't have the most amount of time to learn it, but other than nerves and unfamiliarity, i think the two biggest factors in this stage looking unnatural for them is 1) they're young and 2) it's pretty far outside of their wheelhouse. i've mentioned this a a couple of times before, both in relation to skz and to 4th gen groups as a whole, but they haven't really learned how to put on a stage persona in the same way that 2nd gen groups have. this makes it especially difficult for them to cover 2nd gen songs because the premise of 2nd gen songs is that the ridiculousness is geniune, not ironic. not that my house is that particularly ridiculous for a 2nd gen song since it came out in 2015, but the performances are still motivated from that place. the reason why lee know and changbin manage to look the most comfortable is lee know is the main (i think? one of at least) dancer and has a lot of dance training, so he's probably the most familiar with stage personas, and changbin is covering ok 'famous-for-not-giving-a-shit' taecyeon's part, which is the least stage-y and most naturalistic part in the song. and even if that were not an issue, skz is like five years too young for the vibe of this song. 2pm were already SEVEN years into their career when my house was released; the youngest members were 25 and jun.k was 27, vs bang chan who was barely scraping 23 at time of recording. for further elabouration on this point, see my previously posted response about men post-25 and how they are always hotter.

my second point of my house being outside of skz's usual repertoire is not really that deep, but i think it bears mentioning because it's connected to the other two points that i brought up, and also some things i've mentioned before. there isn't a whole lot of nuance within skz's title tracks. and i mean performance/choreographic nuance, not emotional nuance. their style tips more towards loud and brassy, with a lot of big, complex, and fast movements. my house is not that. in fact it's probably close to the polar opposite of that, which requires a diffferent set of skills that they just don't have the experience in right now. i think if skz came back in five years and did a cover again we'd be saying different things, but they were definitely punching above their pay grade here lol.

#stray kids w #i watched the regular cut stage version and then the dance practice and the wideshot fancam #and it's not that it's a bad performance it's just so very far outside their normal that it doesn't look right #its not really that weird of a trend because it kind of makes sense but also doesnt #but the propensity for making rookie groups cover senior's songs #without acknowledging the amount of experience the senior group had at time of release is a bit weird #and sets the rookies up for failure most of the time #like yea the choreo for my house isnt technically hard but also a 19yro does NOT have the vibes for that song #this is also very common with tvxq covers #i think i said it a while ago but any rookie group that tries to cover kyhd would be instantly annihilated by the vibes #this isnt really that big an issue with shinee because shinee's vibes have been relatively youthful #rookies just have to go up against the fact that its shinee lmao #and we start to see less and less full covers as groups get more mature so we dont really have an opportunity to see a proper match #which is fair and valid and i understand it is the way it is #this is why i love that ace still does a fair amount of covers because you can see them absolutely BODY tracks #the feel special its live.............head empty donghun only #kpop questions #stray kids #group analysis #text #answers

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ithinkilikeit-reactions · 6 years

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My Bias list

Do we have any bias’ in common?

9 Percent: Wang Ziyi (B O O G I E WANG ZIYI)

Bias Wrecker: Chen Linong

Ziyi is a Buddhist, right? I feel like that is an admirable aspect to him. I just like the way he sounds to and he feels warm kind of. I can’t explain it. But Ziyi with his hair down looks amazing.

A.C.E: Wow/Sehyoon

Bias Wrecker: Byeongkwan

I love the way he moves. Sehyoon has such a talent and don’t get me started on his leathaly sweet personality. This gif is my everything btw, the nail polish, the dog the hair, etc.

B.A.P: Himchan

Bias Wrecker: Everyone???

B.A.P is one of my bias groups. I love Himchan so much. Himchan is so beautiful to me and I love his voice. He is a good leader and took over for Yongguk when Yongguk couldn’t and did a good job. Which I can admire.

BigBang: Daesung

Bias Wrecker: Seungri

I love a man with a sense of humor and he always makes me laugh. But he is an underrated visual. Daesung has been through quite a bit, I feel empathetic towards him. I just really like Daesung.

Blackpink: Jisoo

Bias Wrecker: Lisa

I love a funny, real, queen. Jisoo always manages to stay herself and I can really appreciate that about her. She really is owning this era and honestly looks amazing. I am totally gay for this woman. But can we all agree she would look great with shoulder length hair?

Block B: Taeil

Bias Wrecker: Jaehyo

I love a man with tattoos and this man is covered. Which is amusing, his voice is such a duality to his appearance. I also love that he’s a little weird, let’s be honest everyone in Block B is.

BTOB: Peniel/Donggeun

Bias Wrecker: Changsub

I have mentioned a lot that I love Peniel with my whole entire heart. I love his voice, his personality and his appearance. Hair doesn’t matter, he looks great both ways. I am just happy that I can see his confidence come back a little more everyday.

BTS: RM/Namjoon

Bias Wrecker: Jin and J-Hope/Hoseok

Namjoon didn’t immediately catch my eye, no. But once I learned their personalities, I loved his. He is so oincredibly intelligent and learning English without reason too, really is impressive. He is also a very good leader.

Day6: Youngk/Brian

Bias Wrecker: Sungjin

I have made a bias switch in Day6. I have known Day6 a while now and Sungjin was my initial bias. But I realised I was liking Brian alot more and that I always looked for him on stage. I love Brian and his fragile soul. He writes music so well and “I need somebody” makes me weep.

EXID: Hyelin

Bias Wrecker: L.E

Like I said, I like humor. Hyelin is so funny and we have a similar sense of humor. Also vocal queen. I feel like EXID is forgotten a lot, but they are so great.

EXO: Kris (I know, I know)

Bias Wrecker: D.O/Kyungsoo

I know Kris isn’t EXO anymore. But I love him so much. He looks so intimidating and is the sweetest man. I love it when he sings in Chinese and I love his personality. He honestly is quite deserving of good things. Tian Di is lit

Fanxy Child: Penomeco/Dongwook

Bias Wrecker: Everyone????

Is it a thing to have a bias in Fanxy Child? Idk. I love Penomeco. His voice is so unique and he looks so soft. I often say, he looks like he took a wrong turn on his way home and ended up at a rap battle. He just looks so soft and I want a hug from him.

GOT7: Jackson Wang

Bias Wrecker: Mark

Jackson makes me feel things. He was my first ult bias and he just makes me incredibly happy. I have cried because of him, only because I want the best and I kept hearing he was sick. I have drawn him, I have supported him. Jackson is such a kind hearted man and he has such a big heart. It’s amazing and how he almost always manages to stay positive really beats me. But I can appreciate it.

History: Kyungil

Bias Wrecker: Sihyoung

I have mentioned this before as well. History was one of my favorite groups and when I heard they disbanded I cried. But Kyungil would definitely be my ult if they hadn’t disbanded so soon. I loved this man. Just WOW.

IKON: Junhoe

Bias Wrecker: Donghyuk

Junhoe caught my eye from the beginning. I knew he was my bias the first time I saw him. His voice is amazing and don’t even speak to me about his visuals. This man is a threat and I love it. He’s also so fucking sarcastic I cry.

JBJ: Sanggyun

Bias Wrecker: Hyunbin

HE’S SO WEIRD. I love it. I also really love his energy on stage as well. His voice is also quite unique and BRB I’m going to go cry about their disbandment

KARD: BM

Bias Wrecker: Somin

So I saw KARD live and it was amazing. BM just really, ahhhh I love a big man lmao. I aspire to be with someone as hype as him and supportive. He is filled with overwhelmign love for his members and you can see that. I just love BM.

KNK: Youjin

Bias Wrecker: Seungjun

I love his voice. Honestly, I just wish Youjin good health and happiness. Youjin seems like such a sweetheart and I just wish for him to take the time he needs to get well and come back stronger than ever. Stan KNK!

Mamamoo: Hwasa

Bias Wrecker: Wheein

I love a natural queen. Hwasa is so stunning to me. Her full thighs, poised face. God she’s such a stunner. She’s so funny too, like she has substance. He also loves a vocal queen.

Monsta X: Shownu

Bias Wrecker: Everyone

Seeing Monsta X live made me realise how much I actually care for them. Like I genuinely wish them all the happiness. But Shown man, I love a strong man, not necessarily physically, but Shownu has a strong mind. He kept it together for so long, that when he broke down for their first win I swear I fell in love. He deserves happiness and all the wins we can get them.

NCT: Johnny Seo

Bias Wrecker: Too many, Mark, Lucas, Jaehyun

Johnny is such a man to me. So boy next door. I absolutely love it. I genuinely find Johnny such a beautiful human being and I actually am working on filling a sketchbook with only drawings of him. Johnny just makes me smile and he si actually my lock screen.

Oner/BC221: BuFan

Bias Wrecker: Yue Yue

What a man. So initially I thought Yue Yue was my bias, but Bufan dropkicked him and got in his place. I love this giant dork and he honestly just makes me smile a lot. Especially lately.

Pentagon: Yuto

Bias Wrecker: Shinwon and E’Dawn

His deep voice caught my ears immediately. Yuto is very beautiful to me, like a visual and I really like his style and feel. He has good vibes.

Seventeen: Dokyeom

Bias Wrecker: Wonwoo

Bless this man. Dokyeom is hilarious and incredibly beautiful. If I could tell him how beautiful his tan skin is I would a million times. His smile lights up a room and his voice is a blessing. I wish people would appreciate his beauty more.

SHINee: Onew

Bias Wrecker: Taemin

I have a deep respect for everyone in SHINee. I just appreciate Onew’s leadership so much and I know he has struggled a lot lately and I want nothing more than to see him happy again. But I know that isn’t easy. Beautiful Tofu leader.

Super Junior: Leeteuk

Bias Wrecker: Donghae

Leeteuk is such a sweet man. Honestly, he should take SM Ent. over because he would do a hell of a lot better. He has an overwhelming love for everyone in the company and it radiates off of him. He has life experience, talent and love in his soul.

TVXQ!: Yunho

Bias Wrecker: Changmin

Yunho is so incredibly passionate about everything he does it’s amazing. I can admire that level of passion and I admire the look in his eye when he gets that way. I also find it incredible that he was offered a permanent job in the military. Coming from a military family I find that pretty cool.

VIXX: Leo

Bias Wrecker: Ravi

The most intimadating, soft man ever. I love him and thought he was terrifying at first. Honestly, Taekwoon is a bag of fluff and that’s why he’s my ult. He makes me so happy and he has the voice of an angel. Seeing him with kids makes me want to have kids and I don’t even want kids.

Winner: Taehyun

Bias Wrecker: Mino

I love his solo music. But I felt like he brought something different to the table and I appreciated that. I miss him tbf. I find him very attractive as well, very different visuals to me.

Groups I stan but don’t write for

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Stray Kids: Chan

Bias Wrecker: Changbin

CLC: Seungyeon

Bias Wrecker: Elkie

Sistar: Soyou

Bias Wrecker: Bora

Awaken-F: Qin Fen

Bias Wrecker: Han Mubo

2NE1: Park Bom

Bias Wrecker: CL

AOA: ChoA

Bias Wrecker: Chanmi

A/N: This made me realise that I stan too many groups and that I like and that I write for a lot holy shit.

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novadestin · 7 years

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UPDATE!! Vixx/Vixx LR “Plagiarized” 10 times in 10 Months

January - Kursun, a contestant on “The Voice Turkey”, took the instrumental of “Dynamite” and claimed it as his own, saying it’s not theft but “creativity”

February - The Chinese group TVBOYS plagiarized VIXX’s entire routine that they once performed on the Chinese program “Heroes of Remix”

March - Jung Wonchul, a “Produce 101″ contestant, lifted the music from and copied the choreo of one of N’s solo concert performances for his self-introduction without proper credit

April - “Dynamite” plagiarized by Egyptian singer Reda Mandor and sold as part of his album

May - “Beautiful Liar” used in the soundtrack for a Chinese movie “Father and Son”

June - Loco’s “Falling Down” accused of plagiarizing “Shangri La”

July - OMG NOTHING HAPPENED?!?!?!

Beginning of August - New boy group ACE had a photoshoot with bnt international where some photos bore a strong resemblance to “Chained Up”’s styling

End of August - New boy group BIT clearly and completely plagiarized the album cover for “Jekyll”

*So much for skipping a month…*

September – “The Closer” plagiarized on TwitchKR by an artist claiming it as their own

October - A break down of the most recent situation:

On the 1st, the street performance group Maxxam plagiarized “The Closer”’s styling in an ad put up by fans for their 1st anniversary and used those same outfits for their anniversary performances. The group released a statement the same day saying their fans had taken a “special photoshoot” and used it without knowing it was a homage to Vixx (implying credit wasn’t given only by mistake); however, this came after a fan account had already posted that they didn’t care about the plagiarism, which people mistook as the official statement and (obviously) were very upset over (other fans also made statements like, “it’s OK because they’re not idols” >.>;;;).

Starlights objected to the official statement though for several reasons:

* They only apologized to Starlights, and not to Vixx or Jellyfish.

* The original post listed the album as “Christopher” instead of “Kratos” - perhaps it was auto-correct, but you’d think they would catch an error in something as important as the name of the album you’re supposedly doing a homage too!

* The idea that it was a photoshoot specifically for the fans but somehow those fans didn’t know (and were not told) it was a “homage” is ridiculous (saying something is a homage only after you’re caught plagiarizing is as common as white on rice).

Basically, their statement was that they did copy the styling on purpose but, through some "mistake”, the credit to Vixx got lost. The fact that Maxxam didn’t even do a cover of any Vixx songs at the event in question further diminished the “homage” narrative’s credibility (they’ve only ever done covers of “Chained Up” btw).

On the 2nd, they released a longer statement and, to their credit, seem to be fully aware of and sorry about the situation. They apologized for the fan account mentioned earlier and said they would be contacting Jellyfish directly in order to deal with any issues of copyright infringement. Expanding on the original explanation, they said the photoshoot was an event prepared for their anniversary specifically using Vixx as the concept, but that there was a problem in relaying that information to the fan club in advance of the event.

While many are satisfied that the problem has been resolved properly, some Starlights still aren’t happy with the explanation and question how they could just send out something as important as a concept photo for such an important event without adding such a huge (and legally crucial) detail (imagine if it was Vixx using TVXQ as a concept and oops forgot to say so... 💀). And, again, the fact that they did no covers of Vixx songs at the event causes people to continue to question how exactly it was a “homage”.

Three more months Starlights… ugh.

—

Note: Plagiarized is in quotes in the title because some of these are up for debate. The ACE one for example; it could be that Starlights are just a bit sensitive at this point (can you blame us?), but some feel a case can still be made about it so I’m including it here (not a case against the group of course, but rather the bnt stylist running the shoot).

#vixx #plagiarism #starlights #vixx lr #vixx n #vixx leo #vixx ken #vixx ravi #vixx hongbin #vixx hyuk #n #leo #ken #ravi #hongbin #hyuk

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supastareden · 5 years

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Bringing Hip Hop Back to K-pop: A Retrospective on B.A.P's Career

March 3, 2019 Qing

Following leader Bang Yongguk and youngest member Zelo, who announced their departure from TS Entertainment last year, the remaining four members of B.A.P have recently confirmed the non-renewal of their contracts as well, wrapping up B.A.P’s 7-year run as a group. The news comes as no surprise, given TS Entertainment’s poor track record of managing and retaining artists, as well as the exploitative circumstances prompting the lawsuit the members filed back in 2014.

What is perhaps more surprising, and less known, are the lyrical and musical influences they re-introduced to the K-pop scene, the effects of which we continue to see in their hugely popular contemporaries, including BTS and Got7, and in rising groups like Monsta X and Stray Kids. From the moment they debuted, B.A.P carved out a sonic niche, boosted by clever marketing tactics and lyrics that boldly veered away from familiar themes of romantic love.

For sure, B.A.P’s music may not sound all that revolutionary today. But to fully understand what was unique about their sound, it is necessary for us to go back in time for a moment to consider what the K-pop scene was like in 2011, the year leading up to B.A.P’s debut in 2012. Electro-pop and synth-pop were the go-to genres for male groups—think TVXQ‘s “Keep Your Head Down”, Big Bang‘s “Tonight”, and Super Junior‘s “Mr. Simple”. Theatrical dance pop with an emphasis on symphonic flourishes and melodic choruses were also in trend, epitomised by hits like Beast‘s “Fiction” and Infinite‘s “Be Mine”. Rapping was a standard feature, but rarely the centrepiece of title tracks. Predictably, most releases at the time spoke of attraction or heartbreak.

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This was the scene that B.A.P broke onto, quite literally—at the beginning of the “Warrior” MV, a figure dressed as Matoki (the group’s mascot) smashes the viewer’s screens as the group launches into their song, a gesture symbolic of the boundaries their music would transcend. With its blazing synths, shrill whistles, Bang Yongguk’s deep, growling voice, Zelo’s rapid-fire rapping, and Daehyun‘s soaring vocals, B.A.P’s musical take on hip hop was decidedly militant. “Warrior” was a deliberate shock to the senses, and whether it was your cup of tea, it was clear that it hit one of the marks of a good debut: it was anything but forgettable.

Yet there was more to the novelty of B.A.P’s debut: they brought back to the K-pop scene not just the sound of hip hop, but its socially conscious spirit. They were by no means the first group to engage with this aspect of hip hop; hip hop and K-pop go a long way back. The very beginnings of K-pop can be traced to Seo Taiji and Boys, whose idiosyncratic take on hip hop in the 1990s proved wildly popularwith youths, and Deux, a duo also influenced by hip hop. Their success spawned the creation of first-generation idol groups like H.O.T., Sechskies, S.E.S., and Fin.K.L.. Social critiques pervaded the promotional tracks of the hip hop-influenced groups, with songs like Seo Taiji and Boys’ “Classroom Idea” levelling charges at the Korean education system and H.O.T.’s “Warrior’s Descendant” lashing out at bullying.

While hip hop maintained a presence in the early 2000s through artists like Epik High and Leessang, mainstream idol groups tended to favour other genres, especially ballads and dance pop. Socially conscious lyrics resurfaced briefly through TVXQ’s “‘O’-Jung.Ban.Hap” and Super Junior’s “Don’t Don”, and Big Bang’s experimental music fused the sounds of hip hop with pop and R&B. 2PM debuted with a hip hop sound with “10 Out of 10”, but like Big Bang, they were not as interested in the socio-political roots of the genre, and shifted to R&B and dance pop for subsequent releases. So for the most part, the combination of the sound and content of hip hop receded into the background as other trends took over in the latter half of the decade.

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It was in this context that B.A.P geared up for their debut, preparing to re-introduce hip hop and its social consciousness to the K-pop world. Bang Yongguk and Zelo’s pre-debut release, “Never Give Up”, gave a sampling of the lyrical content to come:

Taking thousand-dollar private lessons This system that emphasizes grades over friendships This pressure called exams This burden called college The stress that is building up Would my parents know?

The lyrics, penned by Bang Yongguk, also held a more personal element:

My dream is to hold a mic and rap But again, I grab a pen and write down math formulas today Yeah, things that we learn at school Are losing dreams and always giving up

As a group, B.A.P’s lyrics are phrased more broadly, with less targeted critiques, but a similar galvanising tone — “Warrior” is a promise to “fight for the souls in this street” against “hidden system[s]”, while “Power”gestures towards a world with no justice that “surrenders to money” and urges, “Don’t yield in front of them / Don’t do that, lift your head up / We got the power / Stand up against them and fight”. The move to bring back the spirit of hip hop that their seniors in the industry once embodied is a fact the group were conscious of—the title of “Warrior” and its opening line, “Warrior is back”, are likely nods to H.O.T’s “Warrior’s Descendant”. (B.A.P also covered the song twice, for an MCountdown episode in 2012 and the 2016 KBS Song Festival.)

Lyrics aside, B.A.P also reworked hip hop to create their own signature sound; common features included a stomping beat, whistles, an aggressive rap style, and powerful, operatic vocals. These were often interwoven with elements taken from broader dance ballad trends, such as orchestral flourishes, best seen in their dramatic 2013 masterpiece, “One Shot”. Even in “1004 (Angel)”, which is as close to a conventional K-pop dance ballad as the group ever ventured, unexpected touches like blues guitar chords, and the effective pairing of silences with vocal refrains that gain momentum and soar, lent the track the sense of power that characterises many of B.A.P’s title tracks.

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The road to realising their musical niche was not, however, without its potholes. After putting out a string of sonically coherent, distinctive releases—”Warrior”, “Power”, and “No Mercy”—the group suffered from conceptual whiplash with “Crash” and “Stop It”, seeing them abruptly shed their aggressive, anti-establishment image and transforming into boys swooning in love. Another worrying sign that our writers back then had picked up on was just how over-promoted and overworked the group was.

Still, the news of B.A.P’s lawsuit against TS Entertainment in 2014 came as a shock. In a cruel twist of irony, they found themselves living out the struggle their lyrics depicted, fighting against exploitative circumstances, including but not limited to being severely underpaid and forced to work in poor health conditions. From the time of their last proper comeback with “1004 (Angel)” and First Sensibility till they reached a settlement with the company and returned in November 2015, 1 year and 7 months had elapsed—a hiatus long enough to weaken the standing of even A-list K-pop groups. For B.A.P, who had only just begun to see the fruits of their labour—”1004 (Angel)” brought them their first music show win—such a prolonged absence was, needless to say, a severe setback for their career.

BTS, who had debuted a year after B.A.P and were also pursuing the sounds and socially conscious lyrics of hip hop, had been steadily gaining traction in the meantime. It was during B.A.P’s absence that BTS achieved a breakthrough with The Most Beautiful Moment in Life Part 1, securing a leading spot in the ranks of hip hop idol groups. Given this and the sheer length of their hiatus, it was understandably difficult for B.A.P to return fully to this niche and have the same degree of commercial success. Their first comeback after the lawsuit, “Young, Wild, & Free”, pushed a message with underdog vibes similar to “No Mercy”, but musically, it lacked the same punch, despite containing some distinctively B.A.P elements and a noticeably more controlled, mature delivery.

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Despite the disadvantageous circumstances surrounding their return to the scene, the group persisted in their musical growth. They ventured into more uptempo, pop territory with “Feel So Good” and “That’s My Jam”; though neither were especially experimental, both were solidly produced and infectiously energetic. They soon followed up with Noir, the best album of their career, returning to a theatrical sound with its title track “Skydive”. Longtime followers of the group would doubtless have been heartened by “Wake Me Up”, a subtle return to their socially conscious beginnings, but with a more refined sound incorporating electronic beats, beautiful hooks, and falsetto vocalisations for a stirring, dramatic track.

Although B.A.P’s final title tracks, “Honeymoon” and “Hands Up”, didn’t quite meet the standard of their earlier releases, an overview of their discography from debut to date reveals that they’ve already left their mark on the industry. Their lawsuit and long hiatus may have held them back from achieving a level of commercial success on par with their potential, but their music rarely succumbed to trends. Their earlier tracks, especially, drew attention to the possibilities and value of a hard-hitting, anthemic, rap-forward, yet strongly melodic sound.

While it’s hard to assert that B.A.P had a direct influence on later groups, their debut clearly signalled the revival of K-pop’s interest in hip hop, and the beginning of experimentations with a heavier, more aggressive soundscape. BTS would take the renewed interest in the social consciousness of hip hop in a more culturally specific direction, pursuing a cleaner sound initially before weaving in rock influences; Got7 drew heavily from hip hop street styling and beats in their early releases, but pursued a more playful, pop-laced sound. Monsta X’s discography recalls B.A.P’s blend of aggressive rapping with soaring melodies, working in contemporary trends in EDM to produce their own signature sound.

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Even as B.A.P’s future as a group remains up in the air with their contract non-renewals and Bang Yongguk and Himchan‘s impending enlistment, the end of this chapter of their career is also a sign of new beginnings. Bang Yongguk, in particular, is already a step ahead with the gutting pre-release, “Hikkomori”, and his first full album, BANGYONGGUK, due out on March 15. If the other members can find a similar artistic freedom—one that TS Entertainment never fully granted them—while still holding tight to their previous drive to find their own sound and voices, the possibilities that await them will be, indeed, as powerful as their music.

(YouTube. TheBiasList. Lyrics via Popgasa. Images via TS Entertainment.)

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