Weekly Recap: 11/19/22 - 12/3/22

After a busy week and a pre-written post, I am back to catching up on what I missed! Spoiler alert, a whole lot happened, three-thousand+ words happened. Fifteen paragraphs on RM, eight on KARA, four on Miyavi, four on LAUSBUB, and other stuff too.

KARA - Move Again

I have went on record several times praising TVXQ as my favorite boy band of all time, but I have rarely mentioned my love for K-Pop girl group KARA. While I certainly knew of them, I only really became a fan in early 2019, where Step acted a soothing voice in what was a chaotic year for me. I still remember exactly where I was when I learned that Goo Hara tragically passed away. In many ways, I enjoy TVXQ's music much more, I have certainly listened to it more, and my nostalgia and personal connection to them is much more, KARA's best music has lifted me up perhaps more than TVXQ. To date, I would confidently call KARA's Step my favorite song released in the 2010s.

After Hara's passing, any slim hope for a reunion seemed to fall out of hand, and even if it happened, it likely would have been a four-member reunion, excluding Youngji and Sunghee. Imagine my surprise when earlier this year, it was announced that KARA would return as a five-member group, including Youngji. While I obviously would have liked it if Sunghee could have returned, none of us know the group's dynamic behind the scenes.

Everything from their new comebck recalls KARA as if they never left. From their old YouTube channel to the dramatic MAMA performance, KARA are back once again, as one of the biggest girl groups through the world. If I would have to highlight something from this comeback cycle, it would their fantastic performance on the Dingo Music show. Not only does it recall their wonderfull 2009-14 run, but the group dynamics and vocal skills are showcased better than ever. If there is one thing I completely forgot, it is Seungyoon's vocal skills. Her high note at the end at 6:56, performing Mister, might be one of my favorite moments of 2022 K-Pop.

After three paragraphs of geeking about the build-up to the release of the EP, I finally can get around to talking about the EP; it is pretty good. Obviously, the odds were stacked against Move Again, and these expectations do damage to Move Again. Perhaps the most damning effect thing going against the song is the lack of KARA's usual legacy producers, the team Sweetune. In the mind of many fans, it is impossible to separate KARA and Sweetune's legacy, and this choice to rely on European producers reads as an awkward choice by RBW Entertainment.

Nonetheless, the new producers have done quite well capturing KARA's charms, especially in the lead single When I Move. In a way, KARA are a major part of this. While hardly remembered as vocal powerhouses, the group has the natural performing charisma which seems to be surprisingly lacking within a large portion of fourth-generation K-Pop. Seungyoon, in particular, digs in her stable vocal charms to the tracks. The MVP, however, is surprisingly Youngji. She proves the glue through When I Move which the rest of the members play off. Additionally, her opening line in the second verse is one of my favorite musical movements this year, rebounding the song's momentum in what could have easily been a collapse to the entire track.

Unfortunately, When I Move is a little less than the sum of its parts. The first verse features an incredible build before the chorus, relying on the tried-and-true anti-drop format. The members' performance lifts up this segment greatly, and the track maintains its momentum. The issue is I kept waiting for the song to build to something, anything. Where is the post-chorus that explodes? Where is the finale which lets loose?

None of the b-sides provide something stunning, but none of them collapse into mediocrity. Happy Hour sounds the closest to the classic KARA b-side sound, likely due to the former Sweetune members of Monotree. Shout It Out's energy is appreciated, even if I wish that the song played more into KARA's charms and post-2010 maturity. Finally, Oxygen is a fine album-closing ballad that does what it should, even if it lacks originality.

This may all sound like I hate When I Move Move Again, but I don't. It is certainly extremely flawed album, but its many benefits highly outweigh its issues. Additionally, just the feeling of KARA being back, not for a nostalgia-bate comeback, but for a legitimate return, and hopefully one that lasts.

Miyavi - Miyaviverse-Anima

If the group KARA is one of my favorite acts of all time, Miyavi is undoubtedly my favorite act of the 2020s. His two full-length LPs could best be described as "amazing," and his output has shown no signs of decreasing just yet. 2022 has been a bit different for the J-Rock legend, seeing him release several singles, an MV for a 2021 song, collaborate with idol acts, form a supergroup with some of the biggest names in J-Rock, and now has released an anime cover album, all in service for his 20th debut anniversary.

At five songs, Miyaviverse-Anima is surprisingly short, but packs an equally surprising amount of punches. Remaking theme songs from Gundam, Naruto, City Hunter, Galaxy Express 999, Neon Genesis Evangelion, there is much legacy and nostalgia within these tracks, and adapting them would always be a tall order. For the most part, Miyavi does a respectful job at this very task.

The best remake within the album is City Hutner's Get Wild, giving the song's initial gruff sound a surprisingly groovy and electronic exterior, while still keeping the emotional heart at the original's core. Miyavi's rough, aharmonic vocals prove a perform conduit for Get Wild's emotive charms. The end result is a surprisingly appealing transfer of the classic song to modern times.

The rest of the EP has quite a few highlights as well. Soul's Refrain has always been a classic, and the ripping electronic guitar's in Miyavi's version add quite a lot of charm, the ballad Eternal Wind gets reshaped as a largely-instrumental rock track, and Blue Bird's is a classic regardless of its execution. The only downside to the album is Galaxy Express 999. The original is a fun little song, but I always found the English chorus a little cheesy. This makes the original better in a way, but does not exactly work with Miyavi's rockstar style. Nonetheless, the rest of the song is quite fantastic. In fact, this entire EP has been fantastic, and I can't wait to see what Miyavi does next with the Miyaviverse series.

LAUSBUB - M.I.D The First Annual Report of LAUSBUB

LAUSBUB have slowly but surely become perhaps my favorite indie duo currently active. Their eclectic and experimental electronic synth soundscape revels in its unique escapades and dreamy myths merely imagined through the ear, bringing Tokyo to life. If I have one complaint with the group, it would be their frequent usage of English, a language the duo clearly is not familiar with, especially compared with their usually meaningful Japanese lyrics.

Their latest album, entitled The First Annual Report of LAUSBUB, sees the group provide an update to their electronic sound, especially now that the duo is out of high school. None of the songs here go as hard as Solaris from June, but instead builds a landscape of a city with the artistry expected once you drop below the 100k-view mark on YouTube. Ambient Fog is a fantastic opener to the album, creating an aura of mystery and wonder. Single Wind City relies on its heavy production to carry the song, but the chaotic production clashing with the stable vocals creates a strange electronic blend that is admirable and off-putting.

That final statement might be a great way to describe First Annual Report and LAUSBUB as a whole. Nonetheless, the rest of the album begins to drive more into early acid house, along the lines of Phuture or Charanjit Singh. The Catcher in the Dai is a surprisingly good example of this sound, and the album further grows its house song later through the album, with highlights such as Get Stir Crazy's 2022 mix.

My personal favorite song on the album would be their remix of Sports Men, by the legendary Harry Hosono. Something about the merge of the classic addictive whistle hook with LAUSBUB's classic, hard-hitting bass creates a combo that somehow makes the song sound even better.

RM - Indigo

I attribute BTS' creative decline in the '20s to a lack of the members' involvement in the songwriting process, particularly Kim Namjoon (RM). Perhaps the group's ace and key songwriter, RM's skills as a musician and artist were perhaps best showcased on his 2018 mixtape Mono, which to date remains one of my favorite albums of the 2010s, not only for its immaculate production but the lyricism provided by RM.

2022 sees BTS at a very different point than 2018, even if the group's burnout has likely only increased. The end result is, almost tragically, more inspiration for RM to translate into art.

Opening track Yun features Erykah Badu, but largely focuses on RM's inspiration, painter Yun Hyeong Keun, and his philosophy of being a human before an artist. RM wonders if his art and all his skill mean anything if he has lost himself as a human, leaving the art meaningless? RM resolves to focus on his humanity first.

The second track Still Life is less lyrically sharp, focusing on RM's willingness to create meaning in his life. Combined with a jazzy rhythm, RM lets loose with some of his best flows throughout his whole career. Unfortunately, Anderson .Paak proves an odd feature, failing to keep up with RM's flows, especially in an underwhelming halftime chorus.

The third track All Day sees RM collaborating with my favorite Korean rapper of all time, Tablo. Both of the rappers let loose and have a whole lot of fun through the entire song, with both verses being particular highlights of the album. Unfortunately, the halftime segments prior to the chorus', and the eventual drop chorus are just underwhelming, failing to capture the tempo, lyricism, and skill showcase through the verses, leaving a bittersweet taste in a good song, that could have been incredible.

Following it up is Forg_tful, a song likely written during the quarantine (RM notes he is twenty-six, which he was in 2020), with lyrics focused on isolation and the morning blues. It is in these smaller, more personal moments that a songwriter of RM's caliber succeeds. Kim Sawol proves an auspicious pairing, resulting in a gentle guitar ballad worth its price of entry.

From Forg_tful onwards, the album surges to life. Closer is classic hip-hop at its best with some well-advised features. A romantic ballad, Mahalia and RM in particular adds some emotion to this sensual, B.I-esque jam.

Back in 2017, RM had collaborated with Change for Change, a somewhat generic electronic rap song from the year. While back then RM promised the world would change, now in Change Pt. 2, he tells he has changed. A diss track to your younger self is risky, and I am not sure it is conceptually correct, especially since I grew to be a fan of RM due to his younger self. But as he says, "Things change, people change, everything changes." He doesn't leave things at that, attacking his previous interviews and even his Wikipedia page. All this fury and grief is assisted by some of the album's best production, with pulsating bass meeting grinding electronic production. At the same time, the song's eery elements eventually fade into sad coffeehouse jazz as RM's fury dies slowly.

The album does not lose steam after Change Pt. 2, with Lonely, a pop song merging spaghetti western elements to anthemic production. While hardly a rap track, Lonely captures a spirit of isolation and sadness, especially after losing a relationship quite well. In particular, I love the pre-chorus, it might be my favorite moment in the album.

The succeeding song, Hectic, features Colde, and captures the chaos of celebrity life. While I enjoy the melody and lyrics, the disco production carries the song to great effect. 

The title track Wind Flower might be the album's highlight, lyrically and musically. While fellow BTS member J-Hope had already tackled the mental effects of the group's sudden fame in Arson from earlier this year, RM seems to be the member who is either the most affected by this or at least the most articulate at expressing its effect. Wind Flower, which should have used its original title, Flowerwork, is the album's best track, and maybe my favorite by RM.

RM is at his best here in everything. His production is reminiscent of his 2020 collaboration with Younha, Winter Flower, with gorgeous soft-rock elements. Additionally, his rapping here is incredible, perhaps his best since 2020's Persona, brimming with personality and style unique to him. Cherry Filter's Youjeen proves a great pairing, with the Romantic Cat singer's voice providing emotional grit that matches, or perhaps, even outdoes RM.

The song's trump card, however, is RM's lyrical skills. I personally feel that perhaps this album's high profile release may have resulted in the lyrics being generally weaker than that on Mono. The one major exception is Wind Flower, which captures the anxieties of fame and personal life perfectly. I normally comment on lyrics, but I think I'll just share my favorite bar throughout the entire track, the bridge. Though I personally enjoy the second verse more, I found it too large to share.

Yeah, my start was poetry

My one and only strength and dream that protected me so far (Light a flower)

Burning fireworks to flowerworks

Boyhood to eternity

I’ll stay in this barren field

Ah, I’ll return someday

The album's final track, No. 2, is a beautiful breakup song featuring Park Jiyoon of all people. While one of my favorite songs from the entire album, I still can't help but feel that the artistic Wind Flower should have closed the album, while this song could have been a track nine.

Overall, Indigo is a fantastic album. Does it reach the height of Mono? Absolutely not. However, it is a great album with a few incredible songs of the highest caliber, sung by one of Korea's greatest superstars.

J.Y. Park - Groove Back

Ooh, three large album reviews, time for a little cool down with a review of a K-Pop legend returning with a fun little single. Perhaps the reason for J.Y. Park's contemporary omnipresence is his willing to own his "greedy, egotistical corporate CEO" image with a little self-aware humor. Obviously, he likely is not a humourous parody in real life, but he clearly understands how to create a brand image.

That said, I don't think Groove Back can count amongst his best efforts. The song is clearly aimed for TikTok virality, and lacks the soul or humor that has made his best, 21st century offerings (Still Alive) pop. It has the classic '80s groove an signature JYP production, but lacks the charms from those aforementioned songs.

Weyes Blood - And In The Darkness, Hearts Aglow

American musician Natalie Mering, AKA Weyes Blood's new album, And In The Darkness, Hearts Aglow, takes a simple concept, the lack of connection in an interconnected world, and runs with it. Merging thematic relevance with baroque chamber pop influences for a record that sounds fantastic. As opening track It's Not Just Me, It's Everybody, states "Living in the wake of overwhelming changes, we've all become strangers, even to ourselves." All the other songs on the album also pull out similar themes.

As the album gets deeper into its tracklist, the more fantastical the production becomes, the better the songs. Hearts Aglow, at the end of the first half of the album is a watershed moment, a transition carried on in Twin Flame, which builds to a breathtaking climax.

With only eight full-length tracks, there is hardly room for error in And In The Darkness, Hearts Aglow. With a mild exception in The Worst Is Done, each song is better than the last, culminating in the beautiful climax of A Given Thing. I am not sure I have fully appreciated this album yet, but I can appreciate its artistry.

Musical News

(These two weeks have been a doozy)

• Christine McVie of Fleetwood Mac has passed away at age 79. Perhaps one of the most influential singer-songwriters in the history of western music. I hope she is in a better place.
• Hyuna and Dawn, frequently referred to as K-Pop's power couple, have broken up. It unfortunately was inevitable the moment they began to incorporate their relationship into their brand. At least their parting seems amicable.
• Kris Wu gets thirteen years in prison for r#pe. He got off easy, but at least it is not one of those two-year sentences from Burning Sun.
• Legendary Korean soloist Lee Seung Gi reveals his agency Hook Entertainment didn't pay him for all his years under them. Hook Entertainment has apologized, but their CEO Kwon Jin Young has powerful ties in the industry, and Seung Gi is facing an uphill battle.
• The whole Blockberry-Chuu situation from earlier this year kind of exploded with Blockberry dramatically proclaiming they kicked Chuu out after she abused staff and the members... only for some of the members, allegedly some staff, and industry insiders declaring their support for Chuu, leading to Chuu being on the rise. Meanwhile, the rest of LOONA allegedly decided to sue Blockberry to terminate their contracts, with the exception of Hyunjin (who supported Chuu, but has active schedules) and Vivi (whose visa is likely tied to Blockberry). Overall just a really messy situation. Doesn't look good for Blockberry any way you spin this.
• Rapper Ye, AKA Kanye West, went on Info Wars to voice his support for the N#zis... yikes. It has been clear he was mentally unwell for a while, but I didn't expect it to go this far.
• Ticketmaster were in hot water after Taylor Swift's tour tickets sold out during a special fans-only pre-sale, not even all the fans got it.
• AKB48 member Nana Okada was kicked out of AKB48 due to dating. As someone who never understood the appeal of the 48 groups, I get the feeling that she might be the biggest winner. She is arguably one of the group's most popular members, and the 48's influence has been sinking in recent years.

Image Source: Kpop Starz