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Goofy shivers (Top Singles First Quarter 2017)
Generic songlist intro: Had mostly completed this a month ago, felt I ought to say something about some of these, hence the delay in posting. Here's the YouTube playlist:

1. Lil Debbie "F That"
2. NCT 127 "Limitless"
3. MC G15 "Deu Onda"
4. CLC "Hobgoblin"
5. Juan LaFonta ft. Big Freedia "Bounce TV"

6. Pristin "Wee Woo"
7. Steps "Scared Of The Dark"
8. Jovi "Ou Même"
9. Vince Staples "BagBak"
10. Cherry Coke "Like I Do"

11. K.A.R.D "Rumor"
12. Alternative TV "Negative Primitive"
13. K.A.R.D "Don't Recall"

Lil Debbie. By strapping herself tight to rhyme and meter schemes she becomes taut and virulent.* NCT 127. If this had been Super Junior doing the "baby it's you" part, the hair-on-the-neck harmonies would've been shivery and cold. NCT sound warm doing pretty much the same, and good for them. MC G15. The genre is "funk ousadia," Google translating it from the Portuguese as "daring funk" or "bold funk," which in this case is a slow goofy dance on a high wire.** The melodica brings me back to Ennio Morricone and Augustus Pablo, also shivery. CLC. HyunA moves with a nice ungainly beauty into which she's instilled presence and charisma while still being accessibly goofy. She's written and produced a HyunA soundalike track for CLC, who have none of her charisma and little of her talent, and they sound almost as good anyway and almost as compelling, also goofy.*** Juan LaFonta ft. Big Freedia. 60 seconds is an effective length for Big Freedia's insistent repetitiveness, about the length of a long TV commercial, which this literally is. K.A.R.D. Immediately gripping but the grip is too tight, or anyway the beats are a tad sludgy and, surprisingly, it's the female singers rather than the males who lie too heavily atop the rhythm. Lots of promise, though, in the songs and the singing.

*Virulence can be a massive irritant of course when linked to Debbie's childish toughness, and fuck that, but it's up to better people to make better music, and at the moment they don't.

**"Sexual connotations and puns in the form of humor," Wikip helpfully opines, also with the assistance of Google Translate.

***Hence the question I asked 30 days ago: "'What if the Rolling Stones had written and produced hits for the Shadows Of Knight?' (Well, what if HyunA wrote and produced CLC?)"

This entry was originally posted at Comments still welcome here, there, and anywhere.

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You may remember that Soyul from Crayon Pop pulled out of group activities because of a panic disorder, and then got married. Now it turns out that she's pregnant and it was a shotgun wedding.

Belecrivain says (over on Dreamwidth)

belecrivain comments:

I'm just amazed you got an embed to work.

With you on Pristin and KARD. Other stuff I've liked:
Red Velvet, "Rookie"
Twice, "Knock Knock"
Lovelyz, "WoW!"
X0809, "Ho"
Enrique Iglesias ft. Descemer Bueno & Zion and Lennox, "Subeme la Radio"
GFriend, "Fingertip"
Olga Buzova, "Privykayu"
Nego do Borel ft. Anitta & Wesley Safadão, "Você Partiu Meu Coração"

and this is actually from 2016 but I'm going to throw it in to see if I can embed in [Dreamwidth] comments and also I've had it on repeat half the day:

(Link if the embed doesn't work.)

what did you think of Triple H?

I love the AsSun track. Would suspect he runs into the same cultural opposition as Ninety One has, though perhaps he's not well enough known for this to be an issue.

He doesn't sound like what I think of as Q-pop,* though one of the YouTube commenters seems to be crediting him with being the founder of Q-pop. [See update below.] You likely know way more about this than I do.

"Knock Knock" is atop my private "Borderlines 2017" playlist and is pretty insistently knocking on the door of the mainlist, owing to its extreme catchiness. It'll no doubt be let in shortly. My barrier so far is the generic so-what singing, though notice that that's not a barrier for me and CLC.

Just listening to the Triple H single now (365 Fresh), and I'm real disappointed. Has a very good dance rhythm hailing from the disco-funk median strip. But I'm not getting a lot of melody or personality, beyond HyunA being immediately recognizable as HyunA. The two Pentagon guys sing well, but don't have anything memorable to sing. The song is put together by basically the same crew** who did "Roll Deep," "How's This?," "Crazy," and "Hobgoblin," all of which were end-of-year-list monsters for me. Maybe next time. In the meanwhile I'll check the album. And the rest of your list.

*Of course, what I think of Q-pop as sounding like is strictly Ninety One, i.e. like K-pop; AsSun is more like Stacey Q pop and perhaps aimed at an older demographic, more club than teenybopper. But I'm just guessing. From the vid I assumed AsSun was a "they," but Google seems to be taking me to a "he."

**Some or all of Seo Jae-woo, Big Ssancho, Son Young-jin, and HyunA. Devine-Channel, a crew I know little about, have their hand in "365 Fresh" too.

[UPDATE: I don't speak Kazakh, obviously. Maybe the YouTube commenter is saying that Erbolat Bedelkhan (Ерболат Беделхан) is the founder of Q-pop, and Google Translate is garbling it. Does Bedelkhan have something to do with AsSun as well?

"Qpop дамуда!Qpopтың негізін қалаушы Ninety one тобы және Ерболат Беделхан!(P.S:Ұмытпаңдар)))I'm Eaglez)"]

Belecrivain comments back

belecrivain replies:

re "Knock Knock": I started liking Twice more when I started being able to distinguish individual voices -- at least Jungyeon, Mina, Dahyun. Everybody else admittedly sounds similar to each other. With CLC I can distinguish Sungyeon (sometimes), Sorn (usually), and I guess Yeeun (or, rather, when the Hyuna-like rapping starts I assume it's Yeeun).

I forgot to add Oh My Girl's "Coloring Book" because I'm ambivalent about it; it's too much of a muchness and apparently I get irritated when Mimi doesn't rap. But I'm still a sucker for Binnie and Seunghee in particular.

"365 Fresh" doesn't do much for me at all. There's no reason to have Hyuna doing Bruno Mars knockoffs.

What is Q-pop? That is a very interesting (implied) question to which I don't have the answer. The impression I get is that no one was using "Q-pop" to refer to Kazakh pop until Ninety One, and so "Q-pop" refers specifically to that subset of Kazakh pop that draws from K-pop. Figuring out how big that subset is, though, and how much it owes to K-pop, is trickier, at least for me with no knowledge of Kazakh/Russian. Like it's awfully tempting to wonder Ayumi is drawing from (my first guess was 4Minute, but there's no rapping and 4Minute was never able to build up harmonies in the prechorus. Girl's Day?). But it's also tempting to think that the three guy groups with the capital-A Aesthetic (Renzo, Black Dial, Ninety One) are pretty much it; so far Kazakh pop doesn't have the mass explosion of debuts that Korean pop has seen in the last five years.

(If you look at the Gakku Weekly Top 10, songs seem to linger for a while; that's the 28 April edition I just linked you to, and "Sendei" is still in there despite having been released last September. "Kalai karaisyn" is still #1 despite having been released in DECEMBER and having been the third single off a year-old mini when it was released. I have no idea how Gakku calculates its Weekly Top 10.)

The other thing I am 100% ignorant of is Kazakh hip-hop. If K-pop is in part descended from Seo Taiji's decision to throw in rap, what is Q-pop rap descended from?

Anyway in case I didn't link it in my original ramble here's Yerbolat Bedelkhan's original group, Orda:


(They have bigger hits but "Zhauap Ber" is my favorite.)

ALSO OKAY you have been spared (so far) my ravings about Ninety One's new single, but suffice to say I was expecting them to do Aiyptama 2.0, and "Su Asty" is... not that:

(link to the version on Ninety One's channel, which has English subs; there's a Gakku version [which is probably the one being counted for the Weekly Top 10] but it's sub-free as best I can tell.)

for the record I wish they hadn't gone that direction with the video, since it opens them up to charges of just being YG-wannabes from fans familiar with previous Big Bang / Epik High / Bobby videos. But I don't remember any YG groups doing metal-esque (???) growls and parts where the percussion seems to be deliberately drowning out the singers/rappers and songs where the individual parts end a full minute before the song itself does. I can't tell whether "Su Asty" is genuinely weird (by which I mean, whether it sounds weird to someone who wasn't familiar with Ninety One's earlier work) or it just seems weird to me because I was expecting something more conventional.

anyway. I did just yesterday locate someone who's published Actual Academic Papers on Kazakh pop (though not Q-pop) so I'm hoping I get a chance to pick her brain.

Re: Belecrivain says (over on Dreamwidth)

Fwiw, I've been knocking around the 'Net today doing a little research and I discover (1) that K.A.R.D seem to be promoting far more in the Western Hemisphere and Europe than in Korea, and (2) their music is supplied by Nassun, Bigtone, and EJ Show, who've been in the business for almost a decade, working with E-Tribe back in the day. In 2008 Nassun was a guest on Lee Hyori's "U-Go-Girl." "Rumor" and "Don't Recall" are head and shoulders above most everything else I'm finding from them, though, so I'm pessimistic they'll keep the streak going.

Tierless nocturnal creature watch

S.E.T have just debuted with a techno-trot sound and a concept that might be called a bit silly.

But they can also handle a non-ironic, non-retro sexy concept.

The last one sounds like a mixture of 2NE1 and Hwang Insun's equine anthem.

Hwang Insun and the Holy Grail

Hwang Insun inadvertently reminds me of Monty Python And The Holy Grail.

Edited at 2017-06-05 03:38 pm (UTC)

Re: Hwang Insun and the Holy Grail

On second thoughts, let's not go to Camelot. It is a silly place.

Re: Hwang Insun and the Holy Grail

(Gangnam Style the obvious intermediary, of course.)

G-reyish and the Holy Poly

As Kpopalypse said, if you're going to rip off a K-Pop song you might as well rip off Roly-Poly.

It occurs to me that G-reyish's producer took particular inspiration from the Roly-Poly in Copacabana synthpop remix.

Re: Tierless nocturnal creature watch

David, are Miso and Girls Girls unknown enough and small-label enough to qualify as No Tiers? Miso is with Ogam Entertainment, which according to Wikip is an indie distributed by 1theK/Loen; Girls Girls are on Genie, which is under KT Corporation, a telecom giant but I don't think the label has a giant impact yet — but probably has enough money behind it to make it tier-free. I notice, though, that you're counting S.E.T, also on Genie, as No Tiers.

Miso is an even better HyunA takeoff than CLC are, though CLC has a better song (the latter provided by HyunA and associates herself, as belecrivain and I discuss upthread).

Re: Tierless nocturnal creature watch

Girls Girls are certainly "nugu" enough to qualify for No Tiers, although Miso's solo MV has racked up over a million views on 1theK's YouTube account. Girls Girls are signed to a company called Hbrothers Entertainment, so where do Ogam Entertainment fit in?

Did you notice that KKPP uses the same sample as in 4minute's Canvas?

S.E.T. are managed by a company called Hoonstar Entertainment

Edited at 2017-06-26 08:51 pm (UTC)

Re: Tierless nocturnal creature watch

"Ogam Entertainment" seems to be a co-distributor with Hbrothers of "KKPP."

Wow, "Canvas" was in my top ten last year, but I didn't register it was the same sample. Think it's more virulent the way Miso uses it.

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