My adoration of Kyuhyun knows no bounds. While I really want to do a review of Fiestar’s comeback, which I will do once I listen to their entire EP, everything takes a back seat to my number one bias Kyuhyun.
I still have At Gwanghwamun on repeat to this day, but there’s nothing better than a new song from your fave to play in addition to his flawless album and collection of previous OSTs.
So it’s been over a week now in the new year without any posts from me. Obviously that’s mostly due to the fact that nothing very interesting has happened yet in the world of K-Pop.
One slightly notable thing is that SM Entertainment is trying to shove Jonghyun down our throats, and are using questionable tactics such as sticking Certified Digital Monsters on almost all of his album tracks and releasing at a time almost as dead as APink’s latest comeback in order to attempt to re-create Kyuhyun’s digital success.
All things considered the album is full of falsetto vocals, and thus not worth my time. The pre-release’s title sounds like a bad Tom Haverford pick-up line. Plus he couldn’t maintain an All Kill for even half the time Kyuhyun did, so obviously it’s a certified flop.
There’s not much to say about HelloVenus’ new single. It may actually be an improvement on “Sticky Sticky” but I have no desire to rant about that.
So, I’m going to talk about the yearly charts Gaon releases and why they’re actually flawed and not a proper way of gauging what songs are actually the biggest hits.
10 Songs of C-Yell screaming on top of electronic beats while Plastic Bom pretends to sing occasionally is not worthy of the album of the year title. That rightfully belongs to the Kings of Hallyu, Super Junior, and their masterpiece, Mamacita AKA 7Jibsus.
When Super Junior’s first teasers came out for “Mamacita“, of course I gave them flack for ripping off B1A4’s iconic “Baby Goodnight” concept. The cowboy garb was ridiculous to begin with, and after watching the video, I really wanted nothing else to do with the song, ever again. It’s easily Super Junior’s worst title song since…ever. If it weren’t for Kyuhyun’s glorious adlibs, I don’t know if it would even be listenable.
Even though I generally only listen to full releases from my primary bias groups (B1A4, Super Junior, T-Ara) based on everything I heard this year, Super Junior managed to put out the best album of the year and I’m glad I waited until now to review it, because Billboard did them a disservice, as did the GDA by ‘forgetting’ to nominate this gem of an album despite having the highest album sales of all Korean music releases this year.