Prediction: More global groups of kpop companies maybe????

Why tf Vernon low key kind of looking like Blackheart from the 2007 Ghost Rider movie?🥀🥀 submitted by /u/Fun_Comfortable1379 [link] [comments]

Lately, it seems like having animal mascots is a big trend in K-pop — like BTS’s BT21 and Stray Kids’ Skzoo. These mascots are really fun for fans since they represent the members’ personalities and give the group a unique identity beyond just music. But I’m curious — which group started this whole mascot thing first? Anyone know? submitted by /u/Legal_Potential4720 [link] [comments]

When you first discovered your ult(s), what made you go "Yes, this is them..."? Why are they your ult? This is an opportunity for fandoms to discuss their love and loyalty to their respective groups and just have a good time. I see a lot of negativity in the k-pop world as of late so I want to brighten the atmosphere! submitted by /u/Frequent_Ebb6360 [link] [comments]

In some TikTok posts, I keep seeing so many hate comments. Like, when Enhypen members do dance challenges with female idols, there are always disgusting comments like “___ member next Sulli,” “___ x ___ boing boing,” or even “this member should leave the group.” It’s so disrespectful and honestly makes me uncomfortable. Does anyone else notice this too, I don’t know if tiktok has a specific filter to remove those comments but it’s so tiring submitted by /u/Legal_Potential4720 [link] [comments]

submitted by /u/neocitywayv [link] [comments]

submitted by /u/thickalmondpaper [link] [comments]

To preface, I have been a massive fan of TXT since debut and what I’m going say are just my own thoughts, musings and opinions. You can disagree, but please keep in mind that my complaints are just critiques, not hate. At the end of the day, it’s K-Pop and no one can dictate how you enjoy it. Apologies, because this is going to be a long one. I feel that TXTs releases in the last couple of years have lost the consistency and dynamic production that their work had pre 2022. This isn’t only applicable to TXT but can be said for other groups too: I feel the music now is largely concurrent with these dreadful trends in the current K-Pop sphere that opt for easy listening, built around success rather than creativity, subdued and boring production and extremely short track lengths, (those of which I genuinely believe are HYBEs fault for feeding into lol). I don’t believe any of TXTs recent music is even ‘bad’. I do love some of the songs they’ve released in recent times, but I cannot help but feel the quality and lack of development on these tracks has held them back. I think ‘Over the Moon’ could’ve been greater had the production been a little more exciting, and (I know we all feel this) had it been LONGER. The hook is super catchy, the song builds up and is practically begging to lead up to an explosive conclusion that never comes. I like the song, but I don’t blame people for calling it boring. ‘Deja vu’, on its own, I think is an incredible song that had a lot more potential. It’s personally one of my favourite TTs they’ve done since GBGB. However, if they had pushed back the tinny-sounding trap beats, uplifted the underlying synths and prioritised the emo rock elements, I really believe we could’ve had a song that would mirror ‘0X1= LOVESONG’ and it’s excellent, nostalgic and cathartic production. ‘Chasing that feeling’.. (I may get jumped for this?) it’s a fine and fun synth-pop song, however, it’s largely generic. It’s also smothered in that weird hybe overly processed sound which I’ve yet to put my finger on how to describe, and it is yet again, like most of their title tracks in the past few years, bridge-less. It could’ve been a lot more than it already is. Finally, and this might be a personal gripe but ‘Sugar Rush Ride’… makes me so sad because most of that song is literally fantastic. But that chorus.. that anti-drop. To this day I don’t know WHY they made that choice. I’ve learned to live with it, but with great difficulty. I literally agonise at the thought of its potential. If it’s your thing though, I envy you. I wish it was mine. Prior to SRR, I’d say I loved each and every single title track and album TXT came out with. No complaints about their discography past that point. My point is, these recent title tracks are good, some fantastic even, but they keep missing the mark. The songs are popular, sure, but I’m not sure that they’ve reached the same level of iconic impact which say ‘Run Away’, ‘Blue Hour’ or ‘0X1= Love Song’ had, which were their definitive career highlights. Mind you, they had these back to back too! B-sides are a completely different story now. For instance, their last comeback, and this might seem like strong language, but that album gave us a half baked, hollow lineup of truncated songs that felt as though they were meant for easy listening, streaming and tik-tok challenges. Largely generic and uninspired. Down to even the visual album concepts, which their creative team are usually spot on with! The comeback in general felt half-heartedly strung together. The songs are fine, they’re not BAD. I even really liked a couple of the songs (saved by the live performances I had seen. the members absolutely killed it) which I probably would’ve loved more had they been longer and more fleshed out. However this album was generally a massive blotch in their discography. I genuinely believe fans and TXT themselves deserved better. (apologies if you loved sanctuary though.) The Tomorrow minisode was better, I liked it, but again it felt as though something was missing. My favourite B-side that I really love and adore from it is ‘I’ll see you there tomorrow’ (which surprise surprise, is the longest track on that album! it also felt like such a distinctly TXT song). However, I do consider Tomorrow to be their most consistent album as of late, it just felt as though it was being held back from being even more. Freefall, I know that people loved it, and consider it one of their best albums however.. I would disagree with that sentiment. Everyone has different criteria for what they consider ‘the best.’ And even though there are a handful of great songs in that album, it doesn’t quite hit the marks of being the best TXT has had to offer. There seemed to be no cohesion, as I previously mentioned, the album felt stuffed with that ‘overly processed hybe quality’ and that commercial pop ‘Do it Like That’ collab felt completely unnecessary. Harmless fluff, but not a good addition to either parties discography. A clear and random attempt to push them into the western market, however way you feel about that. Compare these past 4 comebacks to TDC: Star? Eternity? Blue hour? Magic? Freeze? Thursday’s Child even? We got some of TXTs most creative, fun, innovative and dynamic music out of the first 3 years of their career, and that’s why it’s incredibly frustrating now because we know that TUBATU are masters of any concept/sounds given to them because they are such a talented, charismatic and fun group, so where is that same level of consistency in their discography that they had as an early group? I remember there being some complaints circulating about the Act: Promise pt 2 set list months ago, and the removal of their older songs. I genuinely think this is an example of a lot of MOAs generally gravitating more towards the former part of their discography. I suppose I felt a little pushed over the edge after seeing and hearing the previews of their upcoming Together album. Ridiculously, ‘Beautiful Strangers’ is even shorter than ‘Over the Moon.’ Disappointing, but not surprising. Only 2 tracks are over 3 minutes the rest of which barely reach the 3 minute mark. I was really relying on this album to change my mind, or hope for some changes. I like some of what im hearing but again… it’s lacking. I understand these are only previews and we haven’t heard the full songs yet, but seeing the track lengths… I’m not sure that they won’t repeat the same faults that sanctuary and tomorrow suffer from. Only time will tell, and I would love to be proven wrong.. it’s not impossible to have a fleshed out song under 3 minutes, but for that to be a consistent pattern in their discography?? It’s getting diabolical at this point. On top of this, coming out with solo songs and MVs is a great idea and opportunity for each member, but more time and creative vision should’ve been dedicated to each one as they each deserve. The only thing which has not changed and that you can’t take away from TXT is the consistency of their hard work, talent, charisma and showmanship. Whatever they’re working with, their output has never felt half-hearted, and that is the golden thread which I’ve held onto up until this point. If I didn’t like a concept or sound, it would be carried by the members themselves. I feel a lot of warmth, endearment and nostalgia towards the five of them. For this, they will always have my support. Had I felt indifference otherwise, I wouldn’t be here typing up this post. It just constantly feels as though their potentials and the quality of their comebacks are being undercut by the production of the songs. At one point, I had considered their discography to be absolutely flawless and golden, and personally resonant. That’s what I hold on to, they’ve done it many times before, and they’re even better performers now. So why can’t they do it again? The answer probably varies and is mostly down to the current trends within the K-Pop sphere, a change in vision, hybes laziness and greediness. Not really sure. What do you guys think? You can agree or disagree, it doesn’t really matter, however it is fact that their concept and musical identity has morphed completely in the last few years, it’s just a matter of how you feel about that change. Again, I reiterate, the recent music is fine. I like a lot of it (absolutely loved ‘Love language’! a super fun era and I missed their refreshing concepts so much). However, I believe as a group of their calibre, they deserve even greater, and it just always feels like there’s something missing. I hate feeling this way because I know how hard they work on these comebacks and how much effort/energy it takes for TXT and their team. Those boys have been constantly worked to the bone since debut, and that frustrates me to no end. I just wish that more MOAs felt this way so it can be raised as actual critiques for the label to reflect on. Longer title tracks with BRIDGES, more creative and dynamic production, complete and FLESHED OUT B-sides such as their earlier work, use the time in between to let them rest so that the comebacks are less frequent, but way stronger in quality. I get they are a group that love touring, but they don’t need to be doing it every single year. That time can be used for them rest and hone their craft/performances so that when they do go on these tours, they return replenished and with a stronger body of work. (As well as a bigger budget for their overseas tour but that’s another can of worms!) I know that whether or not things change moving forward, they’re going to be successful nonetheless because they’re a sincere group. However as someone who really prioritises the quality of a groups vision and discography, I hope that label stops making weird decisions with TXT that stunts the quality of their body of work. TSC: Together is shaping up to be another repeat of these same issues, and at this point I need people to really start complaining and asking for better. At least for the length of the tracks!! I understand wanting to nurture a positive atmosphere and reaction surrounding this comeback, but as fans who give our time and for some of us money into these groups, I think we are entitled to ask for better from that company. submitted by /u/lightfromadeadlamp [link] [comments]

I'd at least thought that CIX would reach The Boyz popularity. Like CIX has a wanna one member and the Boyz had a member who didn't even make it into wanna one. The Boyz deserves their popularity but I'm just curious. submitted by /u/Flaky-Manner-9833 [link] [comments]

Blib submitted by /u/KyeodeurangiMerchant [link] [comments]

With Katseye's debut, I know they'll be different, because they're a global girl group, of course, but other than that, they have a lot of things that a K-pop group doesn't. Primarily, they're able to express their gender identities, and get to protect themselves from people who want to spread hate against them, their vibe, I felt, is like I'm interacting with people from the US or any other English-speaking country. They don't do this "aegyo" unlike most K-pop groups do, which I find cringeworthy. I grew up with K-pop groups for sure, but I find relative comfort with Katseye, especially when they're live and doing chaotic stuff like how American girls would naturally do, like Manon flipping her hair against Dannie HAHAHAHHAA + this brings nostalgia as if I'm watching American/European shows again. Also, their music was very top-notch. submitted by /u/Alarmed_Pepper9665 [link] [comments]

Like I'm not talking about Jungkook of BTS could be the father of Jaehyun of Boynextdoor becaue they both look alike-sense(This is true) BUT I'm talking Baekhyun from Exo is a Father of yearning music and Jaehyun from NCT is his son typa thing submitted by /u/Muted_Bodybuilder109 [link] [comments]

We’re officially living in a timeline where virtual humans with zero breath control, no stage presence, and digitally generated charm are debuting before actual trainees who’ve been dancing in sweat-soaked practice rooms for years. Why is a blender with a wig releasing teaser pics before real idols? Make it make sense. I want humans. With flaws. And actual emotions. Not some uncanny valley avatar doing TikTok challenges with empty eyes and a perfectly AI-curated “sad backstory.” Some of these AI groups even have songs that are made complety by AI. Image you are in a more unpopular group, you worked your hole life really hard to reach this moment. You and your members put hours of work and dedication in a song and performance. Your group gets nominated for an award and you get really excited. And than you end up losing to people who aren't even real and a song made by AI in like a few minutes, Like that would be so frustrating. Maybe that's just an unpopular opinion from me, but that's how i feel. submitted by /u/Injeolmie_04 [link] [comments]

My friend and I noticed a difference in Manon from katseyes lips. Does anyone know if she got lip filler? We were talking about it and our other friend said she's had no surgeries done stall and mad us seem crazy for thinking otherwise.. --> and yes I know Katseye isn't considered "kpop" but the group is kpop adjacent and has preformed korea --> Also this is NOT hate in the slightest me and my friend both like katseye and are just wondering!! submitted by /u/garamforeverfearless [link] [comments]

submitted by /u/impeccabletim [link] [comments]

Back in 2022, when NMIXX first debuted, I remember a stir happening due to NMIXX branding their music as ‘Mixxpop’. As far as I know, they never claimed to invent it, but used the label to describe their musical direction, which I feel is good branding, it’s clearly worked to give their music a descriptor. When I introduce friends to the group, ‘Mixxpop’ is quick and easy way to get the idea across. But, Mixxpop has obviously existed for a bit, and I’m not just talking about K-pop. One artist that comes to mind is Rei Ami, her name is a mix of two sailor moon characters that have different personalities, one more guarded and confident while the other is more willing to be vulnerable. Just give her ‘FOIL’ Album a listen and you’ll get the vibe, there’s change ups in a lot of her music. Another artist that comes to mind is Poppy, though she’s not so much Pop in recent years as she is metal/rock leaning. Specifically the ‘I Disagree’ album or her more chaotic tracks like ‘X’, ‘Say Cheese’, ‘Khaos x4’, are capturing the same style of Mixxpop with genre flips and sudden change ups. Also, the more obvious K-pop acts that have delved into Mixxpop activity before it had the label: SNDS, f(X), and aespa immediately come to mind, I have no doubt NCT has done similar, I’m not as into boy groups but I’ve peaked into their catalog and heard the vibes. I think Red Velvet’s dabbled with ‘Zimzalabim’. There was also a plethora of groups debuting after ‘Next Level’ was so successful with the general public, the influx of Mixxpop among smaller groups debuting around late 2021/2022 is evidence of that. All that to say… This is what I found intriguing but also critique worthy of NMIXX in terms of music production at first. I’m very used to experimental music, but ‘O.O’, to me, still feels very clunky, ‘Dice’ too, neither grew on me as songs as much as performance pieces that I only return to to watch in performances. They aren’t bad to me, just not something I ever really go back to or feel like listening to. (The B-sides of both singles were good though!) The time between, in 2023, their music wasn’t hitting for me besides ‘Love Me Like This’ and ‘Rollercoaster’ but they didn’t feel specific to NMIXX. I think they really figured things out production wise with ‘Dash’. The whole Fe304 trilogy has been great, all the title tracks are solid to amazing. The B-sides have been mostly huge hits, but some unfortunate misses for me. ‘BREAK’ was near perfect, I only don’t go back to ‘Break The Wall’ but every other song is a 9 or 10 out of 10 for me. It’s such a perfect album, conceptually and musically. No notes, just good and interesting music. ‘STICK OUT’ was a bit of a rocky one. I didn’t like any B-side except ‘BEAT BEAT’. I don’t view them as a group that should lean into rap. ‘SICKUHH’, was really disheartening, lol, I don’t find them rapping to be authentic and rapping is all about authenticity to me. Jiwoo and Kyujin are the only ones I like hearing rap verses from, personally, it just felt forced to make the others rap so much. ‘FORWARD’ they FULLYYYY got me invested again. I loved every song on that EP, the title track was actually the weakest to me, which says a lot bc I like KAM, but I enjoyed all the B-sides so much this time around. ‘High Horse’ and ‘Papillon’ are the obvious standouts, I think, but ‘Golden Recipe’ has grown on me so so so much. ‘Ocean’ and ‘Slingshot’ obviously good too, I overplayed them already but they haven’t lost their touch still! I can still play them without getting bored. To put such a long observation post to a conclusion- I think NMIXX is valid in coining and using the term Mixxpop. Giving them credit for ‘developing their own genre’ is weird though, they aren’t doing so but fans sometimes want to give them that credit. I’ve heard change ups before, they’ve existed before, that’s not what makes NMIXX unique. What makes NMIXX special is the degree of vocal strength in the group and the strong performances they always give, and lately, the music has matched the talent. They still are continuing to bring the experimental music that I think a lot of fans have missed, that’s something they deserve credit for, continuing to put out experimental music even when the trend currently isn’t experimental. TLDR: I’ve been so happy about the progression of NMIXX and I’m invested in their future releases. They’re getting soooo good in terms of musical production. submitted by /u/Green-Recognition-88 [link] [comments]

I’m tired of kpop stans and their fake outrage over kpop standards that they enable. “Stop debuting minors” they spent all of last year calling a 20 year old girl a “hag”. “Kpop companies pick visuals over talent” still calling one of the most talented and successful idols a “horse”. “dieting shouldn’t be a thing” picked apart a female idol for years simply bc she wasn’t underweight. “idols should be allowed to be themselves” made fun of a rookie idol anytime he showed any type of emotion. Do you guys see the hypocrisy? kpop stans preach one thing and when they finally get it they start preaching the opposite and then they wonder why companies aren’t doing the things they first preached about.😭 submitted by /u/SympathyRough5235 [link] [comments]

submitted by /u/DragonfruitNo3561 [link] [comments]

submitted by /u/beelzebub2099 [link] [comments]