The Best New K-Pop, J-Pop, and C-Pop: January 2022

A ranking and review of the twenty best new music releases of the past month!

#20: TOKYO GIRLS’ STYLE, days - kimidake ga inaimachi

This layered pair of singles separates the subtle and understated moments from the louder, attention-grabbing ones. Brassy choruses serve as intermissions between verses consisting of jazzy pianos and soft vocals. The mix makes for a feel-good pair of songs with a retro flair. “Yumi no naka ni turetette” is a bit more upbeat than “days - kimidake ga inaimachi,” with synthesized echoes and bird sounds, but both songs find unique ways to create a foot-tapping good time.

#19: Justin, “星之遠征” (“Star Expedition”)

This OST for a game’s expansion pack of the same name exceeds all expectations. Its excellent production and pacing give it the anthemic feel the game creators are clearly going for, with a slow but sure rise in volume and intensity. It’s a rock ballad of sorts, with confident lyrics about being willing to risk everything to pursue one’s dreams, ideally with a partner by one’s side, platonic or otherwise. Justin dreams of bigger and better things, and this song is a great soundtrack (literally and metaphorically) to play while he pursues them.

#18: OFFICIAL HIGE DANDISM, “Anarchy”

This rock song utilizes bass guitars and vocal filters to its advantage. The band plays around with vocal effects and the timing of the song, as voices linger at the end of choruses, a capella-style. There is an unexpected detour during the second verse to make room for mellowed-out guitar strumming and spaced-out drum beats, before the bass comes roaring back. The song ends with drawn-out guitar-playing and the sound of microphone feedback, representing both the end of the song and the totality within it. “Anarchy” feels very complete and full, while also thematically on-point with its moments of intentional disarray.

#17: BamBam, B

BamBam returns to the pastel dreamscape and illogical realm of “riBBon” in the video for “Slow Mo.” Clones, images that blur around the edges, and gravity defiance all play a role in the story. Between these moments are scenes where BamBam dons a peach suit and dances with backup dancers wearing light yellow and pink ensembles. The overall effect is one of dreamy visuals and very fun, unpredictable adventures. B is not all lightness and cuteness, though. “Subliminal” expresses frustration with a crush’s mixed messages, “Who Are You” questions how to accurately describe a complex relationship, and “Let me love you” presents something new via a change in his vocal delivery. B mixes the best elements of riBBon with elements of B’s more mature pre-release single, “Who Are You,” to make for an album both emotionally charged and still lots of fun.

#16: Whee In, WHEE

Whee In’s delicate, high register graces each song on WHEE and treats them all like one fluid performance. For those who prefer more fast-paced music, there are still things to love about this release, thanks to a series of “track videos'' that complement the songs. The sultriness of “Deserve” is enhanced with a close-up, black-and-white video, pops of red punctuate the scene in “Paraglide,” and a light pink sky adds a lovely backdrop to the otherwise all-white setting in “Pink Cloud.” Once again, Whee In exudes grace and presents gorgeous visuals with this comeback. This is especially true in the video for “Make Me Happy,” where Whee In stuns in pastel dresses and is surrounded by flowers and butterflies. In short, WHEE pairs an angelic voice with delightful visuals. 

#15: Kep1er, FIRST IMPACT

When it comes to 2022 group debuts, Kep1er have already set the bar high! Consisting of six songs, three new ones and three from the reality show Girls Planet 999, the album dabbles in house music, EDM, and more down-the-middle-pop sounds (not to mention the lovely ballad, “Another Dream”). The “WA DA DA” music video is also a lot to take in, with intergalactic images serving as transitions between magic-filled scenes. The anticipation surrounding this new group’s future is contagious, as this is a time of clear experimentation visually and sonically. 

#14: Girls2, We are Girls2

As addressed last month, Girls2 are a great group for K-pop girl group fans to give a chance as their first attempt to get into the world of J-pop. Fans of fromis_9’s “WE GO” will particularly fall in love with this album. We are Girls2 oscillates between party vibes and triumphant, happy-movie-ending vibes. Whether visualizing a party or end credits rolling, Girls2’s music has the spirit of a satisfying celebration. “Chu-Lu-Chu-Chu” is a synth pop delight, “jinjinjinseishoukaisong” is a rapid, bouncy pop song, and “Watashiga Motete Dousunda” tilts in a rock direction without losing its bubblegum quality. Girls2’s songs are as cute as ever. What is new is the range of scenarios in which these cute songs feel applicable!

#13: PENTAGON, IN:VITE U

Fortunately, PENTAGON continue an organic progression down a pop-rock path, picking up seamlessly from where LOVE or TAKE left off. IN:VITE U finds new ways to prove PENTAGON are suitable for this style of music, and this is in big part thanks to their teamwork. The songs have a sort of rotation in them, where each member intuitively knows when to take a backseat in a song and when it is their turn to take center stage. The ease with which the members play off of each other is most noticeable on “Call My Name,” where they provide backup vocals, ad libs, and other forms of hype for one another’s lines. PENTAGON’s synergy enables a variety of sounds to work well together in this body of work.

#12: woo!ah!, “Catch the Stars”

There are three main locations in the “Catch the Stars” music video: the field outside of a school (where the girls wear cute and preppy outfits while dancing and running around together), outer space, and a room stacked with VHS tapes (where one member makes an adorable mess of them!). No matter what they are up to, they maintain a wholesome spirit of friendship and enthusiasm. “Catch the Stars” welcomes viewers to tap into one’s inner child and join woo!ah! on all kinds of adventures, solidifying this group’s status as “Hiteen” icons. 

#11: H1-KEY, “ATHLETIC GIRL”

Working out has never looked or sounded so fun! H1-KEY flip the script with this workout song, which conveys self-assuredness instead of motivation via put-downs. Instead of turning to self-criticism and envy as motivating factors to work out, they insist those arguments are irrelevant to them: “I’m not interested [in] being rated / I don’t care about other people staring / I wake up my great self.” They scoff at unsolicited advice, with assurances like “I don’t need your help / I can do it by myself.” “ATHLETIC GIRL” is a must-listen for its high quality and refreshingly empowering message. Plus, its music video features cute athletic outfits and makeup!

#10: MeiMei ft. MIYAVI, “Strangers”

MeiMei proves she is one to watch thanks to this unforgettable track and its eye-catching music video. Her voice’s intensity rises with time, and the mix of fear and frustration her voice conveys reaches a peak when MIYAVI’s thrilling guitar playing begins. MeiMei sings in front of massive clouds of smoke while wearing an outfit fit for a warrior princess, compelling viewers to keep their eyes on her despite the chaos unfolding behind her. Sonically and visually, “Strangers” has everything it needs to leave a lasting impression. 

#9: AleXa, “TATTOO”

While the beginning and end of this music video and the single’s cover art reference AleXa’s sci-fi music video universe, “TATTOO” largely strays from the world of “AI AleXa.” The video follows “Human AleXa” for a reflective, post-breakup walk around town. The song shows off a new level of vulnerability for her, as she contemplates why a disloyal ex is still on her mind. “TATTOO” is not a typical breakup anthem; the mood is contemplative rather than celebratory. This room for shades of gray in post-breakup feelings makes the song more relatable and more easily linked to her AI character. After all, while “Human AleXa” tries to make sense of her seemingly contradictory feelings of wistfulness and freedom from a past love, “AI AleXa” does too, but for technical rather than emotional reasons. As one version of AleXa is learning what feelings are in the first place, the other is learning how to interpret them, a reminder that these versions of her are still both her. “AI AleXa” and “Human AleXa” are asking the same question, about what are the feelings being experienced and why. “TATTOO” serves as a reminder of how all parts of oneself are more connected than one might admit.

#8: P1Harmony, DISHARMONY : FIND OUT

Through their songs and music videos alike, P1Harmony pair important commentary with music that is just plain fun. Just to name a few: “Before The Dawn” is about the value of courage, “Bop” reminds listeners to not take life too seriously, “Follow Me” stresses the need to live in the moment, and the bonus track “+World” encourages people to re-label their quirks as their personal superpowers. P1Harmony deliver inspiring messages with the opposite of a patronizing tone, and their likability is made even more obvious with the dance party that is the “Do It Like This” music video.

#7: MOMOLAND & Natti Natasha, “Yummy Yummy Love”

“Yummy Yummy Love” is the best kind of collaboration: catchy, sincere, and a true team effort. Both Natti Natasha’s and MOMOLAND members’ ideas were taken into consideration throughout the creation of this release, and it shows. Natti’s influence is clear in the flirtier lyrics and dark outfits, while MOMOLAND’s influence is clear in the easy-to-follow-along choreography and sound effect-esque lines (“Ski-pi-di-bap, bi-pap, bi-pap, boo,” “Ba-ba-ra-ra, ba-ba-ra-ra, ba-ba-ra-ra”). MOMOLAND’s cutesiness goes surprisingly well with Natti’s more mature image. “Yummy Yummy Love” has the best of both worlds and deserves to live up to its global, fandom-expanding potential for both acts. 

#6: MAX CHANGMIN, Devil

With the release of movie trailer-esque music videos and a fiery performance video, MAX CHANGMIN evokes the feeling of watching both movies and a live musical. One cinematic viewing option is the video for “Maniac,” a comedic and ironic presentation of MAX’s pleas for someone to leave him alone.

Another option is “Devil,” a supernatural, spooky production set in the woods. Goosebumps-provoking, a capella murmurs add to the cinema of it all, especially as MAX’s eyes glow yellow.

The third viewing option: the compelling tale of “Fever,” a performance that premiered during the SMTOWN New Year’s Eve concert and started off 2022 on a literal high note.

MAX CHANGMIN has a commanding presence with his voice alone, making all the dramatic visuals just a welcome bonus. Less dramatic delights are a part of this comeback too, like “Alien,” a cute song that compares falling in love to the mysteries surrounding an alien sighting. Devil is one showstopper of an album and is worthy of an eventual standing ovation (aka repackage!).

#5: YENA, SMiLEY

“SMILEY” is one of the most adorable music videos released in quite some time! YENA plays the role of a superhero who zaps to any location where cheering up needs to happen. This time, that location is a diner full of bored and sad customers and staff. She lights up the room with an energetic, impromptu karaoke session and dance party. BIBI, who also travels via lightning strike, takes over the diner and replaces YENA’s bright aura with a sinister one. Further dampening the mood: YENA’s song abruptly stops as she passes out in a snowstorm. An adorable rescue mission reunines YENA with her golden microphone and gives her the ability to return to the restaurant with even more cheer than before to share. YENA’s magic even allows her to transport herself into a colorful, two-dimensional world part of the time. The video for “SMILEY” will have viewers rooting for YENA and wishing for a full TV show or movie inspired by this happy hero. YENA expands her likability even more on the album’s energetic B-sides, four on which she has writing credit. 

#4: Eric Nam, There And Back Again

Presumably, Eric Nam has three main goals for this album: show the world what kind of artist he truly is, have the album be positively received, and distinguish this body of work from his previous releases. There And Back Again checks off all these boxes. First of all, the album does show the world who Eric Nam is: a honey-voiced artist who distills a myriad of complex, messy emotions into conversational, simplified, broadly relatable stories. His songs carry the weight of an intense relationship while sounding light as a feather. Eric’s mix of light and breezy sounds with emotional lyrics ensures he can check off the second box: this album is resonating and being praised around the world. Lastly, There And Back Again succeeds at showing something new. Eric Nam’s style is the same style fans know and love, but it has certainly matured and expanded. Most impressively, Eric has given this independently-released music an intimate feel, recording it all from a living room instead of the typical professional studio, without sacrificing its quality. There And Back Again contains specificity in its sources of inspiration but universality in its messages; it balances out specific, personal feelings with broader themes to show the world who Eric Nam is today, how his musicianship has grown, and how well his stories can connect to one’s own experiences. 

#3: ENHYPEN, DIMENSION : ANSWER

DIMENSION : ANSWER continues many themes from and messages in ENHYPEN’s previous releases, but it also makes room to expand their sonic and visual universes. On the new single, “Blessed-Cursed,” they touch on themes they have addressed before, such as materialism and the process of creating oneself, but they do so in new ways, now recognizing the dark side of success (“Curse like a medal”) and the work they still have to do to fully become autonomous (“I was dancing in the marionette’s square”). “Blessed-Cursed” makes for a great fandom entry point by not focusing on hidden references as much as usual, instead focusing on a throwback aesthetic. The song, blending 70s rock with hip-hop, references The Matrix and plays while the members pose in concave-lens shots and wear trends from the nineties. “Blessed-Cursed” is both a nostalgia trip and an exciting step on a new journey of self-discovery. The other new songs on this album repackage are “Outro : Day 2,” which continues the cliffhanger nature of ENHYPEN’s releases, and “Polaroid Love,” an adorable ode to a crush. On this album, ENHYPEN add onto their signature themes in ways both light and serious.

#2: TAEYEON, “Can’t Control Myself”

This music video has a lot to unpack, successfully building the suspense for TAEYEON’s upcoming album. As fun as it is to hear TAEYEON’s music go in a new, punk-pop direction, what is most exciting about this release are the story threads it starts. “Can’t Control Myself” leaves much to interpretation, with TAEYEON playing two characters and alternating between scenes in “normal life” and scenes on a stage, with a packed audience watching her. The black-wig-wearing TAEYEON acts out a musical love story for the audience, and although her mind is clearly elsewhere while doing so, the crowd goes wild. The blonde, disheveled, and more overtly distressed TAEYEON is swarmed by paparazzi as she watches her love walk by slowly. Several moments can be interpreted as the one when TAEYEON ultimately breaks down, but here is one theory: TAEYEON’s breaking point in this relationship is reached during that moment when her love glimpses in her direction but then keeps walking, as she is left to fend off the cameras alone. The next scene features TAEYEON going from that street straight onto the stage, still blonde and disheveled. She has clearly broken character here, having not switched into her black wig and not taken on a rosier demeanor, but no matter how much she yells and literally pushes this man away from her, the audience keeps on cheering and assuming it is part of the act. The toxic relationship about which TAEYEON sings feels inescapable; she cannot separate the wounded person she has become from who she used to be, even though she tries with all her might. The mark this love has left on her is one both painful and seemingly permanent, and TAEYEON realizes this as the walls between her onstage and offstage selves collapse. From the role the audience plays in perpetuating TAEYEON’s distress, to how permanent her wounds truly are, to how close she has dodged a bullet (considering she seems to allude to an engagement with a lyric about her bad days spinning “like a loose ring”), there are so many facets of this video and song that are open to interpretation.  “Can’t Control Myself” is a thought-provoking start to TAEYEON’s newest musical era and can be seen in a new light with every rewatch. 

#1: WOOZI, “Ruby”

To say it is a thrill to watch WOOZI make his solo debut is an understatement! In “Ruby,” WOOZI both strays from and stays in touch with his identity as WOOZI from SEVENTEEN. His distinct singing voice and contagious giggle are present, but his sound strays from SEVENTEEN’s in other ways. WOOZI plays around with a remarkable array of sounds and vocal filters in less than three minutes, but what is consistent is a rock sound and the rockstar wardrobe to match. Witty lyrics make this song even more entertaining, like when he requests a “Coke Zero to calm down” and realizes that won’t work because “this is red too.” WOOZI sees the world through inescapably ruby-colored lenses, and as nervous as this makes him feel, he also sings about enjoying the ride (“I’m not going back, go color me like you”). “Ruby” addresses how being in love can color everything one sees, and this feeling is brought to life effectively by WOOZI’s wit and rockstar image. 

Check out the Spotify playlist below and this YouTube playlist of the songs mentioned here, and hear more about these picks and honorable mentions on this episode of 17 Carat K-Pop!