This January seemed like a slow time for K-pop comebacks, with some gaps in promotions at the beginning of the month and during Lunar New Year. Still, there were some notable debuts and comebacks that brought something new or unexpected. Let’s have a look at some of those releases that we did not have a chance to review.
XLOV – “I’mma Be”
The most exciting debut of the year so far might just be “I’mma Be” by XLOV, a group composed of three former Boys Planet contestants (Haru, Rui, and leader Wumuti) and a fourth member, Hyun. XLOV has a ‘genderless’ concept, which brings to mind androgynous styling, and the MV for “I’mma Be” delivers on that front. The members wear skirts over pants, with one of Rui’s skirts made of crinoline. Wumuti’s finger waves, face jewels, and smoky eye makeup are perfection. While made on a limited budget, the MV thoughtfully includes imagery reinforcing the genderless concept, such as the members standing in for four queen pieces on a chess board.
One repeated lyric goes “See my body moving like this. I’m riding on the wall of prejudice”, and indeed the choreography also incorporates ‘masculine’ and ‘feminine’ movements. In particular, the point moves in the chorus includes hip swivels and finger poses that are rare to find in boy group choreography. (Speaking of choreography, the dance practice is worth watching for Rui’s mind-boggling back bend and the members’ body lines and synchronization).
XLOV has garnered comparisons to Taemin and OnlyOneOf, not only aesthetically but musically. “I’mma Be” certainly reflects the dark, sultry vibe of those artists, but also incorporates a variety of textures in the song—though the talk-singing in the hook feels too dissonant during the first few listens. The group brings strong vocal talent, particularly Hyun and Wumuti’s power in the bridge, and the members’ falsettos in the verses and chorus. Even though they come from a small company, XLOV have managed to stand out due to their talent, magnetism, and vision.
Ive – “Rebel Heart”
Ive’s pre-release single for their Empathy album feels continuous with their past work: its acknowledgement of criticism from others recalls “Either Way”, while the anthemic expression of self-love bears similarity to “I Am.” “Rebel Heart,” however, ventures into pop rock, with the members chanting “we are rebels in our heart” over staccato guitar chords and forceful drums. While catchy, that hook grows somewhat repetitive, especially when it continues in the post-chorus after the second verse. Its sentiment, however, fully convinces when Liz’s soaring voice declares in the bridge, “we will always be the rebels,” and the members’ layered vocals crescendo triumphantly with the lines, “Come join as who you are / we are rebels, we are one.”
The MV helps sell the idea of Ive as rebels, defining the word as people who remain true to themselves even though, as Gaeul sings in the second verse, “there’s drama that will unfold.” “Rebel Heart” delivers both vulnerable moments of isolation (capably acted by Yujin and Leeseo in particular) and memorable images of self-confidence. For example, Wonyoung wears a bridal gown and veil in front of a playground on fire, while she asserts the sure-to-be iconic line, “Love me, hate me, you will never be never be never be me.”
The MV aspires not only to portray Ive’s journey, but to represent youth. One montage sequence in the first pre-chorus quickly cuts between close-ups of members’ expressions and faces of other forlorn young people who could be considered “rebels.” By the last montage, though, no one stands alone; they bond with others as their authentic selves. “Rebel Heart” succeeds in encapsulating the themes Ive commonly explores, harnessing the group’s characteristic bombast while also branching into a new musical direction. It is an accomplishment for Ive to show their versatility and yet be so distinctly Ive.
Kickflip – “Mama Said”
Kickflip, the latest boy group from JYP Entertainment, also focus on rebellion, but on the youthful defiance of parental expectations. Their debut MV “Mama Said” begins with expected representations of teen behavior (vibrating speakers, clothes strewn around a bedroom) and becomes increasingly offbeat and surreal, from talking hamburgers to the members walking in tilted postures. Fitting the skateboarding move that inspires their name, the MV’s pursuit of freedom and individuality culminates in skating down a ramp on the side of a skyscraper.
“Mama Said” charms with these quirky touches, though it is far from the only MV with boys traipsing around a suburb straight out of a Hollywood teen comedy. Kickflip will hopefully establish their own distinct identity beyond the “rebellious teen skater” concept soon.
Their promise so far lies in their vocal layering and harmonies, especially in the post-chorus and bridge. The group features a variety of vocal tones, from Minje’s deep voice to Juwang’s falsettos. If they continue to lean into their vocal versatility and showcase more of their rap ability, Kickflip can potentially bring something fresh to the boy group scene.
CIX – “Thunder”
Coming back after a year-long hiatus and the departure of member Bae Jinyoung, CIX begin a new chapter as a four-member group—and a new musical direction—with “Thunder.” I say “new,” but the approach is decidedly retro, with a funk disco pop track reminiscent of Daft Punk.
After an a capella intro, the energy immediately ramps up with pulsing percussion and synths and does not relent. “Thunder” feels like a very well-structured song, building excitement through ad-libs and peaking in an instrumental dance break. Nearly four minutes in length, “Thunder” also gives each member many moments to shine vocally, as well as a full rap verse for BX. The stripped back instrumental at the beginning and end give focus to the members’ stacked vocals.
The MV often gets very literal, filled with many lightning and electric spark effects (reflecting the “your love is like electricity” lyric in the chorus). Still, the dynamic camera work and scene transitions effectively highlight the choreography and maintain the propulsive energy of the song. Ultimately, the MV does its job of underscoring the verve and groove of “Thunder,” which is an appealing addition to CIX’s already strong discography.
Jennie – “Zen”
Like Ive, Jennie took time this month to build anticipation for an upcoming album, with an official pre-release single “Love Hangover” and a surprise drop, “Zen.” At this moment, it is unclear whether ”Zen” will appear on her album Ruby or was created specifically as a trailer. Regardless, the MV is a stunning declaration of Jennie as a solo artist. Veering considerably from her previous release “Mantra,” the trap-influenced electro pop track moves in a more experimental direction. “Zen” fascinates with its minimalistic melodies, shifting time signatures, and distorted soundscape.
Director Cho Gi-Seok, most recently at the helm of XG’s “Howling,” brings his signature style, depicting fantastical worlds through nature imagery and VFX, and portraying strong women in extravagant costumes. Jennie indeed appears goddess-like, donning various headdresses and wigs as she stands upon mountains or platforms. Two montage sequences, satisfyingly cut to match the glitchy synth rhythms, display Jennie in various incarnations, suggesting her personal power across space and time.
“Zen” may not seem to have the strongest lyrics, but there are some fittingly imagistic ones (“Rain, midnight bloom / In the dark I grew”). Both the lyrics and visuals utilize imagery and symbolism to portray how she overcame criticism and hate. For example, Jennie emerges out of a blooming lotus flower, which frequently symbolizes resilience and rebirth. Owls also repeatedly appear in the video; at the end, the camera adopts the POV of a flying owl before ending with a shot of Jennie wearing wings. Representing wisdom, the owl suggests the hard-earned insight Jennie has gained— and opens up the possibilities of her exploring this theme in future work.
(YouTube: [1][2][3][4][5]. Images via: Odd Atelier, 257 Entertainment, Starship Entertainment).
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