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Op-Ed: Don’t give up on Garam
If you want a comprehensive account of the accusations against ex-Le Sserafim member Kim Garam, responses by Source Music or even just a general overview of how this scandal transpired, there are plenty of sources to turn to. This is not that.
For the purposes of this op-ed, two things are important:
1. Shortly before Le Sserafim debuted on May 2, their debut was shrouded in scandal stemming from accusations that member Kim Garam was a violent school bully.
2. On July 20, Le Sserafim’s company Source Music officially announced the company had terminated its exclusive contract with Kim Garam and her former group would go on to promote as a five-member group.
To be completely transparent: I was, and still am, in ardent support of removing Garam from the Le Sserafim lineup. Not only is it the best decision for the future of the group, as bullying scandals are taken incredibly seriously in South Korea and would likely have had a lasting detrimental effect on the group, but for the girls themselves. Not only did the remaining members of Le Sserafim seem more relaxed than ever during a V Live to celebrate the end of Fearless promotions, but the choreography for that track works much better for a five-member lineup. When there were six, members were covered up, quite often by Garam herself. Now, everyone gets their moment to shine.
But, I want to be crystal clear: when I say “the girls themselves,” that includes Garam.
At the end of the day, the general public will never know the unpolished truth of the accusations leveled against her. It’s possible she was this relentless bully who was quick to anger and caused a lot of suffering during her time at school. It’s also possible that she was the victim of a smear campaign to sabotage her debut.
In either case, there is one factor which must be kept in consideration: Kim Garam was, and still is, a child.
At sixteen years old, she is hormonal, immature and thus incredibly prone to rash decisions that can hurt herself or others. But, as children tend to do, she will grow up. As she does, she will learn better, which she has explicitly stated is her intention in an Instagram post shared by her friend. Even if she had stayed silent on the topic for the rest of her life, I’ve never supported the idea of eternal punishment for one’s mistakes, especially those made in adolescence. In a few years time, if a career as an idol is one she still wants to pursue and she learns from her experiences, I don’t see any reason why she shouldn’t re-debut.
It’s good that Kim Garam is no longer in Le Sserafim – but don’t count her out just yet.
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Op-Ed: Sad Summer Fest brings feelings of nostalgia and love for new acts
If you are like me, then you have been missing Warped Tour since it completed its final run in 2018 and you are looking for something to fill that hole in your emo heart. Well, Sad Summer Fest may not be Warped Tour, but it will definitely help fill some of the hole in your heart left from Warped Tour.
Sad Summer Fest is a tour that travels across the United States with a handful of bands and artists in the emo, pop punk and alternative scene. It is one day and only one stage. So, no worrying about having to run from stage to stage and having to choose which act to watch and which one you may have to miss. You can just pick your spot and stay there the entire day. With breaks in between sets to set up for the next group, there was time built in to get a drink, go to the bathroom, shop some merch or whatever you need to do.
I attended the Sad Summer Fest Cleveland date on August 2 at Jacobs Pavilion. This was my first time attending the tour and needless to say I was excited. Some of my favorite bands were playing as well as acts I had been wanting to see. On the lineup was: LØLØ, Hot Milk, The Summer Set, Hot Mulligan, State Champs, Mayday Parade, Waterparks and Neck Deep. The line-up was stacked, so I knew I was in for a great day.
The first act up was LØLØ. I had listened to some of her stuff in preparation for the concert and while she is not the type of music I normally gravitate towards, I still enjoyed what I heard and was l excited to see what her set was like. And she did not disappoint. Her set was full of energy and she sounded amazing. She owned the stage and could tell she was having fun. She used the whole stage and got the crowd involved.
She performed a cover of “Teenage Dirtbag” and had her guitarist put on a blonde wig with pigtails and sing part of the song with her. That was one of my favorite parts of the set. She sang ‘Debbie Downer’ which is her song with Maggie Lindeman and is probably her most well known song. Many of the songs she performed she introduced with a purpose, like one was about letting go of an ex, so you were to scream the lyrics and let go of all those feelings and that relationship. Overall, she was a fantastic performer and will definitely be adding her onto people to keep an eye on.
The next act up was Hot Milk. This was a band I had heard of and had been meaning to check out but just had not. And let me just say, after their set, they are going to quickly become a band I keep in rotation. They were high energy and entertaining and did not stop going from the second they stopped on stage. They from Manchester and Han and Jim know how to keep the crowd engaged.
They sounded phenomenal vocally and on their instruments. They showcased their skills in every aspect of their performance. If you were not a fan before their set, you were a fan after. They definitely got the energy up in the crowd and got us all moving around, jumping and rocking out. I did not want their set to end. I was engrossed and engaged from the start and wanted them to just keep going.
Some of my favorite songs from their set were ‘Teenage Runaways’, ‘Wide Awake’ and “I Think I Hate Myself”. If you have not checked out Hot Milk, I highly recommend giving them a listen because I have a feeling you are going to love them.
Next up, I was taken back to my early teenage years with The Summer Set. This band just recently announced their return after breaking up a few years ago. So, seeing them back on stage at Sad Summer Fest was definitely a treat. I remember listening to them when I was in middle school and early high school, so getting to hear some of those songs live finally was definitely nostalgic. And remember those boats I mentioned. While during their set a boat came by and honked its horn very loudly for an extended period of time, so that was fun.
They played the classics like ‘Chelsea’, ‘Boomerang’ and ‘Lightning in a Bottle’. They also brought LØLØ out to sing one of their new songs ‘Teenagers’ as well. Their set started with some technical issues but once those were all sorted off, they got it together and put on a great performance. You could tell they were happy to be back on stage and playing together. Overall, this set to me was a chance for me to relive my early days of discovering pop punk and bands that introduced me to the scene. I enjoyed the set and am excited to see what else The Summer Set releases now that they are back.
Next up was Hot Mulligan. This band I have been slowly getting into over the last few months and was excited to see what they are like live. And just like every other act of the day, they were fantastic. They sounded amazing and had a great stage presence. They looked comfortable, had a great setlist of songs and kept the crowd engaged. They had lots of fans in the crowd and that added to the performance as you could hear them sing along to the songs that they loved. I always love seeing fans in the crowd when I am still new to a group because it just makes me want to listen to the band evenmore. Which I will definitely be doing after watching their set.
Okay, the next band was State Champs and this set took me back to my junior and senior year of high school. A little back story, my first show after I started getting into the scene was Sleeping With Sirens in 2016 and one of the openers was State Champs. So, the nostalgic feelings were huge. If you like pop punk, then you know who State Champs is and you know they have some classic songs. They sang “Secrets”, “All You Are Is History”, “Criminal”, “Elevated”, “Mine is Gold” and more.
This band is just high energy. They were crowd surfers, moshing, plenty of people (including me) screaming along to all of the lyrics. Screaming pop punk lyrics at the top of your lungs is one of the best feelings. It is like letting out all your built up anger, frustration and other emotions out and it is such a release.
State Champs are one of the pop punk bands that I do not think I will ever get tired of seeing. They are consistent and energetic performers that know how to put on a fantastic set. Derek sounded great and every member was getting the crowd hyped. Ryan came over to our side and was screaming at us to get us excited and moving around and it was magical. I was like four rows from the barricade for their set and I could feel their energy. To make it even better, Ben Barlow from Neck Deep came out to sing ‘Everybody But You’ for the last song and my two favorite pop punk bands combined and it was a dream.
Next up was Mayday Parade. And I wish I had more to say about their set. However, there was some people behind us causing some issues for the people around us so I was not able to completely focus during their set. However, what I did catch I enjoyed. I mean come on, they have been around for years and have so many classics. I went crazy during ‘Jamie All Over’ like you should. I was also two almost at the barricade by this time so I could feel the energy even more. I just wish I got to be fully immersed in their set. So, I just want to put out FYI, if you are in the pit, make sure to be aware of your surroundings, go to proper areas for moshing, and try to not get so drunk that you are spilling your drinks all over the strangers in front of you and have no idea what is going on. Or atleast, maybe move towards the edge so we can properly lift and catch the crowd surfers and enjoy the set.
Waterparks were up next. And if you know me, you know Waterparks is my favorite band, so I was pumped. I was almost against the barricade and was ready to lose my mind. And they were amazing. Awsten was his usual sarcastic, energetic, and entertaining self. He put on a birthday sash, someone threw a doll head on stage and he kept it. He moved around the stage and got everyone involved. He turned us chanting “Otto” over and over into ‘Seven Nation Army’. He is just a fantastic front man. Geoff slayed the guitar and Otto killed the drums.
They performed their new songs ‘FUNERAL GREY’, ‘SELF-SABOTAGE’ and the unreleased song ‘Brainwashed’. And I got to scream “I know your dying wish is to be baptized in my spit” at the top of my lungs and it even better than I thought it would be. I also got to hear ‘21 Questions’ live for the first time in over five years and I get just as emotional as I did when I was seventeen. Also, ‘Turbulent’ goes hard every single time. This band was made for live performances. They put their all in every single time and they just keep getting better and better. I cannot wait to see them again because I know it will be even better.
Last up was Neck Deep. This is another band I have been following since I was a junior in high school and love seeing live. I actually saw them live for the first time officially in November 2021. I was supposed to see them in 2018, but that is a story for another time. Again, if you know pop punk, you know Neck Deep, or you should. Them and State Champs are too bands I highly recommend you start off with if you are trying to get into pop punk. They are from Wales and their music is fantastic, and lyrics that once again feel so good to scream at the top of your lungs in the pit.My friend and I moved to the edge of the pit for their set and we just went loose. We danced, screamed so loud and just lived in the moment. They sang a good variety of songs including ‘December’, ‘Kali Ma’, ‘Can’t Kick Up The Roots’ and ‘Citizens of Earth. They also played their new song ‘STFU’ and ended with ‘In Bloom’. Every member was moving around, interacting with the crowd and giving it their all. Their set was so much fun and the perfect way to end the day. We were probably tired, but you could not tell in that crowd. Everyone was hyped and ready to have the times of their lives to end the day.
Their whole set was just high energy and bop after bop after bop. There was not a dull moment. I highly recommend Neck Deep if you have not checked them out yet. They are also an independent band now, so go show them some love.
Overall, Sad Summer Fest was an amazing day and one of my favorite shows I have been to in a long time. From start to finish I was moving, singing and just letting myself be me. Nothing beats the feeling of being in the pit and being surrounded by people who love the music like you do and just want to have a good time. I found some acts to check out, have some nostalgia and see some of my favorite bands. If you have not checked out any of the acts I mentioned, go give them a listen and show them some support. I will for sure be checking out Sad Summer Fest next year, and I hope some of you will too.
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Bite Sized Beats: New Year’s Day’s new single “Hurts Like Hell” and loves every minute
New Year’s Day makes toxic habits fun again with their new single “Hurts Like Hell.”
The band announced their return in the most NYD way possible: a new music video where the band boasts half-red/half-black ski masks, armed with crowbars and baseball bats and scored by a jingle of clanking chains and a wicked giggle. Surrounded by fire, destruction, and eventually turning into the thing they hate to love, it’s a powerful message they are sending to the world: they are back, stronger than ever and never messing around.
Ash Costello is as fabulous as she is dangerous, her signature half-red and half-black Harley Quinn-inspired hair fresh and her stance imposing yet inviting like a demonic siren. Singing into a microphone wrapped in chains, and eventually being wrapped in chains herself, she sings about a situation that she knows she shouldn’t enjoy being in but just can’t help herself. Likening it to an addiction she can’t shake and acknowledging it might make her “damaged” or “fucked up”, she enjoys the emotional pain of the relationship too much to leave. Accompanied by a heavy yet-danceable beat and rocking guitars, “Hurts Like Hell” is as fun as it is heavy, and the comeback that half-heads have been dying to see. Put simply, the best way to describe the song is that it just rocks.
Listen to the song now on Apple Music and Spotify and catch the music video here.
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Xdinary Heroes show extraordinary talent with debut album
Xdinary Heroes fans, wait no longer. JYP Entertainment finally let your new favorite K-rock band out of the basement.
On July 20, Xdinary Heroes were finally able to greet the world properly with the aptly-named Hello, World! Their first release since their December 2021 single “Happy Death Day,” the album boasts five tracks that show exactly what this talented sextet has had in the works over the past eight months.
Despite an over-reliance on ‘na na’s” as filler lyrics, the songs are, in a word, cinematic. Regardless if you speak Korean or need to find the Genius translations, they tell vivid stories whether they’re describing mundane details in title track “Test Me” (“I’m in a hoodie/I search my octet to put on broken earphones”) or using unique metaphors in “Knock Down” (“With worries hanging like a backpack/my shoulders are heavier”) to illustrate depression and despondence.
Speaking of that title track, “Test Me” was the perfect choice to lead the group’s first comeback. Confrontational in lyrics and tone, the song begins with deceptively gentle bass plucks right before the BOOM. Even simple lyrics like the group chanting the song’s title during the chorus demand attention and, once it’s theirs, Xdinary Heroes refuse to relinquish it. “Test Me’s” entire vibe invites critics and fans alike to test their merit as a band with a confidence they’ll do nothing less than pass with flying colors.
That being said, the best song on the album has to be “Strawberry Cake,” no contest. The heartbreak and betrayal are palpable from the entire band, from the mournful wailing of Junhan’s guitar to the abject surrender of Od.e’s boredom. Jooyeon once again shines with a bass line as slippery as the snake who was coiled around the narrator for so long. With lyrics like “sweet candy liar” and “tell me to live like a puppet,” it’s a tale as old as time with as an addictive flavor as the song’s title. Honorable mention goes to “Knock Down,” a groovy track with an inescapable darkness that’s as haunting as it is catchy.
It’s hard to go through any song on this album without endlessly praising Jooyeon, the bassist with a voice like dark chocolate and a glass of cabernet. If this young man cut his fingers on his bass strings, he would bleed charisma. However, Jungsu is truly the group’s secret weapon with a stage presence fitting a more traditional idol and a voice like Wild Irish Rose: sweet like moscato, burns like whiskey.
Of course, these two don’t carry the album solely on their shoulders. Gunil is a truly underrated drummer with a voice that shouldn’t go unnoticed, and it’s hard to find a guitarist like Junhan, whose technical skill is only rivaled by the emotion he puts behind it. Od.e and Gaon absolutely steal the show in the title track with their defiant, confrontational raps, the former utilizing an onomatopoeia of wood clacking against itself before each chorus of “Strawberry Cake” to enhance the puppet metaphor. It’s subtle, intelligent additions like this that elevate the album from great to brilliant, even if the baroque Steam Powered Giraffe-eqsue “Pirates” and the energetic “Sucker Punch!” don’t quite reach the heights of the other three tracks.
While not a flawless album, it’s easily one of the strongest albums released by a rookie group this year. Here’s hoping fans won’t have to wait another eight months for another incredible installment.
Hello, World! is available to stream on all major streaming services and available to purchase wherever K-pop albums are sold.
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Act: Lovesick opener: a retrospective
The following article is going up far too late due to a combination of factors. Just in time for Hueningkai’s 20th birthday, here’s a non-comprehensive report of a tour Tomorrow X Together fans spent years waiting for.
On July 7, Tomorrow X Together kicked off their first world tour, Act: Lovesick at the Rosemont Theater. The crowd was hype from the moment they walked through the door. While Chicago MOA waited anxiously for the concert to begin, the group’s music videos played on the screens that would later broadcast high concept VCRs and their shining faces. During these videos, the crowd cheered and fawned over their favorite members. When Tomorrow X Together finally graced the stage, they positively roared.
One such fan was Lupe Vargas, 20, who had also attended the New York City date of their 2019 Star in US showcase tour. As a pre-debut fan, she was more than happy to see how far the boys have come in three years.
“I felt like I was growing up with them, you know?” Vargas said. “When I first saw them, I was 16 or 17…at first, it was like 1,000 people and now it’s 5,000. It was crazy to see them improve so much and have…a bigger set list.”
At the time of their showcase, Tomorrow X Together had only released their debut effort The Dream Chapter: Star. Over the past three years since, they’ve released five mini-albums and two full-length albums. the most recent release, Minisode 2: Thursday’s Child, showed a darker and angstier side of the group than ever before just in time for the start of the world tour.
The strongest aspect of the Chicago concert outside of the performance had to be the VCRs, video interludes that keep the audience entertained while costume and set changes are made. Except, rather than fill time, the VCRs truly enhanced the performances by using the medium to tell a complex and heart-breaking story: that of misfits who came together to make a better tomorrow only to have time and the real world kill the fairytale The imagery used was nearly biblical at times, down to fire and brimstone raining down onto their paradise. Bookending the setlist with “0X1=Love Song (I Know I Love You)” and “Good Boy Gone Bad” was a particularly genius decision, as they perfectly encapsulate naive boys ensnared in a toxic relationship finally escaping and coming out the other side bruised and broken. The performance of the rock remix of “Can’t You See Me?” was particularly powerful, as the magic island the boys inhabited has burned to the ground. Now, all they can do is walk through the flames.
Unfortunately, the show wasn’t exclusively about great performances and building a compelling story. The journey to get to the show was quite stressful for many MOA from the moment tickets went on sale. According to Vargas, the main issue fans ran into while trying to secure a spot at a show was the impossible task of beating bots to the best seats.
“Bots, during presale, were able to buy eight tickets at a time,” she said.
Another downside that was expressed by Vargas was the event’s security, which she said she wished would have been “handled a bit differently.” This was further compounded by the fact that she also attended the New York City date, where concert attendees had to walk through metal detectors.
“They just had those scanners,” she said. “I feel like, considering it’s such a small venue, they should have had metal detectors. Especially since they knew the boys were walking into the crowd, they should have done something more to prevent any sort of danger.”
While Vargas trusts “some people aren’t gonna harm them,” her desire for stronger security wasn’t unfounded. Not only did a man jump onstage during their Dallas stop, but members Beomgyu and Hueningkai both received death threats on the social platform Weverse days before the Chicago date.
Nevertheless, the show went on for fans like her and Genesis Blatchford, 18, who experience this show as her first concert.
So, how was it?
“At first I was anxious because I didn’t know anyone and I was by myself,” Blatchford said. “But, it was amazing. I would talk with the people next to me in the venue and it felt like we had been friends for a long time.”
Blatchford’s favorite tracks to hear live were “Ghosting” and “Thursday’s Child Has Far to Go,” while Vargas preferred “Blue Hour” and “Crown.” Other high points in the concert included “LO$ER=LO♡ER,” which delighted the audience with not only the uncensored version of the track but also a car themed to the music video onstage. The Ashnikko-produced track “Frost” was manic, sexy fun that really captured how far the boys have come since their “Cat and Dog” days. Ballads “Maze in the Mirror” and “Anti-Romantic” gave the quintet an opportunity to showcase chilling vocal harmonies unique to many groups in modern K-pop, once again proving their merits as leaders of the fourth generation.
Not only did the show utilize visual storytelling and their own music catalogue to dazzle the crowd with a heart-wrenching story, but it showcased the growth these five young man have experienced since their first tour. While it’s been well over a month since this concert and they’ve long left the US for the Asian leg of their tour, it’s the kind of concert that is not easily forgotten.
This was a sentiment echoed by Blatchford, whose position in the crowd didn’t stop her from enjoying the performances.
“Even though I was towards the back it was amazing,” she said. “I’ve never felt so happy.”
Tickets to the remaining dates of Tomorrow X Together’s Act: Love Sick World Tour can be found here.
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Motionless in White scores “the end of the world” with an album nobody should miss
Slinging mud and fury at the “bottom-line feeders”, Chris Motionless sings and screams his way through a memorandum of the state of the world and how fucked the world is…or is it?
Four years from their last album Graveyard Shift, Motionless in White explode back onto the scene with their sixth studio album Scoring the End of the World. While this group is no stranger to writing about societal and political issues, this body of work may be their strongest and most political collection yet.
Starting with strong with “Meltdown,” heavy drums and a strong electronic rhythm welcome us to the state of the world: a decaying mass that has occurred to our own negligence just as much as the power-hungry politicians and businessmen in control. The anthemic “We Become the Night” picks this up later in the album, furthering the expression of distaste of corporate greed above all else. It’s a call to arms to not retreat to the shadows but become them completely in order to reestablish a community that values more than status or cash. “Red White and Boom” wraps up the theme nicely with a direct “fuck you” and a fun callback to “AMERICA,” from their earlier album Infamous. Essentially, it all coagulates into a desire for a scorched earth society and a chance for a new and better one. The music pulses and rocks in a way that evokes energy, which is surely to translate well to their live shows.
What is most impressive is how Motionless in White not only manages but relishes in creating fun songs that can only be described as “Certified Spooky Bops”. One such track is “Werewolf,” which explores guilty pleasures and how they manifest themselves into a different identity. Woven throughout the track is a sexy beat, literal wolf howls and a Rockwell/Michael Jackson sample to top it all off. It’s easily one the most fun and danceable song on the record.
Another installment of their “Broadcasting from Beyond the Grave” series, “Corpse Nation,” seeks the unification of those abused and forgotten by the leaders of the world. Painting society as a pageant that has egregiously flopped and ought to be shut down, the current fallout is purely the fault of those who put it on in the first place. Continuing this trend is the lead single “Cyberhex,” a critique of the technology dependent world and how tech has fundamentally disconnected humanity from each other. Whether is a plea or a demand for reconnection in this scattered world, the message is crystal clear that it’s the only way to survive.
Chris piggybacks off of “Werewolf” to establish that the alter ego isn’t always as sexy as he seems with the song “Porcelain”. Unfortunately, this is where the record stumbles, boasting self-aggrandizing tone and on the nose lyrics (“I howled a wrecking ball through porcelain”) as he expresses regret and self-loathing over careless actions that have yet again destroyed a valuable relationship. Admittedly, the song does improve upon further listening with Chris’ earnest delivery and an impressive, dramatic musical composition. The lyrics, while a little obnoxious at first listen, effectively illustrate the mental and emotional states of the two parties involved in this particular failed relationship (the wrecking ball being an aggressive, careless force against the delicate and fragile porcelain). A few listens is almost guaranteed to win over any seasoned cynic.
If “Porcelain” doesn’t get you, the song that would win “Most Likely to Make You Cry” in its yearbook would be “Masterpiece.” Motionless in White has never been shy about admitting mistakes in relationships, but “Masterpiece” puts all those mistakes in a figurative gallery on display for all to see. While purposefully not specific on what those mistakes are, one could almost see him walking through the halls of his own memories and cringing at every wrong and all the harm he must have done. The regret in this song is genuine lyrically as well as in the delivery as he wonders how to make amends after all the hurt he’s caused the people closest to him in addition to the lack of faith he has in himself to foster healthy relationships. He has open wounds that he doesn’t know how to dress and may never heal from, and he has no one to blame but himself. In a word: ouch.
The album doesn’t shy away from further criticism or questioning of identity, going further with songs like “Cause of Death” and “Sign of Life.” Depression is personified as some ethereal being that somehow keeps finding him after he’s sworn he’s beaten it, and he’s begun again to lose himself. Ignoring it hasn’t made it go away, so the only way out is through it. “Cause of Death” actions as its spiritual sequel, dividing himself into two personalities that are true to him, but one is more toxic than the other. Essentially, the toxicity must perish in order for the hope to thrive. This message translates beautifully whether referencing a collective whole or a conflicted individual. Topping it off is another sequel song, “Burned at Both Ends II,” which continues a narrative that is also from their 2012 Infamous album. The subject of the song is struggling to find identity after leaving a toxic relationship, but refuses to take anything less than full control of his life just because the alternative might be easier. He’s found something to live for that is more meaningful.
The heaviest and most violent song on the record, unsurprisingly, is “Slaughterhouse,” which was teased and hyped on Instagram for days before being dropped as the third single. It did not disappoint, starting with vicious screams from Bryan Garris of Knocked Loose and violently describing politicians as butchers who have cut up and sold the American Dream. Bryan Garris and Chris Motionless then turn the tables, insisting that it’s those in charge who are the “pigs” who deserve to be on the chopping block. Not subtle and not for the faint of heart, this brutal track is definitely one to grab your attention and make you remember it from the first scream to the last squelch.
Closing the record is the title track “Scoring the End of the World.” If all the previous songs compose the memorandum, this is their resounding battle cry. In this culture war, Motionless in White has planted their flag and decided that they are going to fight in the best way they know how. In a genius mix of musical terminology and modern warfare, they express not the desire but the determined plan of action to use their music to inspire everyone to take back their voice and use it to influence a better tomorrow.Weaving their way through their own musical history and looking towards the future, this record is their strongest body of work yet. If the world ended tomorrow, this would be the soundtrack and there isn’t another collection out there that would contest that. Motionless in White does it again with a collection of songs that are as strong in musical composition as they are in lyrical prowess, delivering with gusto and sincerity not matched by many other artists. They’ve proven repeatedly with each new album that they only improve over time and, truly, could be their magnum opus.
Fueled by hope and a genuine love of music, the record closes with an exploding beacon of hope. The situation is dire, but all may not be as lost as one may think.
Motionless in White is currently embarking on Part II of the Trinity of Terror Tour with Ice Nine Kills and Black Veil Brides. Dates for this and Part III of the tour can be found here.
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Hello, hooligans!
So. It’s been a while.
It would be disingenuous to say my absence from writing has exclusively been from moving, although that has been taking up a good chunk of my time and attention. Part of it has been moving from part-time to full-time at my job, and another part has simply been burnout and poor mental health.
But, more than anything, it was my frustration with my chosen platform. Blogger was a fine enough start, but I realized the site didn’t have the tools or flexible customization I was looking for. So, I made the jump from there to WordPress with the intent of making it a unique domain.
Additionally, I’ve been starting to feel quite restricted by the name of my blog. I love Pop Punk Daebak, but the name makes it it feel a bit awkward to write about anything but pop punk and K-pop. I will continue to, and hopefully recruit other people to, write about these genres, but the aim of this rebrand is to expand to include other related sub-genres, movie reviews and alternative fashion.
The original blog will remain active so existing links still work (for now). But, all future articles will be posted here and the posts from PPD have been imported; I’m not only extremely proud of the work I’ve posted there, but wanted that content to be posted here without losing the original post date.
So, I look forward to building this website more and expanding the kind of content I can create. Thank you for your patience and I’m excited to show you what irons I’ve had in the fire.
Everyone is welcome to The In-Crowd.
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"Funeral Grey" by Waterparks is anything but bleak
Photo Credit: @waterparks on Twitter Waterparks fans do not worry, the constant cryptic social media posts by Awsten Knight were finally put to an end, at least for now, because ‘Funeral Grey’ is finally here. This highly anticipated track finally graced our ears on May 13, accompanied by a music video. And let me say, this track did not disappoint.
This upbeat track goes full force with high energy from the start. This track tells the story of meeting a girl that immediately catches your attention and is one who is not to be messed with, because she can hold her own and is not just going to fall for anyone. She leaves an impression for sure and cannot leave Awsten’s mind.
From start to finish, this song holds your attention and screams Waterparks. It has a catchy dance beat that drives the entire song. The guitar and drum line open the song and are consistent throughout the track. It is upbeat, dancy and not overdone. Every instrument balances perfectly in the song and no instrument overpowers the other and it does not overpower Knight’s vocals. However, it does not fall to the wayside either. It shines when it needs to and balances into the background when needed to. It will have you tapping your foot and dancing in your car, kitchen or shower every time you listen.
The instrumental build in the song is subtle and is not overly noticeable. However, if you listen closely, you can hear the slight change in volume, dynamics and power in the chorus. You can hear a change in the drums and guitar. It is just ever so slight, but it adds another layer to the song and effectiveness of the lyrics. Then at the end of the song, some parts drop and it becomes mostly vocals with some electronic effects and it is done just right. It is done quickly and only for a few moments, but it makes the end of the song just as good as the start.
Now, onto the lyrics. Just like many Waterparks tracks, this song tells a story and paints a picture.. Nothing is sugar coated or left up to interpretation in Waterparks songs, and this song is no different. Awsten Knight writes what he is feeling and experiencing and it is made clear in every song that is released. He opens with “11 p.m. she walked in with her friends ,” so the listener is dropped into an exact scene that they can picture. Then from there it bounces back and forth from what Awsten is feeling and thinking about, to his interactions with this mystery girl.
In the first verse, Knight sings, “and I said, ‘what’s your favorite color?’/ she pointed at her waist/ and I said ‘that’s not a color, it’s a shade/ she said don’t disagree with me”. He later sings in the chorus, “she wore a sweater in summer weather, yeah/ she wore a sweater, it was funeral grey”. Which provides insight into the name of the track. This mystery girl was wearing a funeral grey sweater in the summer. Once again straightforward, not much up for interpretation. It catches his attention. The whole outfit is contradictory to what you would expect someone to wear in the summer. She is not wearing a bright colored tank top or dress. She is wearing a somber color in a warm sweater, which you expect in the winter. This adds onto how this girl catches his attention and is the opposite of what he expected. She is different and does not wear, do or say what you expect and/or want her to.
This song also provides a line that will probably go down in history as one of the most iconic Waterparks lyrics. In the second verse, Knight sings, “she rolled her eyes, and then she said/ “I know your dying wish is to be baptized in my spit”. If you do not remember anything else from this track, you will at least remember that line. It is a line that was teased in clips that were posted prior to the release of the track and it has remained a popular line. It will for sure be screamed the loudest every time this song is played live.
The music video also brings the song to life. So, if you have not watched the video for the song yet, go do it. The video features the band being surrounded by many women in what we can infer is funeral grey sweaters that cover their face from the nose down. We also see performance scenes of the band through a fisheye style lens. The video also features several scenes that feature Awsten being controlled by someone else. For example, a scene where he is wrapped up in string, with his arms stretched out like he is puppet. The song and video also makes it seem like red will be the color for this new era of Waterparks, with Awsten Knight debuting red hair on social media and in the video.
So Parx fans, get all your red clothes and accessories out for this new era. Just like the girl in the song, this song will not leave your mind.
They also announced that they have signed to the record label Fueled By Ramen on May 10.
You can check out the track on all music streaming platforms and watch the video on Youtube. You can also find the band online @/waterparks on Instagram and Twitter. You can also find Awsten Knight on TikTok @/awstenmaseatiktokalright. -
OPINION: 2022 girl group debuts are frustrating
Image Credits: HYBE Corp, JYP Entertainment; stitched using IMGonline.com.au For a song called “Fearless,” LE SSERAFIM held back a lot for their debut title track.
In fact, I’ve been frustrated with two highly anticipated girl group debuts this year. The first was with JYP Entertainment’s latest girl group NMIXX. Aside from accusations of plagiarism towards their company, my issue with NMIXX’s debut was how it tried to do too much at once with no clear direction. I found their title track “O.O” overpowering and confused with glimpses of real genius and pure, uncut talent. A major positive of the debut was how it showcased the members’ strong personalities and soaring vocals, despite being saddled with a song that couldn’t decide what it wanted to be outside of a Zero Coke commercial.
LE SSERAFIM, in my opinion, has the exact opposite problem. While the group has a clear identity and slick production, the title song “Fearless” is all sizzle and no pop. The song is incredibly well-produced with empowering lyrics and my favorite bassline so far this year, but having an anti-drop after the exciting buildup of the pre-chorus makes “Fearless” sound more like a preview for the group than a proper debut. Perhaps this was the point to some extent, as much of their promotional material could easily be mistaken as advertisements for a high fashion brand, but the result is something commercial to the point of being entirely too safe.
It’s an understandable move, considering HYBE’s history with girl groups. Several factors, including but not limited to the ill-fated GLAM to the company’s long history of not accepting female trainees, made the announcement that they would be debuting a girl group made up of in-house trainees instantly buzz-worthy. LE SSERAFIM even had their own controversies leading up to their debut, including bullying accusations toward member Kim Garam and criticism from Korean netizens towards the group’s initial concept photos. According to Lopa K for Meaww, fans didn’t see the photos as being “up to the mark and standard of a huge company that is home to the global sensation BTS and other popular groups like Seventeen, TXT and Enhypen.”
“The girls are also posing against a plain and simple background with no other decor or propers which has had fans calling HYBE and Source Music lazy,” K reported. “With the other big K-pop labels going all out from expensive outfits to lavish CGI for their rookie groups like NMIXX, aespa and Treasure, fans are calling out the cheap concept photos given to Le Sserafim.”
Personally, questionable outfits and poses aside, I didn’t mind the lack of accoutrement in those photos, especially with the more glamorous concept photos that would come later. In a landscape of expensive outfits and lavish CGI, what is going to stand out more than minimalism? That being said, minimalism can become boring if you don’t spice it up with an exciting centerpiece. For a girl group which contains a member who aims to “change the idol industry,” I can only describe their debut song “Fearless” as perfectly serviceable. It is by no means bad or entirely unexciting, but it’s missing that centerpiece moment that would have helped it become something truly memorable.
So, what does a successful debut look like to me? The most shining example I can give came last year in the form of Aespa, whose debut title track “Black Mamba” struck me as an instant K-pop classic. It was bold without being overbearing and catchy without being irritating. The choreography was strong, their concept was solid and the vocals from members Ning Ning and Winter were some of my favorites of 2021. This isn’t to say every debut track should be like “Black Mamba,” because that would get tired, obvious and repetitive. The lesson to be taken from “Black Mamba,” is to stay confident with a concept and stay sharp about where to take risks and when to play it safe.
Neither LE SSERAFIM nor NMIXX are untalented by any stretch of the imagination, nor are the songs bad on. I was looking forward to both debuts and want to see them make strong comebacks that match their potential. My frustration lies exclusively with companies who select debut songs for these promising girl groups that miss the mark by mere inches when they should have been easy bullseyes.
Do you agree or disagree? Check out the full video below and let me know!
Originally published here. -
Vanner gives VVS a "BOOST" across the US with 2022 tour
Exciting. Amazing. Breathtaking.
These are just a few words fans used to describe Vanner, whose Boost Up 2022 [Part One] Tour began on March 16 at the Bottom Lounge in Chicago, IL before embarking to thirteen other cities including Orlando, FL, Denver, CO and Los Angeles, CA.
Fans, called VVS, had nothing but love for the five-piece Korean boy group when they opened with “Form,” an explosion of raw power and swagger that never failed to kick things into gear. Crowd favorite songs included “UPPER” and show closer “Trampoline,” two high energy songs with as much bounce as the latter implies. Slower moments like “Like a Star” and leader Taehwan’s solo cover of “0X1=Love Song (I Know I Love You)” by Tomorrow X Together gave those in attendance not just a chance to catch their breath, but to experience a softer side of the group and their heartwarming vocal harmonies.
Hyesung (left) and Youngkwang (right) Other cover stages included “Permission to Dance” by BTS, performed wonderfully by lead vocalist and dancer Hyesung with rapper Ahxian. Ahxian prepared a Korean rap not in the original version of the song, flexing his chops for writing as well as performing. Later, he, lead rapper and dancer Gon and vocalist Youngkwang teamed up for a cover of a remix of Paloalto’s “Turtle Ship” which features G2, B-Free, Zico and Okasian. Of all the cover stages, “Turtle Ship” was easily the highlight. While the other stages were impressive, “Turtle Ship” provided a rare opportunity to show off Youngkwang’s skills as a rapper while Gon and Ahxian watched on like proud parents.
Of course, there wasn’t anything like their original material. Directly following “Form” was another track from their 2020 Life mini album “Lachata,” a dance track that could break anyone out of a post-work slump and into their best dancing shoes. Other highlights included their latest single “Rollin” and their debut track “Better Do Better,” as well as past single “Crazy Love” and album track “Without You.” Regardless of tempo or whether it was a cover, Vanner left everything on stage and the crowd wanting more.
Youngkwang (left), Gon (center) and Ahxian (right) If there was anything the Chicago show could have benefitted from, it’s a boost of self-confidence. Hours after the performance, the group Tweeted: “Thank you for loving VANNER, which is lacking a lot. It was an honor to start our tour in Chicago.”
Taehwan later revealed he wasn’t in his best condition when he sent out his own message on Twitter just after midnight March 17.
“Chicago’s energy was great as expected,” he Tweeted. “I was disappointed that I couldn’t show you a perfect live performance due to my poor condition caused by a cold. I’ll recover quickly and show you a perfect performance.”
This wasn’t a sentiment shared by Mariah Fee, 26, who traveled from Kalamazoo, MI to see Vanner in Chicago. A fan since their 2019 debut, she felt “shocked and maybe a bit defensive” when they described their performance this way.
Mariah Fee with Vanner in Chicago, IL “I thought they did great and was surprised that they felt any different,” she said. “I’m a proud VVS and the boys did great, no lacking to be found.”
Luckily, Vanner seemed to gain assurance in their later performances. During their March 24 concert in Orlando, they performed songs like “Purge Day” with confidence and excitement that partially came from this being their first performance in Florida. This was beyond reflected by the fervor of the crowd, who shouted encouragement for them to return when Vanner mentioned this onstage. Later, they helped the group convince Taehwan to perform some of his solo song “Frozen” a cappella while Hyesung and Gon accompanied him a cappella as the backing track. It was not only a fun addition to a talk break, but an expression of camaraderie and support between fan and artist.
The pièce de résistance, however, was always going to be the April 3 date at Summit Music Hall in Denver, CO. Vanner’s performance is so anticipated in the city, it has taken on its own identity: Denvanner. It’s so ubiquitous it’s come to be used by the group themselves. According to Denver local Cerise Robinson, 19, it got started when the Colorado-based K-pop fan community KonnectPop were trying to get a K-pop group to the capital city. Once someone told them about Vanner, they did “everything in their power” to make them their first group.
Taehwan takes center stage “We all came to not only support Vanner but to show the K-pop industry Denver loves K-pop,” Robinson said. “That was many fans’ first concert ever, also mine, but it was also Vanner’s first US tour so I think that all the firsts happening that night connected us.”
After that, Denver staked their claim on the group and Denvanner was born. They’ve since gone to Denver a total of three times, all of which were attended by Robinson. She described the energy between Vanner and their particular crowd as “addictive.”
“Vanner themselves are amazing, but so are the fans,” she said. “With every show, I see more and more fans from outside of Colorado trickle in and it makes me happy. It really feels like a community.”
As much as Denver VVS truly love and appreciate Vanner, that kind of anticipation isn’t priceless. Near the end of that show, Hyesung broke down into tears and expressed dissatisfaction with his performance with help from a translator.
“It’s been a while since we performed in Denver,” he said. “We were kind of pressured to show you guys a perfect performance and show you guys our best in every way.”
Robinson’s “heart cracked” at the admission not only because of how grateful she and other Denver fans are that they’re here in the first place, but her belief Vanner could “sit in place and sing and Denvanner would still scream their lungs out.”
Cerise Robinson from Denver, CO “I guess I never thought about the pressure they might feel to have this be the best stop,” Robinson said. “I know as a fan I’ve always felt that ‘am I screaming loud enough? Can they hear the fan chants? Are we doing enough?’ …they always do great and I hope they aren’t pushing themselves too hard.”
Like a carefully chosen bow, the tour wrapped up at the Vermont Hollywood on April 8. Everyone from the crew to the crowd held nothing back, making that final show all the more explosive. Those who were able to snag a spot at or near the barricade could literally hear the way Vanner stomped their way through hard-hitting club banger “Nasty.” Later, Taehwan performed some more of “Frozen” with some good-natured ribbing from the other members in lieu of an a cappella accompaniment. Above all, the group seemed more relaxed than they had in any of the previous cities while performing above and beyond their already high caliber. In short, Vanner exuded what can only be described as true showmanship.
Olivia Castillo from Monterrey, Mexico That kind of showmanship, as well as their eagerness to interact with fans, inspired Olivia Martinez, 23, to travel from Monterrey, Nuevo León Mexico to see them in Los Angeles.
“…their music is really good, but having the experience of seeing them in person is another thing,” Martinez said. “How they sing and dance and interact with their fans makes you stan them even more.”
This was made extra special for Martinez when she got to interact with Taehwan, her favorite member or bias, something she said she hadn’t gotten to experience before.
“It’s another level how you can interact with your bias because in Mexico, it’s usually just the concert,” she said. “You don’t get to interact or talk with them.”
If this tour succeeded at only one thing, it’s showing Vanner is a can’t miss in K-pop. Just don’t let Vanner try to tell you any different.
PHOTO CREDITS: Penny Rae Hawkins, Mariah Fee, Cerise Robinson
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