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rkseungjoon · 6 years ago

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all of the rkidols releases + their line distributions

do you ever find yourself giving up on finding the line distributions of our debuted idols because we’re all a bit too lazy to go through each monthly evaluation to find them? well, fret to more!

below, i’ve collected each of our official releases so that we may all know if our faves got enough lines or not. this includes the original versions as well as color-coded in case it wasn’t available before. this may also serve as a reminder that songs by the group’s irl counterparts do not exist in this universe until our rk groups release their music! this means that all of the songs listed below can be covered if your muse would like to! i hope this is useful (or just fun) for someone as it was for me!

*·— LUXE DISCOGRAPHY !!

LUV GAME— The First Mini Album ( 6 members: original | color-coded ) ( 5 members: color-coded ) — I Feel Good (**TITLE) ( color-coded OT6 lyrics video by @rkjinwook ) — 아슬해 (Dangerous) — Luv Me — Still Falls The Rain — Without You — I Feel Good (Instrumental)

FANTASY — The Second Mini Album ( original | color-coded ) — Fantasy (Intro) — We Belong Together — Confused (**TITLE) — Milk (YENA Solo) — Under The Street Lamps — 3% (CHERI Solo) — Every Night (**FOLLOW-UP)

UNZIPPED — The Third Mini Album ( color-coded ) — Mini Skirt (짧은 치마) (**TITLE) — Feeling (느낌이 오니) — The Vibe (아끼지마) — Boy

LIKE A CAT— The Fist Single Album ( color-coded ) — Like A Cat (사뿐사뿐) (**TITLE) — Cherry Pop

UP&DOWN — The Fourth Mini Album ( color-coded ) — UP&DOWN (위아래) (**TITLE) — Just The Two Of Us (단둘이) — Cream — My Soulmate (내 반쪽)

*·— CONVEX DISCOGRAPHY !!

BOYS WILL BE — The First Mini Album ( 13 members: original | color-coded ) ( 12 members: color-coded ) — Mansae (**TITLE) ( color-coded OT13 lyrics video by @rkjinwook ) — 20 (Vocal Unit) — Ah Yeah (Hip Hop Unit) — Jam Jam ft. Romeo (Dance Unit)

HEART SHAKER — The Second Mini Album (color-coded) — Fronting — Very Nice (**TITLE) ( 2020 ver ) — Rock — Monday To Saturday (만.세) (Hip-Hop Unit Version) — OMG (Performance Unit) — Still Lonely (이놈의 인기) — Don’t Listen in Secret (몰래 듣지 마요) (Vocal Unit)

ADORE U — The First Digital Single (color-coded) — 아낀다 (Adore U)

180º — The First Full Album (color-coded) — Shining Diamonds — BOOM BOOM (붐붐) (**TITLE) ( 2020 ver ) — Chuck (엄지척) — I Don’t Know (글쎄) — Adore U (Vocal Team Ver.) (아낀다) — MOONWALKER (문워커) (Performance Unit) — If I (Hip Hip Unit) — Campfire (캠프파이어) — Fast Pace (빠른 걸음)

ACUTE:U — The Third Mini Album (color-coded) — Pretty U (예쁘다) (**TITLE) — Lucky — Pinwheel (바람��비) (Vocal Unit) — Shining Diamonds (Performance Unit Version) — Smile Flower (웃음꽃) — Space (끝이 안보여) (Hip-Hop Unit)

*·— ECLIPSE DISCOGRAPHY !!

MIRROR — The First Mini Album ( original | color-coded ) — Love Whisper (귀를 기울이면) (**TITLE) ( color-coded lyrics video by @rkjinwook ) — One-Half (이분의 일 1/2) — White (하얀마음) — Gone With The Wind (바람에 날려) — Instrumental Outro

Now — The Second Mini Album ( color-coded ) — Before & After (Intro) — Chase Me (**TITLE) — Mayday — 괜찮아! (Trust Me) — 유리구슬 (Glass Bead) (Outro) **(Only 0:00 - 0:30)

Hand In Hand — The First Single Album ( color-coded ) — One — Me Gustas Tu (오늘부터 우리는) (**TITLE)

The Day — The First Full Album (color-coded) — Intro: Flower Bud — Me Gustas Tu (오늘부터 우리는) — Navillera (너 그리고 나) (**TITLE) — 하늘 아래서 (Under The Sky) — SUNSHINE (나의 일기장) — 이 더럽고도 추한… (SCAR) — Chase Me — 소원 하나 (Emotion) — Navillera (Instrumental)

*·— K.ARMA DISCOGRAPHY !!

NEWS — The First Single Album ( color-coded ) — News (**TITLE) — No Playboy

Voyage — The Second Single Album ( color-coded ) — Ticket (티켓) (**TITLE) — Ladies

What Is Love? — The First Mini Album ( color-coded ) — What Is Love? — Dolls (**TITLE) — Figaro — Living Person (사는 사람)

*·— PER_SE DISCOGRAPHY !!

Odyssey — The First Mini Album ( color-coded ) — Intro: Into Me — Pirate King (해적왕) — Treasure (**TITLE) — Shut Up ‘N Lemme Go — Together

EXPLOSIVE LOVE — The Second Mini Album ( color-coded ) — K.O — Fanfare (팡파레) — WIN — My Way — Jungle Game

*·— AND*ROMA DISCOGRAPHY !!

Galaxy — The First Mini Album ( color-coded ) — Intro: Into Me — Deja Vu — Pepe (**TITLE) — OK — Open The Window (창문을 열고)

Wanna*Love? — The Second Mini Album ( color-coded ) — Closer — Cushion (**TITLE) — Sharala (샤��라) — Call My Name — It’s Too Late (진작에)

*·— DE:CODE DISCOGRAPHY !!

I’M FINE — The First Pre-Debut Single ( color-coded ) — I’m fine (아무렇지 않은 척)

WHAT TIME IS IT NOW? — The Second Pre-Debut Single ( color-coded ) — What Time is It Now?

CODE:GO — The First Mini Album ( color-coded ) — Wake Up (Intro) — Gorilla (**TITLE) — 미지근해 (Lukewarm) — 뺏길까봐 (Stay With Me) — Beautiful — Look At Me and Smile (날 보며 웃어준다)

#rkresource #( not cutting this so that in the future people can just find this in the tag )#( i'll update these as things get released! )

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reeses-picks · 6 years ago

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Seventeen: Oh My! review

You can find few acts who got it right so early like Seventeen. Their first four singles established them as one of the most consistent acts in K-pop, and so early in their career. Unfortunately, the last two years had Seventeen being, in chronological order, underwhelming (and once again later), disappointing, and forgettable. Hailing from their fifth mini-album You Make My Day, “Oh My!” is a return to form, a promise that they are still capable of greater things.

★★★★★★★★☆☆

You can find few acts who got it right so early like Seventeen. Their first four singles established them as one of the most consistent acts in K-pop, and so early in their career, culminating in “Very Nice,” the title track from the re-release of their first album Love&Letter with which you could find no fault. Unfortunately, the last two years had Seventeen being, in chronological order, underwhelming (and once again later), disappointing, and forgettable. Hailing from their fifth mini-album You Make My Day, “Oh My!” is a return to form, a promise that they are still capable of greater things.

In their early career, Seventeen constantly relied on a boy-next-door image that wasn’t too far from what GOT7’s “Just Right” era. Unlike GOT7, however, Seventeen were actually believable, and that’s why “Adore U” and “Mansae” were so appealing (it certainly helped that the music wasn’t half-bad). “Oh My!” is an attempt to reconcile this image with the more electronic leanings of their current sound. The fault of all their releases after “Very Nice” was that they were always weighed down by a requirement, self-imposed or otherwise, to be something they weren’t. These boys are goofs at heart, and the brighter instrumentation is certainly a nod at least to their peppier beginnings, if not to their personalities entirely. The group’s resident producer, Woozi, along with Pledis Entertainment’s own Bumzu, uses the oldest trick in the book on making pop songs: repetition. It’s most definitely not a bad thing; the song is an undeniable earworm, possibly more so than a Seventeen song has ever been. But the brightest moment in the song might not even have anything to do with it: the bridge’s first half, where the song slows down for Dino and Vernon to drive the point home in English: “I really like you/Better tell/I better tell somebody/That you’re all mine.”

Even while they’re revisiting their former image, the members find room to experiment. For one, the “hip-hop unit” is no longer relegated to rapping: “Oh My!” finds S.Coups and Mingyu trying their hand at singing. The group also strays away from traditional line distributions, which more often than not made them sound more like “DK and/or Seungkwan and Friends:” Chinese members Jun and The8 finally get more than one line, Jeonghan finds himself a spot in the chorus (usually exclusive to DK, Seungkwan and Woozi), and Joshua’s lines finally feel deserving for a member of the “vocal unit.” A part that actually made me go “oh my” is Jun’s part in the first pre-chorus: “What do I do with you/I’m looking at you but I’m thinking of you even more;” it’s been so long since I heard Jun’s singing that I forgot he sounded so good. “Oh My!” is no “Very Nice;” the latter is a flash of brilliance that so few acts get to experience. But it is on a level that the 13-piece haven’t been able to reach since “Pretty U;” more than anything, it’s a promising sign for things still to come.

#seventeen #adore u #mansae #pretty u #very nice #boomboom #don't wanna cry #clap #thanks #oh my!#music review #music reccs #song review

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thesinglesjukebox · 5 years ago

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BEYONCé - BLACK PARADE

[7.00]

When I was / a young Bey...

Tobi Tella: It's messy and filled with overlapping ideas, but from such a calculated artist, it feels so refreshing. Hearing Beyonce word vomit all her feelings and pride for her heritage is infinitely more interesting than a focus grouped, corporate attempt at Empowerment™. [7]

Olivia Rafferty: Once you dive past the marching band swells and the trap hits reminiscent of her Coachella performance, you can hear that "Black Parade" is lyrically supercharged with powerful imagery. It's a march, yes, but it takes the Black Lives Matter protest march and reframes it as a journey back to a Black history which has been forgotten, discarded and colonised by white society. Through this process of reclamation, the capitalist American Dream (which is the American Nightmare for so many) is being dismantled: picket fences are snatched up and repurposed into protest signs. Beyoncé adds more by charging the song with emblems of African heritage like she "charge[s her] crystals in the full moon," from the baobab tree to Yoruban waist beads. Going deeper into themes of spirituality, Beyoncé calls upon the Yoruban Goddesses Yemaya and Oshun as patrons of this march. The mention of these water deities creates a sense of re-baptism as the "drip" of motherland/melanin rains down on her and her growing march. However, although ancestry and tradition is a huge part of this song, Beyonce is aware that she cannot march back, back, back to a pre-colonized Africa. But as the Black Parade progresses it becomes clear that she is using that imagined place as a well from which to draw up a new future of peace, reparations and power. [7]

Joshua Copperman: As a statement released when the purpose of celebrity (billionaire celebrities in particular) is under discussion, after Beyonce has spent four years cashing in her goodwill on underwhelming side projects... it's complicated, and these tweets and essays dissect the place of someone like Beyoncé in an era increasingly moving past even her most radical statements. As a song, it's probably her best post-Lemonade. Derek Dixie's production is like a less cluttered "Formation," including flutes and a horn section but leaving space for the person actually leading this parade. I wish Bey was mixed a little bit higher, because a lot of these moments are as memorable as "surfbort" ever was. The first thing that strikes me is Beyoncé's humor, like the image of her catwalking six feet apart from other models in a Hazmat suit or "Crack a big smile ding." Elsewhere, "Let the ghosts chit-chat" is brilliant imagery, and the enunciation of "Mansa Musa" alone is more memorable than anything on Everything is Love. "Black Parade" has all the makings of another quotable, analysis-ready hit on the level of "Formation." Yet as I write this, the song is sitting in the lower part of the top 40 -- maybe the goodwill ran out. Maybe the prospect of succeeding in a capitalist society, essentially her MO from the last decade, feels more impossible than ever. For what it's worth, there's a lot she's doing within said capitalist society: a massive star paying tribute to modern activists or promoting Black-owned businesses still feels novel to me even as it feeds into a more intricate conversation about Black capitalism I'm not equipped to have. For now, however long celebrity remains a thing, it feels like we could do worse. [7]

Thomas Inskeep: She sings, she raps, and the lyrics are interesting, but the trap beat underpinning it all does nothing. [5]

Nortey Dowuona: Beyoncé sits back on a chair made of bouncing bass and looks upon her domain, a horn procession forming around her toes, wondering how she could not protect her domain. Solange sits down next to her, with Standing on the Corner on her left shoulder, with Gio Escobar playing the piccolo. They huddle whispering for a few seconds, before Bey gets up and smashes down the police forces of Louisville, especially the men who killed Breonna. Satisfied for a bit, she sits down next to Big Floyd and they start making a star message for his daughter. [8]

Alfred Soto: Whatever its content, the vocal performance is a tour de force: insouciant, teasing, fervid. Iconicity has not been hell on her music. I can imagine what an isolated vocal track sounds like. [8]

Katherine St Asaph: "End of Time" revised with new swagger, unsparing specificity, and better lines ("make a picket sign of your picket fence" is so neatly packaged I would have sworn it'd already been gentrified-blandified, but no, there's just this). More presence, too. Having done her hitmaker dues, she's now free to be less poppy and more pointed; having canonized herself as a power-diva vocalist with 4 (and "Halo," Dreamgirls, etc.) she's free to be looser, more slyly charismatic, more constantly morphing. (It's no longer surprising that she raps; now the surprise is just how many ways.) "Black Parade," like more Beyoncé singles than you'd think, is a product of the same industry infrastructure as her labelmates -- songwriters include Kim Krysiuk, recipient of one of Ariana Grande's 7 rings, and NOVA Wav ("Loveeeeeee Song," most of the Teyana Taylor album, uhhhh Lukas Graham, and Beyoncé's Lion King songs, perhaps why they're back for another Disney track). But seldom are such assemblies given to a vocalist so transformative. Put her anydamnwhere; she'll make it hers. [7]

[Read, comment and vote on The Singles Jukebox]

#Beyonce #pop #R&B #music #music review

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