Finally SNSD is coming back. 

1 hour ago, Gaia said:

 

 

Teddy is very samey, but the man knows how to make a STATEMENT with his outros  

it's actually a special YG structure

if you listen to the outro of any YG group's random upbeat title track, there will always be a party breakdown at the end

but it works I fear

 

 

a bop tbh

 

 

SHH is an incredible song and i like it more than heaven but heaven deserves some love in here too. what an amazing and creative song 

 

the pole dancing and mv... avex was hella right for setting them up in the studio with mondo grosso, they need to book him again to make some actual musically interesting songs for their kpop acts 

Edited April 30, 20224 yr by Seiko Oomori

40 minutes ago, Pluto2022 said:

Some honorable mentions: 

 

Not this  

Twice JP discography is so ******* good its true
 

People dogpiling on labels using Youtube ads is funny though. Like it's... marketing. Unless it's to a fraud extreme like Everglow.

 

Some can spend $100k on Youtube ads, some can spend $100k on billboard or TikTok ads. It's the same and no one knows what the marketing budget of each group / release. Just because a group has Youtube ads doesn't exactly mean they are spending / promoting more.

 

 

SNSD top 5 japanese tracks:

1. Lips

2. Karma Butterfly

3. Motorcycle

4. You-Aholic

5. Gossip Girls

After School Shh reposted in this thread for the like 100th time, they truly did it for the f-words
 

2 minutes ago, hallucinate said:

SNSD top 5 japanese tracks:

1. Lips

2. Karma Butterfly

3. Motorcycle

4. You-Aholic

5. Gossip Girls

1. Galaxy Supernova
2. Great Escape
3. Lips

4. Animal

5. Karma Butterly

 

But so many 10/10 bops to choose from, the SJJD trinity is better than most groups' whole discographies

the visual glow-up of Jihyoncé has to be one of the highlights of TWICE's transition from cute to mature concepts

 

9 minutes ago, Héloïse said:

 

 Never had a bad day That’s mother 

 

21 minutes ago, Héloïse said:

 

she's so ******* powerful 

38 minutes ago, Sept said:

People dogpiling on labels using Youtube ads is funny though. Like it's... marketing. Unless it's to a fraud extreme like Everglow.

 

Some can spend $100k on Youtube ads, some can spend $100k on billboard or TikTok ads. It's the same and no one knows what the marketing budget of each group / release. Just because a group has Youtube ads doesn't exactly mean they are spending / promoting more.

 

 

yeah I noted that most people do it and it’s not a bad thing, im more surprised that they’re doing it with the teaser instead of just waiting for the MV. i guess it’s to bring attention to it beforehand, but I don’t think it’s as effective for people who aren’t already anticipating it (such as myself)

This is not the best kpop japanese release of all time simply due to the fact that the song in question will be released on the upcoming TWICE japanese album, however it's a good placeholder until then.

 

 

 

Some of the best Japanese releases 

 

I want THIS Jessi back !!!

 

 

Biggest Korean girl group in japan for a reason 

stable in the top 5 

SEVENTEEN new album has 5 versions and 260 photocards... Hybe is really taking the piss

1 minute ago, cloudbusting said:

stable in the top 5 

it's what they deserve 

 

waaait they are really gonna rip off shakira just like that  this sounds just like wenever wherever 

19 hours ago, Zack said:

Streaming services like Melon do pay, but it depends on the contract as to whether the idol receives any of that money or if their company keeps some/all of it.

 

The point of getting good digitals is for GP recognition mostly. This is why those who say Melon is "irrelevant" don't really get it. Charting high on local charts is literally the gateway to secondary income (e.g. CFs, promotional appearances, other paid activities etc.) in Korea. If you have a #1 song people will start calling you.

 

Just look at Brave Girls as an example, Rollin' went viral and became massive on Melon/Korean charts and it helped them to pay their bills, even though their physical sales have never really taken off. Because charting high opened up promotional opportunities for them that they simply would not have been offered before that. 

 

Getting good Spotify global streams is great, but no one knows for sure how much (if any) of that streaming money is going back to the idols, because it depends on the contracts. 

 

Plus Spotify/global streaming platforms are mostly irrelevant in Korea. Sure, Melon's userbase is declining, but it's still holding the largest share of the SK market and will continue to be important for as long as that is the case. 

The contract point makes sense, and yeah the labels probably take the small profits from that anyways

 

BGs yeah digitals helped a lot, Jessi also took off because of her digitals like I think she is probably one of the most successful idols alongside BG to make a name for herself in Korea from just digitals.

 

But for someone like PSY who is an established artist how much revenue is he going to make if his album only sold around 100 copies first day? For him the CFs aren't gonna randomly start coming either right, he totally relies on the physicals I would've thought

After those viral videos dragging Brave Girls for Thank You and the amount of criticism they received, i doubt they will be doing retro music again. Shame cause they really excel at it.

 

They need something fresh and sexy.