Okay-Pop’s first technology is usually referenced as the inspiration for the trade we get pleasure from now, however there aren’t sufficient good English-language sources that give its music the main focus it deserves. I’m hoping to alter that with a unbroken flashback collection, spotlighting private highlights from the period – each iconic and obscure.

The period in query is usually thought-about to run from the debut of Search engine optimization Taiji & Boys in 1992 to the emergence of TVXQ in late 2003. The music featured on this collection will largely match inside that time-frame, give or take a couple of years on both facet.

It was a time of bonkers track buildings, wild trend, slamming techno beats, dangerous reggae impressions, flagrant use (theft?) of American hip-hop samples, hearty energy ballads, foul language, the growliest rapper tones you’ll be able to think about and an anything-goes scrappiness that’s unattainable to pigeonhole. To borrow the title of a well-liked second-gen act, these years have been the “large bang” of an rising musical powerhouse, nonetheless discovering its footing and throwing the whole lot on the wall.

Take a look at different “Again to Okay-pop’s First Era” opinions right here.

Soloists have been a a lot larger presence in first-gen Okay-pop than they’re now, and these performers ranged from emotive balladeers to bop divas. Kim Hyun Jung matches squarely within the latter class, making her debut in 1997 with a robust dance sound. On the time, she was identified for her lengthy legs and – extra germane to this weblog – her immense voice. She has an identifiable shout-singing model that takes affect from conventional pansori. This works higher in some settings than others, however can actually carry the home down on a giant dance anthem.

In the case of dance anthems, you’re spoiled for selection in Hyun Jung’s strong discography. I’m selecting one from her third album The Third Eye, launched in 2000. I believe it’s a wonderful instance of her attraction. Bruise (멍) instantly whisks us away right into a high-octane membership setting, its throbbing beats accentuating the emotion of the melody.

Bruise is incredible from the beginning, however its prolonged pre-chorus actually units issues in movement. The melody right here could be very dramatic – like I Will Survive on steroids. This theatricality continues into the refrain, which works for broke earlier than giving approach to an prolonged electrical guitar solo that takes place of a second verse. It’s all very stirring and may have you eager to sing alongside even when you don’t communicate a lick of Korean. To attach this with extra trendy touchstones, Ailee’s uptempo work within the early 2010’s is actually a descendant of this thrilling sound.

Grade: A