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

The period in query is usually thought of to run from the debut of Search engine marketing 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 music buildings, wild trend, slamming techno beats, unhealthy reggae impressions, flagrant use (theft?) of American hip-hop samples, hearty energy ballads, foul language, the growliest rapper tones you possibly can think about and an anything-goes scrappiness that’s unimaginable to pigeonhole. To borrow the title of a well-liked second-gen act, these years have been the “massive bang” of an rising musical powerhouse, nonetheless discovering its footing and throwing all the pieces on the wall.

Try different “Again to Okay-pop’s First Era” evaluations right here.

Uhm Jung Hwa is among the few first-gen megastars who’s nonetheless musically lively in the present day. The truth is, she simply featured on a duet with an indie (?) artist the opposite day. She’s rightfully thought of a legend within the business, and experiencing her in her prime seals this declare. Lately, I’ve been watching previous Gayo Daejuns from the period and have been particularly struck by her charisma. She has that sure sort of star energy that makes it unimaginable to look away. No surprise she was usually referred to as “Okay-pop’s Madonna” of the time.

Jung Hwa launched extra iconic singles than 2000’s Escape, however you most likely already know songs like Poison, Pageant and Invitation. I wished to characteristic one thing a bit extra under-the-radar. Escape is a private favourite of mine, transferring her already club-friendly sound even additional into the dance ground. Okay-pop was firmly ensconced in its techno section throughout this period, which means tempos have been excessive and impossibly energetic. Jung Hwa takes benefit of this with a pulsing dance beat that by no means lets up.

Higher but, Escape options a few of her most dramatic melodies. The verses sweep in with a way of grandeur earlier than Escape strikes into extra rhythmic territory for its hook. The manufacturing right here is bigger than life, hitting with aggressive bursts of synth and some Latin touches right here and there (the guitar solo earlier than verse two is so pleasant). In case you love this and are in search of an equally dramatic b-side, I’ll enthusiastically suggest 2001’s Crime & Punishment from her following album. That one ought to have been a single too!

Grade: B+