Interview
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Following the news of Stray Kids earning their third consecutive No. 1 on the Billboard 200 with their biggest sales week yet, 5-Star confirms the importance behind the intense attention the K-pop boy band put into each song — even when the songs take years to make it on an album.
“2022 was filled with so many unbelievable events; it all feels like a dream,” HAN tells Billboard when reflecting on the group’s chart success ahead of their new project. “All I can think about is how deeply thankful we are for everything and how much this experience has motivated us to work even harder and grow even more. The goal of this album is to emphasize Stray Kids’ unique color, which can be defined as ‘strange yet special.’ I hope that 5-STAR will be yet another breakthrough for our group and become an album that many people acknowledge as a legendary one.”
The new, 12-track project is the band’s first full-length LP since 2021’s Noeasy and sees SKZ challenge themselves in new ways, like their ambitious, genre-hopping lead single “S-Class”; standout B-side “TOPLINE” (which includes their first-ever album feature in Korea’s legendary rapper Tiger JK); and “THE SOUND (Korean Ver.),” which transforms their beloved Japanese single for K-pop audiences.
“The idea for the title 5-STAR came from the lyrics of ‘S-Class,’ playing around the words ‘special’ and ‘star,’” says Stray Kids leader Bang Chan. “5-STAR represents the uniqueness and confidence that we put into our work.”
Stray Kids members Bang Chan, HAN, Changbin and Felix have songwriting, composition and production credits across every track on 5-STAR. Still, the group emphasizes the teamwork required to bring together all their new music.
“Feedback where everyone needs to be involved is really important when it comes to a project,” Bang Chan adds. “If some people made songs, then the others play an important role to give feedback about the songs—extra thoughts and ideas around performance, recording, concepts are all vital in the whole process and the other members participate perfectly.”
The group’s vocal star Seungmin adds, “I helped bring the wonderful songs our members made to life by singing my heart out,” while youngest member I.N notes, “I didn’t really participate in the production process this time, but I did push very hard for ‘S-Class’ to be the title track [single].”
Looking ahead, the group isn’t putting additional pressures on themselves beyond pushing further with their future music and live shows. Hyunjin promises, “We will continue to perform many stages and will expand to even larger venues so that we can meet and interact with more people.” At the same time, Lee Know says, “Stray Kids’ next [step] will be filled with many new challenges, just like what we’ve shown the world so far.” While Felix concludes, “We just hope to be healthy in order to get through the challenges that await us.”
Felix concludes, “We just hope to be healthy in order to get through the challenges that await us.”
Celebrate Stray Kids’ latest five-star album by going with the members track by track through 5-STAR.
“Hall of Fame”
Kang Daniel‘s last trip to the U.S. took place in February 2020, just as COVID-19 concerns were truly taking hold worldwide and would soon put live-music experiences on hold for the foreseeable future. The K-pop superstar was preparing the second EP of his solo career—one of his four color-themed EPs he released from 2019-2021—sharing that there was “so much [he] prepared this year to show people.” Even if a global pandemic slowed travel, it didn’t affect the star’s ambition.
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Daniel pushed on into more music, acting and hosting these past years while balancing duties as CEO of his KONNECT Entertainment. Only in 2023 was he able to finally come back stateside with a show that finally saw his long-awaited concert dreams coming true.
“It might sound a little silly, but when you lose something you understand how precious it is, right?” Daniel says during some downtime after touring the Empire State Building in New York. “For me, it was the performances and my shows. I really wanted to do a tour and I really wanted to get to my fans overseas.”
After releasing his first full-length album, The Story, and touring it through North America, Europe and Asia on his First Parade world tour, Daniel kickstarted a new era with the surprise, Mad Max-esque “Prequel” trailer that showcased a cinematic story as a backdrop to the K-pop star’s upcoming album. Combining his music with an epic, blockbuster production is another example of the ambitious, multifaceted artist he strives to not only be in the K-pop industry but recognized as such around the world.
“There’s a long history of pop culture and such diverse performances and shows in the U.S.,” he explains. “Everybody knows it all over the world. I want to be recognized as an artist through my shows in the U.S.”
After finally bringing his shows to America and beyond, Kang Daniel’s forthcoming album REALIEZ drops on June 19. Led by his first original English solo single, “Wasteland,” and its intensely eerie “Music Sequence” visual, the superstar’s ambition and goals seem on track to be recognized by his biggest audience ever. Read on for more from Kang Daniel on “Wasteland,” his reflections from his world tour, his personal advice and more.
Congratulations on the release of “Wasteland” ahead of your REALIEZ album. Why was this the right song to start your new era?
I think “Wasteland” is a song that expresses the betrayal of a firm faith and the moment of realizing it. The lyrics are all in English, signaling the beginning of a new narrative to more people and it seems that people can be more immersed in the cinematic concept, so it was released as a pre-release single.
This is your first music since your First Parade world tour that hit Europe, the U.K and U.S. Going back for a moment, tell me about your mindset when you were touring the States for the first time as a soloist?
The most important thought I had was, “I must do a show.” In my career as an artist, the most important part is being on the stage because that’s where I belong, that’s where I have the most fun and I want to share that with my fans. So, I’m very excited to have been in the US, we visited a lot of cities across the nation and it required a lot of preparation internally and for my stages as well. And it’s not only about the tour, but I get to explore these new cities and I get inspiration from that.
Do you like exploring the different cities or do you need to rest at hotels during touring?
I love to explore new places. For example, after checking into the hotel [in New York], I just went out by myself—went to a local restaurant and had dinner. Nowadays, I’m really into workouts so the gym is where I spend most of my time. So it’s like, “Okay: explore then workout.” Balance.
The tour centers around your first full-length album, The Story. Before officially moving from that era to REALIEZ, how do you reflect on such a significant project?
I think: “Finally, I was able to publish my first full-length album.” You know, it’s something we can hold onto as an artist; it’s a lifetime experience. For some artists, it might take, like, up to 10 years, right? But for me, since my debut, since I started collecting the music even, I really wanted to do, and just the fact that I was able to have my own [full-length] album in my lifetime was meaningful enough.
A title like “The Story” reaches very wide. What does it mean to you and does it still hold the same meaning as when you first titled the album?
When I had to come up with a title, I had a lot of pressure and I had to give a lot of thought to it because it’s almost like a collection of different dramas, with various genres, like, “How am I supposed to put everything into one word?” And in terms of genres, we describe it as “various,” but we can also say it’s kind of all over the place at the same time. So I just thought, “Okay, so far the life I’ve lived, and the music I’ve listened to, and it all comes into the word ‘story.’” it’s the story that I can share with my other fans and it’s just another story I can share with everybody and I story that I can love. And that meaning has stayed true even now.
There are some great lyrics to songs you wrote for The Story. “Parade” feels like a mature and empowered mindset behind it. What’s the s sentiment behind these lyrics?
So, you mentioned the word mindset and I just wanted to express [myself], not in an overly expressive manner but calmly. I mean, people might think I have a special life just because I’m an artist but I’m just a human being like other people, you know? So, rather than working so hard to come up with “cool lyrics,” I just wanted to be honest with my feelings.
People can work all through the night and when you see the sunrise, you know, “Oh, yes, I’ve worked really hard,” and then you go back home. That’s the feeling that I wanted to share.
That’s your vibe, I think—larger than life on stage or on camera but humble and friendly in person. So, what’s the meaning behind a song like “Loser” where you’re almost speaking to yourself like a main character in a movie?
When I was young, I didn’t have a lot of friends, and once you fight with one of your closest friends, you don’t have anyone else to play with, you know what I mean? You can play with other friends, but they’re not the same. Even if you go to the playground or play games, something is missing. So, in the song, I am the main character per se, and I wanted to look back at it as an adult. Childhood is also still part of your story.
The lyrics in “How We Live” featuring sokodomo are really powerful. Where or from what experience did that inspiration come?
Beer pong. [Laughs] So, the behind-the-scenes story is kind of based on conversations I had that night over drinks had with friends You know, if you’re watching people play beer pong at an Irish bar—some people are drunk, some are throwing up, but they’re all ultimately fine and it’s just their life. But I think the story’s point is that I fell asleep while my friends were drinking, but I woke up because they were so loud. I was like, “Hey, stop…” and they told me, “It’s not that bad, just have your drink.” Just trust yourself; trust your situation.
“Parade” was the name of the world tour, and to me is like an anthem for all individuals, freaks, losers, all kinds of people. You say, “Leave us alone and we’ll be fine.” Was that the idea you wanted to base the tour around?
The lyrics of “Parade” have a deep connection to my life. For me, happiness is the most important, and work, money and life are all separate. But in Asia, and especially Korea, everyone is overworked—I have to overwork myself too sometimes—and it’s not like you get paid overtime. There’s not really overtime [in Korea] but there’s so much pressure. So, you have to finish your work even if they don’t pay you extra and sometimes I’m like, “What the heck? You know what, it’s not that important.” It’s my life and it’s not my life to just work…happiness is what’s important and rather than trying to convince people by a basic message, I just wanted to give them a suggestion. So how about this [“Parade” theme]? That’s why the music video is in an office.
You re-released the album as The Story : RETOLD with the new single “Nirvana.” What does that word mean to you?
Kurt Cobain. [Laughs] Yeah, Kurt Cobain because Nirvana is one of my favorite rock bands. When I was working on the track, I tried other words on the topline, but nothing really worked out. And “Nirvana” really fit well. But once I said, “Okay, this is going to be the title” then I finished the rest of the song.
What’s your favorite Nirvana song?
“Smells Like Teen Spirit.” Classic.
You’ve done a lot of great collaborations recently: Jessi, pH-1, Chancellor, 220 KID and Willim. What do you look for in a collaborator these days?
I guess you are kind of asking about the motivation, but I’m not really sure. It’s not about the outcome that I’m looking for, but I just enjoy the process—it’s fun. For example, Jesse, I, her let’s together, you know, and K one was recommended by the team. And then I was like, “Okay, it’s a good fit and I wanted to give it a try.” So, in terms of collaboration, the most important thing is that I need to have fun. Yeah. And when I’m having fun, the song comes out really nice. So, I’m not looking to have a big plan of “I’m gonna show this part” or “I want to do this concept with this person,” it’s the fun during the process and the song itself.
You’ve also been doing so many things beyond music lately, like acting, your first Japanese release, and hosting shows as the MC. Was there any big lesson you took from the opportunities?
Actually, I learned a lot from those experiences, so it’s not possible to take one word or lesson to describe what I learned, but I think the main keywords are about diversity within myself. Take, for example, this table, I only used to see the top part of it, but now I can also see the legs and the other parts of it. So I can apply that to my music. I was working on my new album and it was really fun. I haven’t said this yet, but I think a lot of people are really going to like it.
What can you tell us about the new album REALIEZ that we haven’t seen yet through “Wasteland”?
The album is about the process of realizing the truth hidden in lies on the theme of a dystopian world in a cinematic form. There are a total five songs, including “Wasteland,” in this album and it’s a story of gaining enlightenment through uncovering truth from lies and a story about the realization to face our whole self. Depending on the listener, different endings can be imagined, so, I’m looking forward to it.
Your KONNECT Entertainment has grown greatly since you last visited America with several great artists signed. I always ask K-pop company CEOs if they have professional plans or any reflections on their artists.
So, I don’t take care of their schedules, but when they need help, I try to set up a separate meeting with them so that I can refer somebody they need or make sure they have better connections. I’ve been having planning conversations with different companies and collaborators, some that are unexpected.
To wrap up, I always really admire your mindset, and you seem in a good place right now. Do you have any words for those who may be having a tough time or how to keep yourself physically, mentally and emotionally healthy?
Oh, thank you. Emotionally, let’s say, we don’t really know what’s behind the door until we open it. I’ve been in that place in my dark times and, actually, what scares us is not what’s behind the door, but it’s the action we have to take to open the door, you know? Because once we open it, there’s nothing really scary or severe. And I really hope it’s the same for everybody else, but happiness is ultimately most important, and that’s what I want to share most.
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Little Brother remains one of the best groups in Hip-Hop history and their impact and influence is still flourishing some two decades later. Phonte and Rapper Big Pooh recently shared in an excellent podcast interview plenty about their background, including saying that had a heavy influence on Kanye West when the Chicago superstar was early on the rise.
Little Brother sat down with the Dear Culture podcast, hosted by Panama Jackson. The three gentlemen discussed the early days of Little Brother, the impact of their 2003 album The Listening, and the nature of their relationship with their former bandmate, 9th Wonder.
Fans of the group are well aware of the track “I See Now” which features a strong verse from Kanye West and it would probably figure that the producer and rapper, a member at the time of the sprawling Roc-A-Fella camp, served as an inspiration but Little Brother says it was the other way around.
From theGrio:
Panama Jackson: There are a lot of groups in hip hop who will never be remembered. Y’all will never be forgotten. Like do y’all ever sit back, reflect on that part of it? Like y’all literally cemented a spot in a genre of music in hip-hop that will never be forgotten.
Phonte: Um yeah, I mean Pooh I’ll let you take it but I’ll just say. I think it was more so you know, Kanye didn’t influence us, we influenced him.
Panama: Yeah.
Phonte: So you know I just want to put that out there and make sure that’s clear. Pooh you can take it from here.
Panama: Make it clear right, I’m with you.
Big Pooh: Every now and again you have the moments where you like, damn, you know, look what we did. Or look at the impact, you know, that that we’ve had. But, you know, like, even when we when I saw they have put our name up at the Grammys when they was doing the fifth year of hip hop, and they had our name and it was front and center like that was that was one of the moments I was like, oh, censor word like, it was definitely one of the moments, it was just like, I expect us to always have quality. I expect excellence. But it’s still unexpected when people or when you step back and start seeing the high regard were held in. Not that we don’t deserve it. It’s just I’ve been so busy doing the work I don’t take a lot of time to. You know, sit back and acknowledge the work.
Check out the conversation between Little Brother and Dear Culture’s Panama Jackson below.
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Photo: Getty
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Weather Park was raised in literal Hip-Hop royalty as the son of beloved Wu-Tang Clan rapper, Ol’ Dirty Bastard. Now a rapper himself, Weather Park shared in a new interview that RZA, the Abbott himself, offered mentorship and guidance as he grew into his own.
Weather Park sat down with AllHipHop to discuss his burgeoning career as a Drill rapper, how his sound differs from that of his brother, Young Dirty Bastard, working with the 36 Chambers record label, and more.
From AllHipHop:
AllHipHop: Nice. So you started working with RZA, obviously, and this opportunity with 36 Chambers came about. Can you tell me a little bit about what it’s been like linking with 36 Chambers and what that allowed you to do as an artist?
Weather Park: Well, what I could say is it put me in a very focused state just as far as the direction of my sound. I know I’m good, but I’m constantly challenging myself to be better, just to be exposed to the greatness. It allows me to see myself in a higher light than I’ve ever perceived. You know what I mean? So as I create my music, I still have fun, but I’m creating it in a base of, “What can I?” not even like what, “How can I tell my story in a way that it can resonate with everyone just the same way as Wu-Tang Clan did back in the days?” You know what I mean? So that’s the most impactful part for me. I definitely appreciate the opportunity, and I definitely appreciate the time that we’ve had together because it’s definitely helped me grow as an artist. But the most important thing to me is my impact because I understand how impactful what I come from was.
The entire interview is full of gems and showcases that Weather Park definitely benefited from working with RZA both in music and in life. Read the whole piece here.
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Photo: @winter_park/Instagram
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Travis Scott is one of the most interesting musical acts to emerge in years and his body of work captures not only his creativity but also his sense of style. In a new interview, the Houston star discusses his career goals after music, his influence on the culture, and much more.
Travis Scott, 32, sat down with PIN-UP magazine, a publication that covers architecture and design. In the piece, Scott discusses a number of design principles using the alphabet. In the images, Scott renders his body to the corresponding letter and offers an insightful blurb under each post.
From PIN-UP:
ARCHITECTURE
Architecture is my true passion. I plan to apply to the architecture program at Harvard GSD when I’m done with music, which won’t be for a while. It would be dope to do both at the same time.
Further in the piece, Scott riffed on what it means to be an influential figure and the responsibility that comes with it.
“Making an impact is fun. But sometimes people also flip the question on you in weird ways. There are people who don’t understand why you’re influential, and it can become an issue. The person who had the greatest impact on me and my taste level was Virgil. He was a true inspiration,” Scott shared.
More of these gems are sprinkled through the piece, which certainly drums up anticipation for his upcoming album, Utopia. It will be the fourth studio album for Travis Scott, following 2018’s acclaimed Astroworld album.
[h/t PIN-UP]
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Photo: Getty
Thanks to the rigorous and multilayered training needed to debut, K-pop artists can embrace a kaleidoscope of concepts, sounds, genres and styles that can change with every album. As much as groups can creatively explore, the K-pop idols themselves tend to stay in specific, assigned roles: the rapper, powerhouse belter, the cute one, the mysterious one, the intense dancer, the center. While important in establishing a group dynamic, Monsta X‘s Joohoney looked to free himself from any previous expectations on his first full-fledged solo effort—and hopes other K-pop stars realize they can do the same.
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Introduced to the world as Lee Jooheon in 2014 before gaining significant interest while competing for a spot in the boy band reality competition No.Mercy, Joohoney stood out for his well-rounded abilities and earnestness in group dynamics. Eventually earning a place as one of seven in Monsta X, Joohoney served as a main rapper for the group but became increasingly involved in shaping their sound and direction.
Not only was he a credited lyricist since MX’s first EP in 2015, Joohoney eventually wrote, produced and arranged breakthrough singles for the group like “Gambler,” “Rush Hour” and “Love.” Joohoney was also the first member of his group to drop a whole, multitrack mixtape project where he took on a majority of the writing and producing. As Monsta X’s global ambitions grew with different U.S. labels and more Top 40 pop material, Joohoney adapted by taking more lead vocals on the band’s two Billboard 200 English albums, All About Luv and The Dreaming, with his admiration of Michael Jackson coming through in his ad-libs on Pop Airplay chart hit “Who Do U Love?”
For his first solo record to get a proper physical release and promotional push, Joohoney looked to pack all the different musical elements that inspire him into the concise, six-track EP titled Lights. But beyond bringing everything from his singing and rapping abilities to his appreciation for hip-hop, rock, jazz and Korean music into one project, Joohoney wanted to deliver a personal message to his fellow artists.
Speaking to Billboard ahead of the release of Lights from a video call in Seoul, Joohoney sees his eight years in the industry as groundwork to make a better support system for K-pop idols today. Joohoney says his early career’s unhealthy and intense hustle give him a new, more generous perspective for himself and his fellow artists.
Today, he isn’t afraid to question industry standards and wants to encourage K-pop stars to be more open and express themselves. That journey begins with Lights, his new single “Freedom,” and the new mindset and role he’s embracing in the industry moving forward.
Read on for more Joohoney on the makings of his first mini album and what comes next.
Congratulations on the release of Lights. You have credits as a songwriter, arranger and composer on every song, which is really impressive. What is your process like to handle all those roles?
Joohoney: First of all, I get inspiration for just the music itself. Whether I’m shooting a video or out on my day’s schedule, I’m always thinking, “How will Monbebes receive this music or this genre whenever my solo album does come out?” I type out lyrics on my phone and I sing into my phone to make my demos. When I finally get into the studio, I have my team—the production team who help make the lyrics and melodies—where we’re thinking about how to put together our stories.
The first thing that struck me was how many different genres and sounds there are on Lights. On one hand, K-pop is known for mixing genres but this felt more ambitious. How do you blend all of these influences?
To be honest, I don’t know how to blend the different genres—it’s about just being free, right? No matter what it is, sometimes it’s like, “I want to turn the drums up” or “I want to put drill there;” it’s free to me. I don’t want to ever have a fixed direction, I was open to every direction with the songs. I want to make a different way within the K-pop scene and the music genre itself.
Is that how you listen to music? Are your playlists all kinds of music genres and styles?
I enjoy listening to a whole mix of genres and imagining mashing them up. So, for example, I will listen to songs by Michael Jackson, and then I’ll start listening to Monsta X songs and he kind of imagining, like, the mashup of these [artists].
I think any of Lights‘ songs could have been the title track single, but you chose “Freedom.” Why?
I chose “Freedom” as the title track [single] song because the album title is Lights and I wanted to express that for anyone who wants freedom and to give a positive message out to the world. Out of all the songs, I thought “Freedom” was the one that expresses this meaning the best.
But I also hope that this song will kind of be a source of inspiration for other K-pop artists because it’s different from other typical songs. A lot of K-pop artists create songs based around their performances and they’re kind of made beforehand. But in my music, I want to especially express that I’ve been very raw and honest. And I want other idols to be comfortable with sharing about their hard times and able to express themselves confidently through their music in the future. The music and lyrics can really be a mix of arts.
No matter what the genre, a lot of artists sing about ideas around freedom and wanting to feel liberated. Why is it so important to speak about that?
As some examples, BTS‘ Jimin recently released “Set Me Free Pt.2” and TWICE came out with a song called “Set Me Free,” so I have been noticing that other artists have been expressing the different ways they crave freedom. I think that Korean artists and trainees can sometimes feel a bit restricted due to their companies and the different rules that they might have to follow. So, now, after I’ve grown and matured, I’ve been able to find myself and can express myself more freely now. There is an interesting difference between Western pop and the K-pop world right now. Many Korean artists have been writing about how they crave freedom but they’re also trying to spread positivity through their music—that’s been interesting lately.
Speaking of not being restricted, “Freedom” lets you show your singing and rapping. What’s your background in singing?
I actually started singing at church when I was younger. When I became a trainee, I was more interested in rap so I started going in that direction, but I would still practice singing by myself. Of course, I had vocal lessons then and learned about singing techniques, but I mostly just practiced on my own. I’ve always wanted to do both and show that a rapper can sing, and now I can.
“Hype Energy” opens Lights with traditional Korean singing and instruments before the hip-hop beat takes over. It’s very cool. Why start the album this way?
I first think about what kind of elements I want to incorporate and discuss that with my producing team before we make it come into reality. The reason why I incorporated more Korean and K-pop elements in the beginning is because I am a K-pop artist, so, I want to show my original image that I’ve had before the song kind of transitions into more hip-hop elements. And it goes there because I’m the most confident in the hip-hop genre, and I wanted to show what I do best as the introduction to the album.
“Monologue” with GSoul discusses your uncertainty before debuting as an artist. Was there a reason you chose a jazz style to tell this story?
Jazz was most fitting for a song telling the story of my pre-debut days because when I was younger, I did grow up hearing a lot of jazz around me. And I would actually find playlists and listen to all kinds of jazz, like Chet Baker. And when I struggled or had a hard time, I listened to jazz. So, when I was thinking about and remembering the past while writing the song, the memory came with the jazz sounds; it has a combined meaning.
I read that “Evolution” is you wanting to share how “reflecting on yourself is how true ‘evolution’ happens.” When you reflect on yourself and your career, what do you think about?
I think of how I was so busy; how I was running tirelessly and not able to take care of myself because the group was so busy with their different schedules. I want to emphasize that we weren’t even able to rest for like three days because our schedules were just completely packed with different things. For many artists, as soon as they debut, they have to tirelessly [work] and keep themselves busy with various promotions and schedules. So, I’m at a point where I’m now questioning, “Why do they have to be so busy?” I’ve noticed that being so busy affects the artists mentally. Now that I’m an older artist, I want to be able to kind of change or kind of improve the situation. Thinking about these things has made me “evolve” and change into the artist I am.
That answer makes me think about hiatuses you’ve taken for your mental health, which was a brave thing to share. When you say you want to change the situation, is it so other artists don’t have the same experiences?
I want to be a part of improving the situation that artists like myself struggle with and I hope they will be comfortable coming to me. The message in this album is also a message to those artists who are struggling as well. That’s why the album’s name is Lights.
You want to be the light.
That’s right.
Have any younger artists come to you for help or guidance? Maybe your label mates CRAVITY, who you’ve also produced music for?
I can’t reveal who specifically came to me for help and guidance, but I can say that they are younger artists who are currently working very hard. CRAVITY has also come to me for advice before, and I am always willing to help them if they need anything in the future. I just want to tell and advise younger artists that whatever they do is the right answer in the end, and that they should share a message from their heart in their music.
Releasing your first solo mini album sounds like it will be a busy time with very hard work. How do you find balance? Do you have more say over your schedule?
I have more control over some things now, but I work hard to do more and show more of myself for Monbebe. Listening to good music in the car helps me find balance and helps me maintain my rush of adrenaline too.
You became an MC for the K-pop show M Countdown this year. Why did you want to take on this role now in your career, and what has it taught you?
Taking on the role of an MC is honestly not easy because, as an MC, I always want to be a source of positive energy for the other artists. Something I learned with this role is that there are a lot of really great artists in Korea.
In what ways do you still want to evolve or improve yourself?
Now that I’ve found myself and who I am, I don’t want to keep running after a specific goal. I think that life is like a road where you can’t see ahead of you. I think you have to just keep moving forward, even if you can’t see what’s ahead. If you keep moving with the goal of moving up, you can always end up falling down. But if you just keep straight ahead like a road, you can keep moving forward and you won’t have to be afraid of falling down anywhere. I want to keep going forward over that road ahead of me and be a bright light.
What’s next for you and Monsta X in 2023? We saw you at We Bridge Festival, but will you be returning to the States soon? Anything else you want to share right now?
My plans are to just go with the flow now, but I know I will always be working on music for the rest of my life. As for Monsta X, the other members are also working on their albums so I hope you’ll look forward to their releases as well. If anything comes up for me in the States soon, I will definitely go! I have done interviews with Billboard many times before, but I am always very grateful for each opportunity to discuss my music with Billboard. I also want to share that I have bold aspirations of wanting to show who the artist Joohoney is at the Billboard Music Awards one day!
JOOHONEY
Starship Entertainment
“To be clear, there’s almost no commercial incentive for me to do this,” says Moby, breaking into a chuckle.
The Grammy-nominated electronic musician is 57 years old, his well-cropped beard more white than gray and his head as bald as it was in 1999 when his breakthrough album Play made him an MTV mainstay.
A “vegan” neck tattoo peeks out from his gray hooded sweatshirt, which stands out just enough from his white wall and beige window curtain as we talk via Zoom, but his minimalist approach to decor stands in contrast to his penchant for intellectual verbosity and philosophical musings.
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“At the risk of sounding melodramatic, one of my goals in life is to never go on tour again as long as I live,” he says. “It’s not like I’ve rerecorded these in the interest of promoting an upcoming tour. Also, in the spirit of honesty and full disclosure, it probably costs more to make these orchestral records with tons of guests and fancy orchestras than will ever be generated in revenue. So it’s purely… and maybe I even feel a little guilty about this because it seems quite selfish… it’s just a labor of love.”
That labor is materialized in Resound NYC, an ambitious album on which Moby recreates 15 of his biggest hits and personal favorites with orchestral accompaniment and a powerful cast of vocalists. Grammy-winning jazz singer Gregory Porter, Lady Blackbird, The Temper Trap’s Doug Mandagi and Pussycat Dolls lead singer Nicole Scherzinger all make appearances on a tracklist that includes “Extreme Ways,” “South Side,” “In This World,” “When It’s Cold I’d Like to Die” and more.
It follows in the footsteps of 2021’s Reprise, which was also released on the 125-year-old classical music label, Deutsche Grammophon. Yet Resound NYC feels bigger and bolder, focusing specifically on songs written and released during Moby’s time living in New York City, a period encompassing 1994 to 2010.
“One thing that New York really taught me is how wonderful and exciting juxtaposition can be when it shouldn’t exist,” Moby says. “The fact that New York is a filthy, dirty, hard place that’s also beautiful and can be very elegant and poignant. Especially in the ‘70s and ‘80, walking down the street and hearing hip-hop juxtaposed with someone playing classical cello, juxtaposed with salsa, juxtaposed with Arabic music. I think that encoded itself into my DNA to make me think culture should not be siloed. Culture should be a melting pot. It should be this weird, unexpected surprise that if [the parts] were a little bit off wouldn’t work.”
Resound NYC embodies that mix of sonic flavors, bringing new depth and grandeur to beloved fan favorites, offering fresh and welcomed dimensions to familiar melodies. The album opens with the hopeful tinkering of a piano on “In My Heart” and immediately explodes into a wall of sound that ebbs and swells with furious passion until the final notes of closing track “Walk With Me.”
Moby’s career-spanning examinations of hope and sadness, mortality and exultation, feel richer and more alive as his palette of blues, jazz, funk, rock and gospel are recreated by a sonic army, each song hitting new dramatic heights to elicit tears or dance freakouts, or both.
“When I was really young, like nine years old, I studied music theory, classical music and jazz, and I didn’t love it, because it was more technical and academic than it was emotional,” Moby says. “Oftentimes the most powerful emotional expression can be the most rudimentary. You think of blues or punk rock. Think of Neil Young; very simple music that’s very emotional. I try to take that ethos, that spirit of almost reductive emotional simplicity and apply that to an orchestra — even though an orchestra by definition is complicated.”
“Simple” seems a strange word to describe Resound NYC’s expansive and maximalist layers of sound, but sit with each instrument’s part, and you’ll hear how a series of long-held notes and straightforward rhythms build one piece at a time to create moments of eruption and release.
“I find myself really resenting art and music that doesn’t have that generosity of spirit,” Moby says, “meaning the willingness to try and reach the audience, whether it’s one person or a lot of people, in a way that potentially — presumptuously — might be rewarding for them. A lot of musicians, sadly, are very afraid of emotion, like the pursuit of cool is more important than the pursuit of beauty or the pursuit of emotion. I, embarrassingly, would much rather ignore the pursuit of cool and simply try to create beauty in so far as I can.”
Moby no longer lives in New York. He moved to Los Angeles in 2010, a few years after putting himself through rehab to kick increasingly problematic addictions to alcohol and drugs. Fans who’ve read his autobiographies Porcelain and Then It Fell Apart know how dark and uncomfortable his struggles became. In the latter especially, the producer writes in detail about sloppy and desperate nights spent chasing fame, glamour, ego and sex before finally succumbing to depression and even a 2008 suicide attempt.
Just as with writing those books, the task of transcribing, recomposing and rerecording some of his seminal works from that time has been a strange mirror.
“It’s like being reintroduced to yourself, but you’re sort of a stranger,” he says. “I was a mess, and sometimes it was a fun, dramatic mess. Other times it was just an embarrassing mess. There’s a temptation to be dismissive and say ‘I was just young and stupid,’ but that was still me. I was that awkward person making bad choices and having bad priorities. To lead a full integrated life, sadly, you have to be willing to look at that Jungian shadow self. I always thought the Jungian shadow self was your cool, violent, sexy, dark, goth self. But I’ve come to realize mine is just awkward, uncomfortable and probably talks too fast.”
Living in L.A. has given the artist a chance to refresh his own lifestyle and perspective. It’s also given him a front-row seat to the cartoonish attempts its citizens make to grasp ageless glamour, “from face-tuning to vampire facials.”
“I’ve been having this conversation a lot because of the rise of A.I., but there is a psychological, philosophical, existential aspect to [the] many ways in which humans feel they can technically improve upon themselves,” he says. “It’s so much more interesting when people accept their humanity, accept aging, the vulnerability [and] frailty. True strength, as far as I’m concerned, is both accepting the entropy that comes along with the human condition and being willing to be seen in that vulnerable, human state. I don’t know if I’ll ever get there, but one of my goals is to push myself to try and express that, either on my own or working with other people.”
He speaks at length about his love of the human voice for this very reason. It’s the instrument that best reveals the nuanced levels of emotional complexity.
“It’s almost comical the number of singers I’ve worked with and the weird diversity,” he says, “everybody from David Bowie to Ozzy Osborne to Britney Spears. I can’t even begin to think of the hundreds if not possibly thousands of singers I’ve worked with, all in pursuit of that vocal beauty and power. When it works, it’s remarkable. When it doesn’t, it’s incredibly frustrating.”
One of his favorite tricks? Recording a singer’s first few practice takes under the auspices that he’ll “do the real passes later,” knowing he’ll most likely get a more vulnerable performance when the singer thinks they’re not in the hot seat. Technical perfection is so rarely the harbinger of emotion. Like Moby says, “Would you rather listen to a 19-year-old pop singer with perfect pitch who’s been autotuned within an inch of their life? Or Leonard Cohen singing ‘Hallelujah?’”
No such ruses were needed to capture the soulful vocals on Resound NYC’s version of “Run On.” One of the barest and most stripped-down tracks on the LP, the tune originally started with a big brass section, live drums, percussion, a quintet, electric guitar, bass and piano.
“I had this big version of the song done, and [singer] Danielle Ponder was visiting her dad, who’s 89 years old and very ill, in his hospital bed,” Moby says. “He remembered singing this song when he was a little boy, so she held her iPhone up to him while he sang it. She sent me the recording, and I threw away everything I had done for that song and rewrote it around his vocal. Then she came in and did a duet with her dad’s hospital bed iPhone recording.
“In terms of authenticity? Dear God,” Moby continues. “I could listen to just an isolated acappella of him singing that song. It’s so special.”
When he isn’t seeking to expose the gooiest parts of humanity on record, Moby’s been keeping busy recording his Moby Pod podcast and launching a film and TV production company called Little Walnut.
The team recently released Punk Rock Vegan Movie, a full-length documentary that explores the little-discussed connection between the rise of plant-based lifestyles and the hardcore scenes of the ‘80s and ‘90s. Moby narrated, directed and soundtracked the effort, which includes on-camera chats with members of Bad Brains, the Misfits, Crass, Fugazi, The Damned, The Germs and many more. (Punk Rock Vegan Movie is available to watch on YouTube.)
“As time has passed, I’ve come to realize that my day job is actually animal rights activism,” Moby says. “That’s my primary purpose, and part of that was making this movie and giving it away for free. I wanted to try and do my little part to remind people that principles are good, and compromising principles is generally a bad idea… This algorithm accommodating culture that we live in it, it’s making my brain hurt. Who on their deathbed wants to remember, ‘Oh, I did a mildly effective job accommodating algorithms invented by someone in China.’ That’s not a good life.”
The decision to retire from touring is part of his own eternal search for that philosophical “good life.” The whole idea of moving from plane to green room to stage to hotel over and over again feels “unhealthy” and “uncomfortable.” Instead, he’s content to sit in his studio “which looks a lot like a monastic cell,” transcribing his life’s work into orchestral movements, recording podcasts, writing activist documentaries and just generally being.
“I really love sleeping in my bedroom here with the windows open, waking up, having a smoothie and going for a hike,” he says. “It doesn’t pay well, and there’s no ego gratification there, but it just feels so much healthier and nicer than waking up on a tour bus in a parking lot somewhere, sitting backstage waiting for some ego validation. I am thrilled that I finally ended up in a banal place, that I’m very happy.”
On Tuesday (May 15), Nicky Jam showcased his hitmaker status when he took the stage at the 2023 Telemundo Upfront Celebration, a private concert held in New York City. Spanning two decades of hard-hitting reggaeton bangers like “Hasta El Amanecer,” “X,” and the classic “Travesuras,” the singer-rapper — who arrived donning athletic clothes covered by a fly trench coat — held down the sweltering house for nearly two hours.
Born Nick Rivera Caminero, the half Puerto Rican, half Dominican artist is considered one of the pioneers of reggaeton with over 20 years in the space. The 13-time Latin Billboard Music Award winner is known for his Hot Latin Songs No. 1 hits such as his Enrique Iglesias-assisted “El Perdón,” which topped the chart for 30 weeks in 2015, and “Hasta El Amanecer,” which ruled for 18 weeks. Currently, he’s making the rounds with his first regional Mexican song with Luis R. Conriquez, “Como El Viento.”
Ahead, he’ll star in the upcoming Peacock Original Reggaeton: The Sound that Conquered the World, executive produced by Daddy Yankee. According to a release, the doc will tell the story of “a grassroots music movement that grew from a local sound born in the barrios of Puerto Rico, into a global force heard around the world.”
“All I did was just sit down and talk about the years that I’ve been in the music industry and everything I know about reggaeton, the beginnings and the evolution and everything,” says Nicky Jam. “I just feel like a proud dad, like if I had a little baby and I was trying to make my baby be somebody, and my baby finally is somebody.”
Billboard Español sat down with the reggaeton rockstar at The Glasshouse in New York to discuss his starring role in the genre’s evolution and global takeover, stepping into regional Mexican music and more.
You are a pioneer of reggaeton and still at the forefront of it. How has that journey been, from seeing it in the streets to now being a global sound?
It’s a blessing to be one of the guys that knocked on doors for this genre to exist, and to see where it’s at today. I just feel like a proud dad, like if I had a little baby and I was trying to make my baby be somebody, and my baby finally is somebody. I’m happy that I have made a big contribution to this music industry, and I’m still here today. Young kids respect me, they respect my career, all I’ve been through and all [reggaeton] went through to be where it is today.
I was fascinated by your recent regional Mexican feature with Luis R. Conriquez. What do you think about the rise of regional Mexican music?
I love what they’re doing. I love their music. I connect with their music because it’s kind of like urban music. They come from where we come from. They talk about the same things we talk about. [Luis R. Conriquez] is a very humble guy. I enjoy doing music with him. When I did this song, it was before the phenomena [“un x100to”] with Bad Bunny [and Grupo Frontera] and everything that’s going on with Peso Pluma. I’m just happy for them. It’s something that’s growing. It’s like reggaeton at the beginning, that type of regional music. Regional music has been going on forever, but [now there’s] this new color of it.
It’s nice to see. It makes us learn about Mexican culture more, about that version of Mexico, because we all know different parts of it, telenovelas, their music, boxing… But this is like a whole new Mexico for us.
How was it, vocally, to sing regional?
Well, I’m very melodic, so for me, it’s not hard to get into any type of music because I can sing. Just having a feeling, studying what they do and just putting my vibe to it. The best way you could collab with different types of music is by giving it your own color.
You also have The Rockstar Show, where you’ve interviewed key players in Latin music, including Billboard‘s own, Leila Cobo. What led you to host your own show and what’s in store for its future?
I think it was the pandemic. I needed to work, so I started creating all these things, like with restaurants and hospitality [like La Industria Bakery & Café in Miami]. Apart from that, I wanted to do a show where I interview singers, colleagues and people from the industry. That’s why I came out with The Rockstar Show. We’re coming up with the third part of it, so we’re just happy. We’re starting heavy with a lot of heavy hitters. We have J Balvin, and a couple more.
What else are you working on now?
A new movie coming out with Universal and Westbrook, Will Smith’s company. I’m the main actor in this movie. We’re working on it, but we’re not done. It’s going to be my main act. A new album, two songs coming out soon, and the new chapter of The Rockstar Show.
You’re also set to headline a bunch of international festivals: Sueños, Baja Beach Fest and the Milano Latin Festival in Italy. What do you look forward to the most when you travel to these?
I just enjoy working and singing my songs in front of people. I make people reminisce about the reggaeton from back in the days and what’s going on today. A lot of people can’t go on stage and sing you songs from 20 years back and make you enjoy it like it’s 2001. That’s Nicky Jam.
On another note, you have some of the fliest tattoos in the game. Which was your last tattoo and what does it mean to you?
This one [pointing to a hummingbird on his thigh]. To be honest with you, I like being free, and the bird represents freedom for me. That’s why I did this one. I just love tattoos. I can’t stop. I’m going to keep getting more.
From a musical and commercial perspective, SEVENTEEN’s best-ever chart rankings and sales numbers all feel wholly deserved for their 10th mini album FML.
With 135,000 equivalent album units earned in the United States in the week ending May 4, according to Luminate, the set marks the K-pop group’s biggest sales week, plus a new chart peak of No. 2 on the Billboard 200. (With just 3,000 units separating them from ending Morgan Wallen’s two-month run atop the chart). As the top-selling album of the week, as well as the fourth-largest sales week for all of 2023, SEVENTEEN also notch their fifth No. 1 on Top Album Sales as well as seventh No. 1 on World Albums.
After FML racked up over a reported 4.64 million in pre-orders globally to be the most-ordered album in K-pop history, SEVENTEEN tell Billboard that their latest accomplishments are hardly comprehensible.
“I think [our debut album] 17 CARAT sold 1,400 copies and we were really grateful,” Mingyu reflects. “So, 4.64 million is a number that’s really difficult to grasp. [Laughs] It’s close to 3,000 times how many were sold for our debut album—it’s all very surreal. It makes me think a lot about what we need to do to return this enormous amount of love.”
Throughout FML, the 13-member boy band share with fans—known affectionately as CARATs—how they remain honest about life’s hardships but also offer hope.
“Within our album, we offer two ways of defining the expression ‘FML,’” Joshua explains. “There’s ‘F*ck My Life,’ which is what the acronym usually means, and we also offer ‘Fight for My Life,’ which is what we want the acronym to mean. There are multiple other ways to turn the expression ‘FML’ around to mean something else other than ‘F*ck My Life,’ and that’s what we hope our fans, CARATs, and listeners will also take a stab at after listening to the album.”
Adds Woozi, who wrote on every track on FML and co-produced five songs, “From a macroscopic view, we often only see the good parts, the picturesque parts of everyone’s lives, but there are so many battles that are not visible to the naked eye. Everyone goes through rough times, fiercely fighting to live their lives. We wanted FML to be a reflection of these different layers.”
The guys recognize an uncharacteristically boldness in the group’s two new K-pop singles, “F*ck My Life” and the anthemic, energizing “Super,” the latter of which marked SEVENTEEN’s first Top 40 hits on the Billboard Global 200 and Billboard Global Excl. US, but say it’s necessary in order to express themselves genuinely.
“These are our honest thoughts without an attempt to dress them up,” Wonwoo shares. “By letting everyone know the things we feel and asking ourselves to fight for our lives, we hope those listening will also gain a bit more energy to do the same together with us. I think it’s a mindset that we all relate to even if the trailer and our song might not look like they offer the most pleasing or comforting set of words.”
Through SEVENTEEN’s hard battle as K-pop underdogs—with twice as many members as most groups—members S.Coups, Mingyu Joshua, Woozi, Woowoo, Jeonghan, Hoshi, Jun, DK, The 8, Seungkwan, Vernon and Dino rose to the top ranks of the global charts motivated not just by their inherent talent to express themselves creatively as a “self-producing” group but find peace from delighting their supportive fans around the world.
“We always work to make our CARATs proud,” SEVENTEEN’s leader S.Coups says. “And I think they would be the most proud of us now.”
Read on for the exclusive track-by-track breakdown with SEVENTEEN below.
“F*ck My Life”
Image Credit: PLEDIS Entertainment
Written by: BUMZU, WOOZI
Composed by: BUMZU, WOOZI
WOOZI: It’s the first time ever that SEVENTEEN is singing a lead single of this tempo, I think. But I don’tthink that it’s any less “SEVENTEEN” than our previous lead singles. We might make different choices each time when it comes to how we express what we think and feel, but at every song’s core, it remains the same that we just present and perform what feels true to us at that point in time.
THE 8: At first, the track might be surprising both sonically and because of its title, but “F*ck My Life,” aswell as “Super,” were just the songs we wanted to share with everyone at this time. We really liked them both so couldn’t single one out to be the lead single either. I think the contrast between the two lead singles makes the album more fun, and actually works to better articulate the overall message of the album.
“Super”
Image Credit: Courtesy of PLEDIS Entertainment
Written by: BUMZU, WOOZI, S.COUPS, VERNON
Composed by: BUMZU, WOOZI, Agust Rigo
WOOZI: Initially, we just had the vague idea of highlighting a strong image of SEVENTEEN through the lead single for this album. Thinking about superheroes for that reason, we started pulling together ideas from the many versions of heroic figures we know of and that eventually turned into “Super.”
MINGYU: I also really like the lines “I love my team, I love my crew!” I think it accurately expresses where our heads are right now.
HOSHI: It’s also the perfect song for a performance—it’s exhilarating when over 200 dancers’ footwork begins to sync up and without even thinking, you just know that your entire crew is acting in unison. It’s a different type of energy, which I hope will be passed onto our audience too!
WOOZI: “Super” is also our answer to the question that follows the first track of the album, “F*ck My Life.” If you ask “So, how is SEVENTEEN fighting for ‘your’ life?” “Super” provides our answer by talking about how SEVENTEEN has fought our way through, for whom and with whose support, all of which also continue to propel us forward.
“Fire”
Written by: BUMZU, MINGYU, S.COUPS, VERNON, WONWOO, WOOZI
Composed by: BUMZU, VERNON, WOOZI
VERNON: “Fire” was a fun song to work on. I threw in the idea of adding in the bells, went on the keyboard and asked [producer] BUMZU if he could make it sound this way. Hopefully it will be a song that gets everyone dancing.
S.COUPS: I’m sure all of the Hip-Hop Unit members have already imagined what it’ll be like to put “Fire” on stage. It’s an addicting sound, one that sort of just hooks you on. It’ll be so much fun to enjoy it with our CARATs at a show, I really can’t wait.
WONWOO: In the midst of the addicting sound, I think the Hip-Hop Unit members’ distinct characters also stand out in each of our verses. It adds a great extent of diversity within the track, and it’s fun because we all sound very different and each have a very different [verse].
“I Don’t Understand But I Luv U”
Written by: BUMZU, DINO, HOSHI, WOOZI
Composed by: BUMZU, WOOZI, Nmore
HOSHI: “I Don’t Understand But I Luv U” is our letter back to the heartwarming and beautiful message from our CARATs. When you’re performing in front of thousands of people that have gathered at that precise moment in time and location just to see you perform, and you feel that pure feeling of joy and love in the air; it’s not a feeling and a sight you can ever forget. That air of affection is not something that can be described in words, as is the connection we have with our fans across the world regardless of the language any of us speak. I hope knowing that brings comfort to everyone listening.
JUN: We recorded this song over multiple sessions, starting with a session before the tour and continuing on after as well. I didn’t realize it at the time, but after touring around all over the world, the music must have hit me differently. BUMZU said I sounded different, that there was a change in how I sing the song.
DINO: We have had the privilege of getting to experience these powerful connections firsthand touring around countries and, because of that privilege, I think we need to try harder to make it known how beautiful these emotional connections are.
JUN: Adding on, we are the Performance Unit after all! We’ve never really set a limit to the type of music we perform. The future of our team lies in performances that sound great, look great and something everyone watching can also become a part of.
“Dust”
Written by: BUMZU, WOOZI
Composed by: BUMZU, WOOZI, Kitae Park
WOOZI: The melody came together first, and I thought that there was a sense of loneliness and longing that came with the sound. Outside the bounds of this song too, I think it’s often the case that we feel a mixture of these sentiments all at once—putting the two together didn’t feel difficult or like a struggle.
JEONGHAN: From our point of view, this track is very classically WOOZI, and has SEVENTEEN written all over it. We’ve been seeing a lot of fan responses that say the song sounds like it could be a soundtrack to a cartoon series, which I agree with! I’m happy to see our fans also enjoying and digging into the song.
“April Shower”
Written by: BUMZU, WOOZI, Kareem James, Softserveboy
Composed by: BUMZU, WOOZI, Kareem James, Softserveboy
DK: Looking back, we also made our debut in May, so the saying “April showers bring May flowers” is something we really resonate with! We wanted our 10th mini album FML to console those listening, even if it’s just a little bit. Everyone has troubles of their own, so whatever it is that you’re going through, we hope you will be able to feel a little better and come to have a little bit of hope that brighter days will come after listening to our album.
DINO: We weren’t originally supposed to say it but since it’s been spoiled already by some of our members… We are planning on another comeback later this year. We hope you’ll join us then too!
IVE arrived on the K-pop scene in November 2020 and quickly became the industry’s next reliable hitmaker with three addictive yet distinctly unique singles: the exotically intriguing pop of “Eleven,” the snappy, runway-ready throbber “Love Dive,” and the Gloria Gaynor–sampling disco update “After Like.” But through the differing sounds, the girl group’s identity connected with K-pop fans thanks to undeniable cohesion and confidence to pull off whatever genre or concept that came next. That spirit stays strong in their first full-length album, the multidimensional I’ve IVE, which sees the K-pop stars to watch taking the next big step of their career alongside a new U.S. label partner in tow.
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Even before IVE’s official debut, anticipation was already high for the six-piece led by Yujin and Wonyoung, two of the most popular members from the sensational-but-temporary girl group IZ*ONE (who earned three entries on the World Albums chart and six on World Digital Song Sales during their two-and-a-half years together), as well as fresh faces in eldest member Gaeul, Japan-born Rei, power vocalist Liz, and youngest member Leeseo. From high kicks off the ground to simultaneously spinning and singing, the group developed under Korean super-label Starship Entertainment stood out for moving equally as one, even with varying degrees of original star power between members.
The same substantial stability comes through in I’ve IVE as the girls previewed their LP with the fun and rowdy chant-a-long buzz track “Kitsch” before dropping the power-pop bomb lead single “I Am.”
Within the LP, IVE is keen to present themselves as whatever kind of girl group the listener may enjoy but with their own added bite of self-assurance. The first listen of the sunny “Not Your Girl” recalls any flirty, feel-good ditty until the lyrics make it clear they’re not staying unless there’s a commitment and intention from the love interest. Plus, the opening track, “Blue Blood,” takes a common belief in South Korea that one’s blood type predicts their personality for IVE to declare themselves pure-hearted and exceptional over a dark, marching beat. Other standouts include the bossa nova influences through a plead for honesty on “Lips,” while “Heroine” is an invocation of self-assurance written by Yujin told through quirky electro-pop production, and “Mine” explains adorable infatuation through angelic harmonies and candy metaphors penned by Wonyoung.
Yujin, Wonyoung, Gaeul and Rei all boast writing credits through the LP that IVE says spotlights their belief in self and one another above any style or sound.
“Power and confidence are, outright, the most key concept,” Wonyoung says during an evening Zoom interview with Billboard. The member most comfortable with English, Wonyoung’s warmness is palpable through the screen as she’s eager to speak about the group’s dreams and her perspectives on fame. As untouchable as IVE appear on stage, there’s an undeniable relatability from sitting down to talk with them. Liz has a hilarious, no-bars-held candidness to her responses. At the same time, Gaeul uses her perspective as the oldest to fill in any missing details from her members and ensures everyone gets due credit, including shouting out their leader’s abilities when Yujin prearranged schedule didn’t allow her to join this chat.
“We are very excited to show such a variety of music styles in IVE’s first album,” Yujin says in a statement to Billboard after the interview. “This album is super meaningful to me as it’s our first full-length album and also because I participated in writing the lyrics for the first time. This album is like a package of different versions of IVE, and it has the unique color of IVE. I hope you look forward to our album and many other plans.”
Learn more about IVE’s colors, plans and more below.
Congratulations on this impressive full album, IVe. What’s everyone’s favorite song on the album?
Wonyoung: Mine is “Mine,” I wrote the lyrics too, so, I love it.
Liz: My favorite song is our title track [single], “I Am.”
Gaeul: I like the song “Hypnosis” because me and Rei wrote the lyrics to it, and it was the most fun to write the lyrics for that song.
Leeseo: “Shine With Me” is my favorite song because Wonyoung wrote the lyrics to it to link us to our fans, DIVE. It’s a message to their fans and the melody is especially very emotional to me.
Rei: “Cherish” because when we first listened to the demo, I could imagine how the members would be able to sing the song. And then once I listened to the completed song, I really loved the way it turned out.
We’re only with the five of you today. Does anyone know Yujin’s favorite song?
Wonyoung: “Heroine” or “Kitsch,” maybe?
As you mentioned, you were very involved in a lot of the songwriting on this album, some of you even the sole lyricist. What are your songwriting processes like?
Wonyoung: At first, I just listen to the song, just to get the feeling and set my mind right, usually at my home or in my room. If I get a certain feeling, I just write the whole song first and then just make little mixes, little changes. I love the process and I really love writing lyrics.
Rei: Once I receive the song, it’ll will have a blank portion without the rap, so I just kind of imagine a story and write lyrics according to that.
IVE has been successful with just three singles, but now it’s a full-length album with many more songs. Why was now the right time to make a studio album with “Kitsch” and “I Am” for singles?
Wonyoung: We’ve always had the desire to show a full album and our full power. For “Love Dive,” “After Like” and “Eleven,” I think we just made steps and strides with little-but-strong energy between us and DIVE. Now, we just thought this is the time to show our full-length and full energy to them. We really prepared a lot for this season and, now, we are ready.
Gaeul: We chose “Kitsch” as the pre-release single because we want to show a side of IVE that we haven’t shown before and kind of break free from the image that we’ve always had as a group. We wanted to challenge ourselves. And I feel like “I Am” is the lead single because our album title is I’ve IVE, and we thought that “I Am,” as a track on its own, would fit the most to the concept of the album.
I’ve heard debates about this but, in your own words, what is IVE’s concept or main message?
Wonyoung: I think the most important concept of us is of self-loving and self-love. But not just for us, we always want to say, “Please love yourself” to all of the listeners too. The power and confidence is, outright, the most key concept for us.
There are great messages in the “Kitsch” video too: The “You’re so weird, don’t change” neon sign. Or your jackets with “Books, not gun. Culture, not violence” patches. Can you talk about other messages you’re embracing?
Wonyoung: Mainly, we wanted to say, not just for us, but that you can change like us and can do everything and anything like us. The main [point] was, it’s not just about us—join us, join our culture and join in on everything. We just wanted to give listeners the power of believing in themselves. If we’re honest, the sentence and mottos were a little in cooperation with our director and the director’s ideas too but we worked on it all together.
I want to also congratulate you because IVE just signed with Columbia Records. What can we look forward to with this partnership?
Wonyoung: We’re really honored for that. First, we are really excited to work with another label and with other places like Columbia. We are, right now, really excited, and we’re really looking forward to that right now. For the start with Columbia, we really want to reach out to global fans all over the world. We are, right now, preparing a lot for our global fans.
Are there any plans you can share right now? Any planned visits to the U.S.?
Wonyoung: First, our “Prom Queens” fan-meeting tour will start with the Asia tour, and, hopefully, in the future, we really want to reach out In America, and everywhere else overseas. And not just for fan concerts, but we really want to visit the world to perform our own concerts. So, just keep cheering for us and hopefully you all can join us soon.
I’ve IVE is your first record eligible for the album charts on Billboard. Do you have any chart dreams?
Wonyoung: Even from our first song, we are really honored to have our name on the Billboard chart and really thankful for that. Hopefully, one day, we really want to visit Billboard in America with the six of us. We will prepare a lot in preparation for that day.
You are all very strong and charismatic personalities on your own but also very cohesive as a team—your choreography is seamless even when you spin and kick. What’s your teamwork secret?
Wonyoung: I think it’s the power of believing in each other; we just have a strong sense of belief between us. I let them do everything they want and they let me do everything I want. I think that makes the best cooperation between us; the belief.
Rei: During dance practices, we’ll use counting to match each other. For a really important part, we’ll stop and repeat that part and keep repeating it so that during the actual performances, we’ll think of the practice in our minds. That’s also how we stay so in sync with each other.
Wonyoung: Dance practices are pretty intense. For a long time, we would make and work on the choreographies every day for six hours or something. I think it’s pretty intense, but we’re always enthusiastic to show our fans and DIVEs the performances so I think that is the motivation for us.
Gaeul: Also, Yujin really helps with the details during dance practices and is willing to teach individual members different parts. She really does her part as the leader of the group.
Similarly, how do you stay well? Fans can see you so busy but may also worry about your physical, emotional, and mental health. How do you stay strong?
Wonyoung: If there’s nothing scheduled for the day, I spend time all by myself, just recovering on the outside and, of course, on the inside. Actually, I love to work out and do a lot of different exercises. On an off day, I’ll concentrate on my inside by listening to music; just hanging out by myself and working out helps me too. It feels like I’m healing myself.
Leeseo: I make sure I’m sleeping a lot, making sure I’m taking my vitamins, and taking care of my body physically.
Liz: I believe that you have to be mentally strong, or internally strong, in order for you to be physically or outwardly strong. For me, I really focus on believing in myself and believing in my decisions.
You do show such strength and confidence in yourselves. Wonyoung, you’ve spoken about this in the past, but what would IVE’s advice be for people needing that extra confidence?
Wonyoung: I want to say, you have more of the good times than tough times. Tough times and bad comments do not take away everything that is good: just believe the good, know you’re a good person, and just concentrate on yourself, your positive relationships and the good times. I think that is the important thing—just don’t mind them.
Liz: I like to just focus on the nice people who are saying good things rather than giving attention to the haters or negativity. I think that you have to be certain in yourself so that you don’t get sidetracked by any hate.
Do you have any other messages? Maybe to the international fans hoping to see you soon?
Gaeul: We’re working really hard to reach our global fans, so I wish they’ll just wait a little bit longer for us.