This year has been particularly great for Viepsa Arora. From getting a wholesome response from Ayushmann Khurrana to a reel of her showcasing her singing chops to documenting her time grinding in London, one thing is evidently clear: Viepsa understands the plight of an independent musician. The New-Delhi-based singer-songwriter-producer has been a refreshing example of social media content creation being used successfully to complement a burgeoning music career. She recently dropped a high-octane, liquid drum & bass track titled “Bekadran” featuring Calm from Seedhe Maut and produced by the multi-instrumentalist and producer Raj. 

The cover art for the song borrows heavily from the late ’80s vaporwave aesthetic, with Viepsa adorned in blue rocking a blue biker helmet to match the ensemble. Immediately setting the tone for an Akira-esque, post-futuristic mood. The song lulls you in from Arora’s controlled and velvety vocals, which she uses to flex her Punjabi roots. Pining for a lost and forgotten love, and regretting unsaid admissions, “Bekadran” paints a picture of self-awareness and acceptance. 

Within a minute of the track, however, is when the production shifts gears and leaps away from a warm Punjabi ballad to a relentlessly pulsating breakbeat. Siddhant Sharma, aka Calm from Seedhe Maut, makes his feature on the track immediately memorable by adopting a flow that mimics the UK Garage treatment that producer Raj has architected.  

“Mann kare kahu jo I’m feeling, mila nahi yaha what I’m feining // sahi tha jaha bhi yakeenein, but I put one pair in the deep end” 

Calm’s verse is admittedly nothing out of the ordinary, and the lyricism here is easily the weaker aspect of the track—especially since the sheer amount of top-tier projects that he, along with fellow Seedhe Maut member Encore ABJ, has put out this year is nothing short of unprecedented. However, it succeeds in understanding the assignment – which is to match the pace that Viepsa has set. 

This is further proven when Viepsa joins Calm and begins to exercise her own rap muscles. A refreshing take on a globally rising subgenre with a core identity rooted in Punjabi sonics. Raj, who has been nothing short of a steadily rising tidal wave in the lo-fi and alternative production spaces in India, continues to offer an exciting staple.  

“Bekadran” organically blends a club-friendly, drum & bass groove with melodically rich vocals and an electrifying hip-hop feature. The New Delhi trio of Viepsa, Calm, and Raj is undoubtedly one to look out for and looks to offer a cross-cultural fusion of genres and sounds.  

The post Viepsa Arora, Calm and Raj’s Single ‘Bekadran’ Brings a New Delhi Twist to Drum & Bass appeared first on Rolling Stone India.

Mumbai-based rapper and co-host of the increasingly popular online show The Having Said That Show, Aditya Lodha—aka Adi—has released his latest single “MATH.” This track marks the second collaboration with songwriter/producer Dishaan Gidwani and the first collaboration with producer Yuvaan Makar aka Hakimetc. Upon gaining rapid popularity for his online show, where Adi and his co-hosts speak with guests from varying backgrounds and professions, the young rapper seemed to put his music career on a lower ring of priority. It was this past year when he released his single “Remind Me”, also in collaboration with Dishaan, where Adi’s fans got a clearer indication of which direction his music plans seem to be heading towards.

“MATH” is a short, cheeky cut where Adi gets to exercise some of his under-focused creative muscles and—for all intents and purposes—mess around a bit. Despite being the shortest track in the artist’s discography (clocking in at just under a minute and a half), Adi succeeds in highlighting a handful of topics that have been on the rapper-entrepreneur’s mind. Namely, the creation of his own record label Chump Change Records, which he previously utilized to release the track “Remind Me” (also with Dishaan). Adi goes to a specific length to boast about the fact that he now owns his own songs’ master rights and is now enjoying the newfound independence that comes as a result of taking ownership of his music compositions and publishing. He further takes a measure to point out how, despite a lack of regularity in his music releases owing to his focus on creating a podcast, Adi has not “forgotten how to rap”.

“Ever since I started talking shit/I forgot how to rap ha?/Went and made the podcast a hit/Then did the same with this track bruh”

The track itself hints at an interesting experimental production space that Adi is entering. The two producers on “MATH”, Dishaan and Hakimetc work together to create an up-tempo hyperpop instrumental that leads the song. They’ve incorporated generic, club-focused (albeit hard-hitting) 808s to fill up the space of MATH while still allowing Adi’s lyrics to remain the central focus. In a similar vein to Kendrick Lamar and Baby Keem’s 2023 single “The Hillbillies”, Adi adopts a near-identical flow while recontextualizing the lyrics to fit his current headspace. Derivativeness aside, it’s the rapper’s periodic breathy ad-libs (Drake circa anything he’s put out post-2020) that come across as minorly intrusive and out-of-place in the otherwise upbeat, arcade-core, Nyan Cat-esque instrumental.

When asked about the production process at large, the rapper explained, “There was zero thought process, we were acting from pure instinct. In fact, I have a 27 minute GoPro clip from our writing session where we made and laid down the first demo.” Dishaan, the producer on the track, further elaborates that him and Hakimetc “wanted to lean into the annoying sample, and have Adi deliver a lower, meaner vocal to add to the braggadocios personality of the song.”

“MATH” is accompanied by a music video that succeeds in furthering the thematic identity of the track, with energetic, quickly cut visuals that beckon to Adi’s older YouTube editing style. Directed by Jonathan Mathew and team, the fish-eye lens-led direction and match cuts showcase the streets of South Mumbai through the perspective of, what looks like, a fly on the wall during an evening out with Adi.

Ultimately, “MATH” is a low-stakes, enjoyable single that offers a glimpse into a potentially more experimental hip-hop project that Adi may release with the new team of collaborators he has found in Dishaan and Hakimetc. Despite its shortcomings and perhaps equally short shelf life, the track is—at the end of the day—still undoubtedly fun. The music video, which is an avenue Adi excels at, provides high-energy visuals to get the rapper’s core audiences excited for what could be in store for the near future.

Regarding any upcoming releases in the pipeline, Adi went on to state that “[they] have a single called ‘ LOOK AT ME’ releasing May 31st, accompanied by a prelude ‘MISSED CALLS’ and a music video.”

The post Adi Flexes Independence in Latest Single ‘MATH’ appeared first on Rolling Stone India.

At some point or another, we have all found ourselves stumbling into and fumbling out of some intrapersonal relationship that seems fleeting on the surface. The transience is often met with confusion, haziness, and, as rightly acknowledged by Punjabi rapper and singer Tirath Sandhu, aka tricksingh—dizziness. His latest single released via Def Jam India titled “Chakkar,” is the young artist’s take on the complications of being in love and the inevitable stress associated with a blossoming romance. The song, produced by frequent collaborator Eyepatch, is a lateral step in tricksingh’s discography as he ventures into new sonic territories and offers his listeners a previously unseen side.

The 24-year-old rapper has, in an arguably brief amount of time in his career, managed to accomplish two very vital criterions for early success. Firstly, he has caught the attention of the industry apparatus by becoming one of the youngest artists to release music via Def Jam India. And secondly, he has managed to identify a musical lane to stride towards in a genre that is populated to the brim. tricksingh may use Punjabi as a language vessel to express his vocal ability, but it would be incorrect to say that he is making “Punjabi music”. While the distinction may seem trivial, his latest string of releases, such as “1234” and “Secrets,” would beg to differ.

This newest entrant into the tricksingh lore is perhaps the best example of the necessity to dip one’s feet into previously uncharted territories. “Chakkar” is a synth-driven, retro-inspired track that gives tricksingh’s rap fans the permission to also applaud tricksingh’s singing. It is a wavy song, that is elevated by the artist’s intentionality behind their vocal choices as well decorated moments of pockets of piano keys. Layered vocal harmonies has not been a route that tricksingh has taken and in this case, it pays off.

There is as much, if not more, praise to be given to the producer of “Chakkar”—Eyepatch—who anchors the entirety of the song on a hypnotizing bassline. Coupled with incredibly unintrusive hi-hats as the primary percussions, Eyepatch and tricksingh succeed in their mission to remind you of the growing pains of a post-honeymoon-phase relationship. Towards the latter half of the song, there is a lull in retention, perhaps due to the repetitive melody. Tricksingh’s richness in vocal texture does help ease some of the monotony towards the outro, however, it is a blemish in an otherwise compelling single.

A memorable bassline, an exciting direction in vocal treatment, and a mesmerizing synth-wave instrumental are enough to make “Chakkar” an almost immediate summer hit. While slightly derivative of similar “throwback” songs comparable to what British dance music project Jungle has been responsible for popularizing, the song succeeds in highlighting all the right components that have allowed the Punjabi artist to make his mark in the scene he operates in. For old fans, there is enough to bite onto. For new fans, there is enough replay value. For genuine fans of situationships, may your therapist offer you a sizable discount for when anything goes south.

The post tricksingh And Eyepatch’s Chakkar Is a Textured Warning Against Situationships appeared first on Rolling Stone India.

Nathan Joseph Mendes, or as your criminally online Twitter friend knows him as Tsumyoki, came out the gate with all guns blazing with his 2023 album A Message From The Moon. In an article penned prior to the LP’s release, the 23-year-old rapper went so far as to call this project his “most emotional release yet,” with a cohesive sound marked by a dynamism across genres, oscillating between Afro-pop, soft pop, and, of course, trap. He has now dropped the track “WHAT CAN I SAY?” a low-stakes bop in collaboration with Indian meme culture’s most notorious rapper, Arpit Bala.

The song is Tsumyoki’s first single off his upcoming EP titled HOUSEPHULL and is accompanied by a video shot almost entirely in what seems to be a high school classroom. The Gully Gang rapper, separate from this release, has gained a significant amount of brownie points for his undeniable charisma, charming on-screen presence, and the fact that he is very comfortable acting like a goober in his music videos. Naturally, it would make complete sense to collaborate with Arpit Bala then, surely? Bala—who gained immediate, cult-like fame through his livestreams and Instagram comedy, has been upfront in holding his own ground as a rapper, too. Being one-half of the duo Foosie Gang, the Faridabad native has been walking the thin line between “comedy rap” and actually being able to spit some bars.

With all these factors working in their favor, one would think this collaboration would be an instant home run, right? This is where we divulge. Despite the visuals leaking with boyish charisma from both artists, the track can very easily be separated into two distinct segments. The first is where Tsumyoki offers line after line elucidating his “claim on the rap game” with lyrics that are, and it pains me to say this, incredibly vacuous. The second half, marked by a beat change and—get this—a Chaar Diwaari cameo, showcases a way more interesting production element. Tsumyoki’s tone also immediately shifts and unfortunately, that half is as short as it is.

“I do a play on a bitch/ Watch how I sway on a bitch/ I keep your crowd in control/ Got hitters on me like stadium pitch/ Jack of all trades what can’t man do?/ Make the ground shake like Kathmandu”

Tsumyoki’s charm does not translate onto this record, instead, we’re left with a one-trick pony without a discernible trick, a competent rapper who offers attention-worthy flows but fails to write impressively. The Connor Price-inspired beat is a glimpse into the artist’s production capabilities but fails to stick as anything memorable. There have been numerous instances in the rapper’s past discography where he has shown his lyrical capabilities, however, this track does not seem to be one of those instances.

Arpit Bala offers a marginally more nuanced verse on the same subject matter of *checks notes*. “I am the best at what I do” and has moments where he is self-aware regarding his place in the industry. It would have been interesting to see if there are any other further collaborations on the upcoming HOUSEPHULL EP where Arpit Bala gets a chance to flesh these concepts out. In a particularly cutthroat and personal-jab justifying moment in time, it may seem slightly frivolous to drop a fun, dance-able flex song in the same vein as “WHAT CAN I SAY?”. Some might argue that the brief shelf-life can work in their favor as a quick chart-topper for Gen Z listeners. However, it does not take away from the fact that these two are incredibly talented rappers. Perhaps they are, or rather should be, allowed a second to be entirely frivolous.

The post Tsumyoki and Arpit Bala’s Collective Charm May Still Not Be Enough For ‘WHAT CAN I SAY?’ appeared first on Rolling Stone India.

It has been a little over a month since Ethel Muggs asked herself if she wanted to move to the fancier hair salon in Riverdale. As if by happenstance stranger than fiction, the character’s alter-ego is also placed at an equally curious fork in her road. Bangalore-based singer-songwriter and actress Dot. (aka Aditi Saigal) released her latest single, “Girls Night,” via Welsh singles label The Playbook. Following her acting debut in Netflix India’s The Archies, this distinctly marks a new musical direction for Dot. Although, does she continue down the path of reasonable resistance with the comfortable corner of English indie that has seen marginal mainstream success in the past few years? Or does she attempt to chip away at the mold?

“Girls Night” is an interestingly soft pivot, with this single channeling a bright, sunny Motown-infusion of jazz-pop. It invokes a welcomed maturity of a similar kind when you make the active attempt to choose a more intimate, contained celebration over a large, over-the-top bash. Dot.’s warm vocals easily guide the listener through her ruminations of this close-friends-only party.

The uniqueness of Dot.’s artistry lies not just in her velveteen vocals. Nor does it just lie in her choice of collaborators, each of whom lifts the production of each track to a space unheard of within the circuits they operate in (as was the case in “Spice Lemonade” with Ahmedabad-based artist Chirag Todi). Dot.’s uniqueness is truly her ability to build an immersive world for her listeners. While the arrangement of her past projects, such as Khamotion and Indigo, was noteworthy, the songwriter’s attention to detail is what set her apart.

“Girls Night is about two of my closest friends. We buy loads of wine and have the best, most intelligent and empathetic conversations. We laugh, we’re sensitive, we can be rowdy, we talk about boys, we sometimes don’t know what it is we’re feeling, but we do it together and that makes life a little easier. The song tries to reflect that kind of friendship.

After ‘Indigo’, it is the second track of mine produced by Welsh singles label ‘The Playbook’ in collaboration with James Gair. This is kind of a match made in heaven because the Playbook guys have a sophisticated understanding of the kind of electronic production elements that work for my music. Between Playbook, James and I, we’ve worked out a healthy push and pull between pop and jazz, resulting in something that’s layered and also fun to listen to.”

Currently in the middle of her Master’s degree, 2024 is shaping up to be a critical year for the young singer-songwriter. Off the recent success of her 2023 album Practice Rooms, Dot.’s songwriting is showcasing a much more emotional, heartfelt truth to her approach career-wise. When asked about her ethos on the same, she says, “I don’t want to do something just because it’s the best move.” For her, it’s about embodying a truth, her own.

And this seems to be the mantra that has driven Dot. to where she is today. The mold may not necessarily need breaking; the comfort of a genre may just be its boon for success. Dot. continues to do the things she wants in the way she wants to. This embodiment of her truth is visible in her lyricism, her acting, and her choice to kick back, let her hair down, and go have a spectacular Girls Night.

The post Dot.’s ‘Girls Night’ is a Gentle Stroll Into the New Year appeared first on Rolling Stone India.

Seedhe Maut’s superpower is their ability to adapt. In their 6-year-long career, Calm (Siddhant Sharma) and Encore ABJ (Abhijay Negi) have evolved from Delhi’s underground battle rap circuits to nationwide attention via Coke Studio Bharat’s inaugural cohort of releases.

It is a harrowing understatement to say that Seedhe Maut have had an impact on the culture of hip-hop in India. Their adaptations have seen them move from mixtape maestros, chained-out pop stars, stadium mainstays, and even chameleonic character rappers, morphing into their uniquely Desi anime personas.

Their latest 30-track album, “Lunch Break,” has arguably nestled into magnum opus infamy within mere weeks of its release. In a previous interview with Rolling Stone India, Encore stated, “We don’t know how to do anything (else), and we don’t want to do anything else. Making music is what we live and breathe, so even while taking this break, music was our catharsis.” What has been interesting in this journey towards musical catharsis has been the way their visual identity has been driven in the immediately parallel lane to their lyrical architecture.

Yesterday (December 12), the duo released the music video for ‘Dikkat’, one of the few selected tracks off Lunch Break that has been graced with the privilege of a video. This song, produced by the inimitable Hurricane—who has previously worked with the duo on tracks such as ‘Tofa’, ‘W’, and ‘Hausla’—beckons larger recognition among listeners. The overarching narrative theme seems to instill a surface-level aura of lackadaisy and nonchalance with its introductory lines:

// Mujhe nahi hai koi dikkat, mai ghoomu scootiyo me, dilli mera ghar, it’s lit up //

When you really begin to dig further, the entire track is an acceptance of their current success and the journey it took to reach it. ‘Dikkat’ invokes emotional fortitude, a cultural pride for their hometown of Delhi, the duo’s unscratchable armour, and, at the same time, their intimate reflections on life. These reflections are seen rather nakedly, with lyrics such as:

// Jab tak pen me hai jung, Mann bole kare next line spit kabb, Anxiety kare jae peak jaise thulla pakadke maangra hai rishwat //

When it comes to their visual depictions of these personal invocations, the duo seems to grant all omnipotence to their creative director, Canfuse (Karan Shelar). The driving force behind several Seedhe Maut music videos, Canfuse, has also led to KR$NA’s 2022 hits “Blowing Up” and “No Cap”. The video itself is a dream sequence that shuffles back and forth from dimly-lit scooty lanes of West Delhi to a hallucination of a Samurai-clad, neon-core, vaporwave Japan. In a clear homage to Ye (formerly known as Kanye West)’s 2013 surrealist masterpiece “Bound 2”, the ‘Dikkat’ video firmly positions Seedhe Maut in a similar junction as the Chicago rapper-producer was in and forces the industry, their audience, and the DHH (desi-hip hop) scene to ask a very imperative question. Where will it go from here?

With an announcement of their long-speculated departure from Mumbai-based record label and management agency Azadi Records being confirmed by the duo on their Instagram earlier this year, the future of Seedhe Maut has been left on a perilous cliff. The duo, which has strategically found themselves firmly on top of the daunting mountain that is Indian hip-hop, is poised for a renaissance that Dikkat, and as a larger extension, Lunch Break is teasing. The industry patiently awaits their next steps, for it will undeniably set an unmatched precedent among fans and critics alike.

Watch the video for ‘Dikkat’ and stream Seedhe Maut’s latest album ‘Lunch Break’ below.

The post Seedhe Maut’s ‘Dikkat’ Bound to Predict the Duo’s Future appeared first on Rolling Stone India.

If you have kept abreast of the happenings in hip-hop-specific Instagram tabloid outlets such as “Rap”, you would have noticed a recurring pattern in static image posts of American artists like Offset, NLE Choppa, and DJ Khaled spotted with a “mysterious unknown artist”. The artist in question is Akash Ahuja, a New York-based songwriter and rapper of Indian descent. Aside from the guerilla marketing to garner interest in this seemingly out-of-the-blue outsider photographing himself with hip-hop juggernauts, fans were also quick to question whether Akash is just another “industry plant” or if there is something larger at play.

His latest release “Balenciaga” has caught the attention of social media users for featuring the American hip-hop sensation Fetty Wap. To keep things straightforward, this track — which also features Indian pop mainstay Lisa Mishra and is produced by Delhi-based MadStarBase — is barely anything to write home about.

“Balenciaga” — a superficial ode to being draped “head to toe” in, you guessed it — begins with a dulcet and rich line delivered in Hindi by Mishra. Right off the bat, you’re given a taste of what this song expects to achieve, a global collaboration between Indian and American pop. Immediately afterward, however, Akash attempts to serenade the listener through a bland, emotionless tale of a casual relationship in pursuit. The introductory verse is forgettable, in equal parts due to the overproduced vocals and the lackluster lyricism. While Lisa Mishra’s single Hindi hook is a welcomed relief from the rest of the track, it is quite literally the only contribution the Mumbai-based singer offers to this project.

Towards the later third of this song is where Fetty Wap’s verse begins which is a surprisingly concise feature with Fetty continuing to lyrically court the girl in question. His voice and flow work incredibly well with the fluid, trap beat provided by MadStarBase — which is the most unique aspect of “Balenciaga.”

This track offers the minutest glimmers of what a large-scale international collaboration could provide from an Indian perspective in beat production. However, the lack of originality in subject matter and lyricism coupled with the forgettable vocal treatment will keep “Balenciaga” from having any repeat value.

“Balenciaga” is out on all streaming platforms. The official music video of the track is scheduled to drop on Friday (October 13) night.

The post Review: ‘Balenciaga’ by Akash (with Fetty Wap & Lisa Mishra) is Nothing to Write Home About appeared first on Rolling Stone India.

Our K-drama Flashback series is a modest effort to create a space with cues to recall memories. It’s an attempt to gather recollections of this rich trove of classic Korean content – K-pop, K-drama, Korean variety shows or Korean movies – that I periodically delve into. Consequently, while considering what to publish for the series this week, I felt like rehashing a dozen iconic K-pop music videos starring some of the best K-drama actors. I believe that this selection of nostalgic music will lift your mood.

Park Seo-joon in “I Remember” by Bang Yong-guk (with Yang Yo-seop)

The critically acclaimed duet of South Korean rapper Bang Yong-guk and Beast vocalist Yang Yo-seop was panned by the Korean Broadcasting System owing to the extreme violence depicted in this music video. However, the hip-hop track with rock elements fared really well in terms of traction. The most intriguing aspect of the MV is that it introduced actor Park Seo-joon, who made his entertainment debut with “I Remember.” I’ve always thought this actor to be an ace at expressing himself. Be it in romantic scenes, in tragedies, in comic timing, or whatever else, his portrayal of emotions is on another level. This video, without a doubt, confirmed Park’s acting prowess and his status as a rising star. Although it has been more than a decade since it was first aired, listeners and viewers continue to revere it.

Lee Min-ho in “Kiss” by Sandara Park

“Kiss” was performed by South Korean idol singer Sandara Park aka Dara, a member of the girl group 2NE1. The track served as the background score for a Cass Beer commercial film starring Dara alongside Lee Min-ho. Oriental Brewery stated in 2009 that it had selected the artists as the faces of its beverage brand Cass 2x, and the song was utilized as a result of that. The initial kiss sequence between the two was dubbed one of the most memorable events of the year. A brief sequel was made in reaction to the positive response to the music video. Dara, who works as a bartender in an elite restaurant in the sequel, is taken aback when she learns that Lee works there as well. Unlike “Kiss,” the video concludes happily with the characters reconciling. By the way, you may have noted that Kim Woo-bin also appeared in the video – it was one of his maiden acting projects, before he made a name for himself as a K-drama star.

Song Joong-ki in “Men Are All Like That” by Kim Jong-kook

The track “All Men Are Like That” belongs to the album Journey Home, where the intensity of the lyrics stands out the most. The presence of Song Joong-ki, in addition to Kim Jong-kook’s excellent vocals, adds another unique selling point to the MV. The story depicts the ebbs and flows of a romantic relationship. When it begins, hearts flutter, and lovers stay and care for each other. However, with time and increasing obligations, sentiments gradually fade into insignificance. The song conveys this from a man’s perspective, with lyrics like “I held hands tightly for fear of losing it/ I was sorry to part with you/ I looked back over and over again/ I’m walking ahead of you/ I don’t look into your eyes when I talk/ I don’t love you.” The orchestral arrangement with Kim’s powerful voice expresses the melancholy that Song Joong-ki emphasizes on screen. 

Ji Chang-wook in “I Need You” by K.will

“I Need You” is a song by South Korean balladeer Kim Hyung-soo, better-known as K.Will, from his third mini-album of the same name that was released on February 14th, 2012. The music video features South Korean superstar Ji Chang-wook, SISTAR Bora, Yeo Jin-goo and Kim Bo-ra, in addition to the dramatic instrumental and passionate singing. The ballad depicts the heart’s desire for the beloved, and one of its most notable features is its rhythmic progression. While the build-up to the chorus is executed deftly, making the sorrow underlying the lyrics apparent, the romantic notes make for a beautiful love song, and Ji’s charm further adds a unique touch to the grandeur of the tune.

Choi Woo-shik in “Congratulations” by DAY6

“Congratulations” is one of the most well-known songs by South Korean pop-rock band DAY6. A morose Choi Woo-shik is seen in the video sitting in a train and ruminating about his ex-girlfriend. Beautiful memories of the past turn excruciatingly painful in the present when he finds her sitting in the same train with another man. I love the interplay of the past and present, especially in terms of the tone that aligns with the atmospheric details. While the colors of yesteryear are warm with a grainy texture, the present comprises a desaturated color palette in tandem with the somber mood of the song.

Kim Hyun-joong in “Unbreakable” by Kim Hyun-joong (feat. Jay Park)

“Unbreakable” is a crossover hip-hop song with stunning orchestration and traditional Korean instruments. Additionally, hip-hop artist Jay Park’s rap verses attract attention. Kim Hyun-joong and Park’s marriage is masterfully integrated into “Unbreakable,” which captivates listeners. The music video – which includes supercars, martial arts, sword dancing, and wild animals – demonstrates unprecedented artistic beauty by harmonizing images from the East and West, offering a spectacle in the process. The choreography that reveals Kim’s strong muscular physique is a departure from his soft-natured characters in K-dramas such as Playful Kiss or Boys Over Flowers. “Unbreakable” is a killer track, confirming the artist’s dedication and the rigorous production process. Kim is said to have heralded a cataclysmic transition in the music industry with this number.

Park Min-young in “Haru Haru” by BIGBANG

Park Min-young‘s presence in BIGBANG’s 2006 superhit music video “Haru Haru” increased her notoriety. G-Dragon appears in the video, claiming that his fiancée (Park) is cheating on him with his friend, T.O.P. In actuality, Park (presented to be suffering from a terminal ailment) and T.O.P deliberately misrepresented themselves. G-Dragon realizes this too late and arrives at the hospital to discover that his girlfriend is no longer alive. The music video was well received and is considered a classic due to its emotive premise.

Seo Yea-ji in “Let’s Not Fall In Love” by BIGBANG

Lyrically, this pop-rock-infused dance track incorporates material that tackles the underlying concerns that come with teenage love – more self-centered and defensive than caring. The song gained excellent reviews, with many praising the track’s distinctive and affective composition as well as the band’s dexterity with emotional and complicated subjects. The music video follows the BIGBANG members running around a school courtyard, each taking on the role of boyfriend to five different girls, with actress Seo Yea-ji enacting G-Dragon’s lady love.

Han So-hee in “Tell Me What To Do” by SHINee

The repackaged edition of SHINee’s album 1 and 1 was released on November 15, 2016, with five additional tracks, one of which was “Tell Me What to Do.” The band members, as well as actress Han So-hee, were cast in the MV. Billboard’s Tamar Herman wrote about the song in an article, “While the lyrics succeed in conveying desperation and confusion amidst a tumultuous relationship, it is the strong vocal performances from the members, particularly Onew and Taemin’s sonorous belts, that make ‘Tell Me What To Do’ SHINee’s most emotive single of the past few years.” The group is known for its unique musical style and the members are some of the best live performers in K-pop. So, if you like this song and the music video, I highly recommend viewing its live performance which is, in my opinion, one of SHINee’s most beautiful stage acts.

Kim So Hyun in “I Yah” by BOYFRIEND

The famed Zanybros (a South Korean video production company specializing in music videos and commercial film production) created the song video “I Yah,” in which Kim So Hyun (a child actor at the time of its release in 2013) collaborated with BOYFRIEND members to portray a beautiful and endearing love story.

Park Bo-young in “Only I Didn’t Know” by IU

The title track of Yoon Sang’s album REAL+ is “Only I Didn’t Know.” The composition and melodic arrangements of the song, which include his characteristic wistful chord work and melody, differ from conventional ones. The song, featuring the amazing Park Bo-young and IU, exudes a delicate feel due to the simplicity and refinement of authentic instrumentation while also blending well with the latter’s exquisite voice and tonal quality.

“Gyopo Hairstyle” by Peakboy (featuring Choi Woo-shik, Park Hyung-shik, BTS’ V, and Park Seo-joon)

Even though this isn’t an old song and was released recently (2021), I wanted to include it here. It has a one-of-a-kind cast that includes Park Hyung-shik, Choi Woo-shik, BTS’ V, and Park Seo-joon from the famous Wooga Squad, while Han Hyun-min, a South Korean model and actor, also appears in the video. The song is by Kwon Sung-hwan, aka Peakboy, a South Korean rapper, record producer, and singer-songwriter. His tracks lyrically express his daily thoughts and sentiments, which we can see in “Gyopo Hairstyle.” It’s a tune about a simple slicked-back side-parted ’90s hairstyle with an underlying message to be oneself.

The post K-drama Flashback: 12 Classic K-Pop Music Videos Featuring K-Drama Actors appeared first on Rolling Stone India.

Some stars are made while others are born. Nazia Hassan was born a talent, destined to be a star. She may have realized it only after the astounding success of “Aap Jaisa Koi” from the film Qurbani (1980). The song led the teenage rookie singer to win the Filmfare Award (Best Female Playback) in 1981, making her the youngest and first Pakistani to do so. That was her breakthrough moment, and the rest, as they say, is history. She flourished as one of Pakistan’s most popular artists, who redefined pop music over a career spanning 15 years.

Nazia and her brother, Zoheb Hassan, have given us songs that sold millions of records worldwide. Hers is a distinctive voice; the atypical nasal tone that distinguished her from contemporaries continues to delight us. She knew where the strength of her voice lay and never lost sight of it. Her authenticity is likely the reason why she’s not just the “Nightingale of Pakistan,” but also known as the “Queen of Pop” in all of South Asia.

As far as I’m concerned, my love and admiration for the singer-songwriter, lawyer, and social activist only gets stronger. I reckon that her ascension was most remarkable, in the sense that she brought a breath of fresh air to the ’80s music scene while also shattering norms – an idol in the truest sense of the term. There are times when happiness rises to a state of elation, and this is one such moment for me as I write this piece outlining Hassan’s 10 most cherished songs.

“Disco Deewane”

The title song of her debut album, Disco Deewane (1981), composed by Indian-British music director Biddu, ushered in the era of independent Pakistani and Indian pop music. At a time when Bollywood film songs were the be-all and end-all in the South Asian music business, this song consolidated the non-film soundtrack as a genre and became a record-breaking success. A reprise English cover version, “Dreamer Deewane,” was released in 1983, and it became the first single by a Pakistani female singer to hit the UK singles chart. A revamped cover version was also used in Karan Johar’s 2012 film, Student of the Year. Dubbed “The Disco Song,” it featured Alia Bhatt, Siddharth Malhotra, Varun Dhawan, and Kajol.

“Tere Qadmo Ko”

If Nazia revolutionized pop music, Zoheb redefined it. Their frequencies matched seamlessly and were replicated in their duets. I fell in love with “Tere Qadmo Ko” the first time I heard it, and when I watched the music video, I knew I had to add it to my playlist. It’s such a bright, free-flowing composition with lovely lyrics by Nigar Sebhai and music by Biddu. Their combination resulted in a timeless melody. The emotions that the song conveys and stimulates in the listener establish its character. It sounds joyous, but there’s also sadness in it. Follow the lyrics to get a sense of the underlying pathos – “Hazaro duriya meri/ Kayi majburiya meri/ Yeh bandhan tod lene de mujhe/ Tu paas paas aane de.”

“Aao Na”

A young Nazia’s newly found identity received love that transcended borders. Her musical style combined elements of pop and disco with her distinct individuality. A majority of the songs on Disco Deewane, her maiden album, became superhits, including “Aao Na,” a seductive tune that stole millions of hearts. Lyrically, the song is a call to the beloved to abandon routine life and embrace moments of love and togetherness. I suppose the song’s musicality helped it survive the disco craze and become one of Nazia’s most memorable songs.

“Mujhe Chahe”

The Hassan siblings performed another great arrangement by Biddu. This song was yet another departure from the stereotypical songs of the 1980s. The sound design is quite distinct. Even after decades, hearing it brings a sense of freshness. Among all of Nazia and Zoheb’s other duets, this one stands out. I’d like to describe it as a not-so-quintessential love song with not-so-quintessential vocals that made it a remarkable exercise in pop music at the time.

“Boom Boom”

Disco Deewane was followed up with the next album Boom Boom (1982). Its title track was used in the Bollywood movie Star and also included the peppy “Ooee Ooee” by Zoheb Hassan. However, “Boom Boom,” with Nazia’s vocals and a fusion of Eastern and Western music, landed a “surefire hit,” as was stated by composer Biddu. The song was defined as an ‘epic synthesizer track’ by Wired and Rolling Stone critic Geeta Dayal in 2010. The album was re-released in 1984 and once again in 2004.

“Koi Nahi”

Film Director and producer Ahmed Haseeb made a documentary on the legendary pop icon called A Music Fairy winning accolades at Kara Film Festival in 2007. She was a music fairy indeed with an angelic voice that still resonates. Her confessions of feelings to a lover found expression in the song “Koi Nahi,” which was also a part of the album Boom Boom. Biddu produced a remix album of Boom Boom and dropped it in 1995 which topped the Indian charts and garnered record sales within a short span of time.

“Dum Dum Dee Dee”

Young Tarang, the third studio album, was released in Pakistan in 1983, with an international release the following year. The record debuted to immediate success, as usual. It’s worth noting that this was the first South Asian album to produce music videos. The song “Dum Dum Dee Dee,” among others, was incorporated into the acclaimed 2012 film Miss Lovely that premiered at the Cannes Film Festival. Ashim Ahluwalia, the film’s director preserved the song’s originality, due to its excellent reflection of the ’80s, and the lyrics that were in line with the tonality of the film.

“Aankhein Milane Wale”

“Ankhein Milane Wale” is a song that appeals to a wider audience but might be defined as ‘youth-oriented.’ Nazia Hassan’s one-of-a-kind love ballad, delivered in her exceptional voice. This was one of the Young Tarang songs that had a music video produced. These videos involved John King, the renowned set designer, and director who designed the sets for Michael Jackson’s “Thriller.”

“Telephone Pyar”

Hassan’s artistry was not confined to her unique singing skills but also exhibited her foresight. Her interpretations of human emotions such as love, sadness, and friendship touched a nerve with the listeners leaving a lasting impression. She was a popular figure among teens and this drew criticism from a group of radicals who despised youth music and culture at the time. This occurred when Hassan and her brother performed some of the most popular songs from her fourth studio album Hotline (1987) at the famed pop music stage show Music 89. One of the songs under question was “Telephone Pyar” which resulted in a ban on the duo. However, the influence of their music paved the way for a slew of Pakistani bands and singers to emerge.

“Aan Han”

The successful run of four LPs came to an end with Hotline. As already mentioned, despite the album being a resounding hit some of its songs also stirred outrage. “Aan Han,” perhaps the most popular song on the album, was amongst them, as well as one of her most requested songs when she performed live on stage. Nazia’s voice and captivating stage presence complimented her performances. Her signature style has always emanated refinement and sophistication while simultaneously captivating the masses.

After the release of Camera Camera, the fifth studio album (1992), Nazia shifted her attention to family life and was diagnosed with cancer. It’s worth mentioning that Biddu composed the mega-hit song “Made in India” for Nazia. The unwillingness of the latter resulted in Alisha Chinai singing the song. Hassan, who was known for having a ‘heart of gold’ used her abilities to advocate for different humanitarian issues. Ironically, her own cause was something she couldn’t control. The artist died on August 13th, 2000, at the age of 35, torn between a rough married life and a terminal illness. Hassan’s spectacular rise, like her career and personal life, was fleeting. But for as long as she lived, she left her imprint on everything she touched.

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This story appears in Rolling Stone India’s K-Music Special Issue, on sale now. Buy your copy here.

South Korean girl group Pink Fantasy have been on my radar as the next up-and-coming group to watch out for ever since June 21st, 2021. That’s the date they dropped the rock-laced track “Poison” – the lead single off of their latest EP Alice in Wonderland. It’s been months since I wished to sit down with the group for an in-depth discussion centered around their stories, their music, and essentially, what drives their artistry. Hence, safe to say – I was exhilarated when their label MyDoll Entertainment’s CEO, idol-turned-business executive Lee Sohee, expressed her desire to have Pink Fantasy join our line-up of artists for the K-Music Special issue. 

From several members taking hiatuses and eventually leaving the group because of health-related concerns, to numerous line-up changes, and ofcourse the trajectory-changing COVID-19 pandemic, since their very inception, the [currently] eight-member group has braved more storms than one and is admirably still going strong today, proving that they’re here to stay. The pandemic may have come and gone, wiping out all traces of idols and groups from smaller, non-’Big Four’ labels, yet there’s an observable formula to Pink Fantasy’s success, a method to why they’ve not merely survived, but managed to thrive in this fast-paced industry. Talking about this strategy, Lee says, “We’re not swayed by others’ stories, never have been and never shall be. We’ll continue to face any forthcoming challenges head-on in the future, just like we’ve braved the pandemic together.”

On camera, the group boasts incredible vocal and dance skills, enhanced by an electrifying stage presence and amazing chemistry. Off camera, their stories are simple, down-to-earth and highly relatable – stories of eight girls with humble roots, big dreams and a whole lot of passion and grit to leave an impact in the music space. According to Lee, “Rather than focusing my creative direction for this group solely on the extraneous traits of the members, over everything else, I wanted to create a girl group with a family-like structure by consolidating different heights, ages and charms into a single group.”

Pink Fantasy currently consists of members Daewang, SeeA, Yechan, Harin, Momoka, Arang, Miku and Heesun. Of them, ‘face of the group’ Daewang is a “hidden” member as she hasn’t revealed her face to the public since their debut, concealing her identity utilizing concept-driven masks for each of their stages and on-camera appearances. Which is why Daewang especially surprised me during the course of our interview with her unwavering confidence and enthusiasm when it came to answering a vast majority of my questions, far from the reticent, diffident image I’d preconceived of her in my mind. 

In this exclusive interview with Rolling Stone India for our 2022 K-Music Special issue, the members talk to our journalist Oysmita Majumder about their concept-driven artistry, their role models within the industry, what they’re listening to in 2022, and more.

***

Firstly, can we hear a little bit about Pink Fantasy’s creative process as a group? How do you all generally approach new musical projects?

Arang: Since our debut, we’ve been working on new songs as reinterpretations of fairy-tale stories, like Alice in Wonderland and “Cinderella.”

Hence, I’d say that we will continue to reinterpret fairy tales as our source of inspiration for new music, or at least until we run out of stock for the same.

What are each of your official positions in the group? 

Arang: Leader, main dancer.

SeeA: Main rapper, main vocalist.

Yechan: Main vocalist.

Harin: Sub-vocalist, sub-dancer.

Momoka: Main dancer, sub-vocalist.

Miku: Sub-vocalist, sub-dancer.

Heesun: Maknae, sub-vocalist, sub-dancer.

Daewang: It’s a mystery.

Arang, as the highly dedicated leader of Pink Fantasy, what factors do you think were helpful in enabling you to lead and coordinate the team successfully?  

Arang: When I first became the leader, I studied how the leaders of various teams execute their duties and perform their roles better. I think I was able to approach the members seamlessly and made everyone feel comfortable because I was always accepting of different opinions, which in turn helped me to organize the team and align their thoughts properly. I think that is what helped me lead Pink Fantasy.

Last year you all released your debut EP Alice In Wonderland. I’d like to hear some backstory on the album-making process and the creative vision behind it.

SeeA: So for the Alice in Wonderland trilogy, “Iriwa (Come on),” “FANTASY” and “Poison” had all actually been produced and ready ever since our debut – it’s just that the release timelines were a little different!

Daewang: The storyline goes like this:

– The temptation of the clock rabbit.

– Alice falls victim to temptation.

– The clock rabbit featured alongside a regretful Alice.

What this essentially signifies is that it is easy for people to give in to temptation often, especially bad temptations that run rampant across the world; temptations that easily manipulate people. As a consequence of these sinful desires, at the end of their respective journeys, people’s lives are suffused with regret.

From your debut with the electro-pop dance anthem “Iriwa” to going down a more unique route with the rock-influenced, K-pop-meets-metal record “Poison,” and finally, your most recent release, the fan-dedicated adult contemporary track “Luv Is True” – what would you cite as the focal cause for this perpetual, sonic experimentation with regards to your artistry? 

Harin: Ever since our debut, we, as a group, wanted to experiment with all kinds of sounds and concepts that are currently known in the K-pop space, so we’re going to continue to work hard and bring you new and different categories of music all the time. 

Please show a lot of interest in Pink Fantasy and believe in us, until we’ve shown you all our versatile sides!

In continuation to my previous question, Pink Fantasy is renowned for possessing a diverse discography, but your concepts are equally versatile! Having tried and tested a lot of these different concepts and genres of music that Harin just mentioned, what would you now consider to be Pink Fantasy’s strongest suit?

Yechan: Talking about Pink Fantasy, I believe that the ‘dark’ concept comes to mind first.

I think that the fans really like our dark concepts and rock-based concepts, too.

I’d say it’s because these concepts are not mainstream, and quite different from that of most other girl groups, and hence this route enables us to stand out from the rest, via our performance and vocal strengths.

And what are some genres of music that the group would like to explore [sonically] in the near future? 

Daewang: I want us to challenge various rock-centric genres such as heavy metal, death metal, and black metal. It fits our group’s worldview very well.

SeeA, you’re proclaimed as the “talent vending machine” of the group. Besides being the main rapper and lead vocalist, what one skill would you consider as your biggest strength, or rather, the most functional contributing asset to this group? 

SeeA: I’d say that it’s the ability to interpret songs.

I consider it as my asset to understand and express our concept well, within the world that we have constructed via our artistry, up till now.

Some of your recent releases, including “Fantasy,” “Poison” and “Tales of the Unusual” have been heavily rock-influenced. Hence, I’d like to ask what does rock mean to Pink Fantasy? Also, what inspired the group to deep dive into this lesser-explored K-pop genre? 

Daewang: Personally, I think that rock is a wonderful genre and a great medium of expression as well.

Rock allows you to express your emotions, voice social criticism and narrate entire stories.

And I also think that the performances of Pink Fantasy and the skills of our vocalists shine the most through this genre, hence the shift to rock.

Out of all the singles that Pink Fantasy has released so far, what track does each member feel reflects their artistic identities the best?

SeeA: “Shadow Play.”

Yechan: “Poison.”

Harin: It’s “12 o’clock.” 

Arang: “Poison.” It’s a song that conveys a whole different feeling altogether, through its lyrics.

Momoka: “Merry Fantasy.”

Miku: The track that I’d like to name would be “Poison,” but to think of it as the one which encapsulates our image accurately – well, that’s actually an in-house joke! [laughs]

Heesun: I think “Poison!” 

Daewang: “Poison.” I feel that it matches well with my sexy aura. 

Yechan, nailing live vocals can definitely be a challenge, especially if the performance routine happens to be exertive and heavy on choreography-centric elements. So, being the group’s “honey vocal,” can you tell us which Pink Fantasy track so far has been the most challenging to perform live?  

Yechan: Most parts of the choreography for “Poison” are extremely fast and high on energy, so it was the hardest to maintain steady vocals while executing it live. But at the same time, its choreography is extremely powerful, so I really enjoy performing the song on stage.

In recent years, rock music, which had previously been on the brink of dying out, is experiencing a renaissance phase. In the past, this movement was limited to groups like Dreamcatcher whose discography primarily incorporated rock, but today more and more groups are giving this genre a serious try, hence gradually contributing towards making rock mainstream. We have Loren and Younha who are doing a stellar job, indie artists like Glen Check, bands like Onewe, Rolling Quartz and the recently debuted Xdinary Heroes. Even pop groups like TXT on “OX1=Lovesong (I Know I Love You),” Enhypen on “Blessed-Cursed” and most recently (G)I-dle with “Tomboy” can be seen tapping into this genre. My question for you all is, what are your thoughts on this resurgence of the genre within the industry; why do you think this came to fruition?

Daewang: Although rock was a genre that was a little neglected in the K-pop industry until very recently, we gave the genre a serious attempt, and today, more and more cool rock-based concepts are being revived by groups and taking over the K-pop industry! 

When Pink Fantasy first tried rock, very few challenged the genre, and now it’s really fun to see it becoming so popular. I think it’s all because more singers these days want to shatter different forms of prejudice and stereotypes, and accept new challenges for the sake of expanding plus diversifying their artistry.

Who are some of Pink Fantasy’s personal favorite rock influences in the industry? 

Daewang: TraxX and X-japan!

Harin, you’re regarded as the “happy virus” of Pink Fantasy. Can you elaborate on the reason behind this alias, with regards to your role in the group?

Harin: The reason why I am named “Happy Virus” is because I want to be a singer who always spreads joy and makes fans happy. Because I’m only human, there are many conflicting emotions that course through my mind at different points of time, and numerous stressful moments as well, but I always try to keep my emotions well-balanced, to keep myself calm under all situations.

In order to stay happy, I engage myself in things that I personally enjoy and like doing, and most importantly, stay away from all forms of negative energy – hence this nickname [laughs].

Let’s discuss one of the fan-favorite Pink Fantasy releases, which also happens to be your current third-most viewed music video on YouTube, “Poison.” This particular track was lauded for traversing the hardcore, mainstream punk rock music route, even tapping into the screamo genre during the post-chorus; something not really seen before within the K-pop space. It helped me and countless others to discover and follow your music. Can you all tell me a little bit about the behind-the-scenes production process of the track? How was it breathed to life? 

Daewang: I’ve always wanted for us to work with different genres and musical styles since our debut. For “Poison,” we decided to go with rock, as we felt it could best embody the message we wished to convey through the music.

JungMo [TraxX]: I thought that when you combine guitar riffs, which are an extremely important element of rock, with dance music, you get to experience a whole different world of performance. This facet about Pink Fantasy’s artistry was a freshness that was hard to see in other girl groups. 

Hence, I worked on “Poison” because I felt it could be of great help in creating and adding a unique artistic color to Pink Fantasy.

Praised for its anime opening theme-like sound, the music video for “Poison” is fiercely intense and enigmatic, incorporating a lot of biblical references, satanic imagery and exquisite cinematography. What’s the underlying storyline that laces the music video? 

SeeA: “Poison’s” music video is the third installment to the Alice in Wonderland series. 

It consists of the stories of Satan’s bystander, Alice’s regret, and the subsequent changes occurring within her, as a consequence of experiencing all of those clashing emotions.

How was your experience working with seasoned guitarist and ex-member of the rock group TraxX, Kim Jung-mo, on this record? He delivered a breathtaking job in writing and composing the track!

Daewang: Well, I got to know and meet Jungmo in person. He is an artist who I have been an ardent fan of since I was young. I think very few composers in Korea can compose as well as he does. 

As expected, he made a really good song! He is truly a creative genius and an amazing guitarist as well.

Any fun or memorable incidents that took place while shooting the music video, which come to your mind right off the bat? 

Harin: The composer and guitarist, Jungmo, made a special appearance on our song, so when he was filming his parts, the shooting set actually turned into a concert hall!

Another one of your rock-laced tracks is “Tales of the Unusual.” What was the creative process behind this track like? Daewang, SeeA and Yechan were actively involved in penning the lyrics to it, so I’d like to hear the answer from any of them.

Yechan: “Tales of the Unusual” is a collaboration song with the popular webtoon Tale of the Unusual.

It is a song that connects to Pink Fantasy’s unique storytelling perspective.

This song’s lyrics emphasize the theme of ambivalence and contradictory stories. It expresses an individual self at war, where it is constantly torn apart, and under intense agony in reality. We also tried to express scenes reminiscent of profound emotions, unique sounds, and cruel fairy tales through our performances and facial expressions.

Like a lot of Pink Fantasy’s other music videos, “Tales of the Unusual” too, was accompanied by a dark and horror-themed visual concept; it even saw a Halloween release last year. Horror often happens to be the standard choice of visual aesthetic to accompany rock-centric concepts, as it seems to blend well with the genre, for whatever reason[s]. In sync with this idea, the “Tales of the Unusual” music video incorporated a lot of blood and gore [for its makeup], along with a bone-chilling choreography as seen in the ‘Zombie’ version clip. It definitely looked challenging from the outset, but can you tell us whether there were any behind-the-scenes challenges which the members faced, while preparing for/shooting the music video? 

Arang: I practiced looking scarier than usual through my performance, facial expressions and exaggerated movements. I also took special interest in my makeup, and tried to make it look as perfect as possible. 

Everyone as always enjoyed filming, and there were no other challenges that were encountered.

Momoka, you’re an exceptional performer. Not only are you the group’s main dancer, but you have also assisted in choreographing “Paeonia” by Busters. From what I’ve heard, you’ve, as a matter of fact, trained at the same dance studio as Hirai Hana [older sister of TWICE’s Momo]. It’s crystal clear to me from your profile, that you basically live and breathe dance. Can you hence tell me how important performance and choreography is to Pink Fantasy’s artistry? The group undeniably has some fantastic choreographies under their belt!

Momoka: Thank you so much for saying that!

I think Pink Fantasy’s choreography is an extremely crucial aspect of our artistry, because it expresses the concept of our songs really well.

Now, let’s discuss the meaning behind your group name. What does ‘Pink Fantasy’ strive to symbolize?

Momoka: ‘Pink’ means love and happiness, and ‘fantasy’ means a desired reality. When placed together as one, this means that we want to be a team that gives a lot of love and happiness to the numerous people who are seeking the same in their hapless realities. 

We hope that by being with Pink Fantasy, people will get the chance to truly experience such emotions for themselves. That’s what Pink Fantasy aims to achieve via our music.

MyDoll Entertainment’s CEO Lee So-Hee created Pink Fantasy with the purpose of providing representation to idols of different personalities, backgrounds and age groups, by providing them a platform to showcase their talents and shine. Despite having one of the largest age gaps in a group within the industry [currently 12 years], the members’ bonds appear to be quite strong and endearing on screen. How has living and working together helped the bonding between the members to grow and evolve over time, as compared to when they first met each other? 

So-Hee: Just like the varied genres which shape their versatile discography, all members have distinctly different personalities and auras. But rather than focusing my creative direction for this group solely on the extraneous traits of the members, over everything else, I wanted to create a girl group with a family-like structure by consolidating different heights, ages and charms into a single group – a group who’d spend their days living and working together under the same roof and hence, inevitably develop a family-like bond in tandem.

Incase of other labels, companies try to build groups with only young teenagers, but I like to believe that if one is passionate enough about what they do, then paltry, inconsequential barriers like that of age don’t make any difference whatsoever. Hence, I’m positive that in the future as well, I’ll continue to source and recruit more passionate people befitting of our brand spirit.

In conclusion, age doesn’t really matter, however, the members’ joints must be movable and in perfect condition [laughs].

Since the members of Pink Fantasy are all warm and caring, as time has gone by, they’ve ended up forging that close-knit, family-like bond, which I’d originally intended for them all along.

Miku, I’ve heard that you’re originally from the beautiful Wakayama prefecture of Japan. How was the experience of shifting to Korea, living away from your family and simultaneously growing up in the competitive trainee environment? How did you manage to persist?

Miku: To be very honest, I’ve never really thought or felt that practicing as a trainee was difficult, but there are days when I feel lonely and depressed about not being able to meet my family, as I’d meet them every single day back in Japan.

However, since we can’t meet each other in person as of now, the number of times we send love to each other through phone calls and text messages throughout the day has indefinitely increased. 

Moreover, in Korea, the Pink Fantasy members are like my family. We communicate with each other often, so that none of us ever ends up feeling left out or lonely.

The COVID-19 pandemic has evidently crippled the functioning of newer artists in the industry. Pink Fantasy debuted on October 24, 2018, and the pandemic broke just a little over a year later. Surviving as creative artists under the pandemic-enforced limitations must have come with its own set of challenges. During this period, Pink Fantasy, as a group, have displayed remarkable resilience! Looking back, what would you say has been your biggest learning experience from the situation? 

So-Hee: We’re not swayed by others’ stories, never have been and never shall be. We have endured this pandemic solely by virtue of caring a little more than others, sleeping a little less than others, staying a great deal stronger than others, and nursing more hope than the others. We’ve tirelessly tried our best to keep our staff and artists always unified together, by forging strong and lasting bonds between ourselves. 

I think we’ll continue to face any forthcoming challenges head-on in the future, just like we’ve braved the pandemic together. 

Who are each of your role models in the industry, and why?

Arang: My role model is HyunA. The reason behind this is that she always tries so many new and exciting things with regards to her performances, and it’s really cool that unlike the rest, she expresses her own, unique style or musical color through her body of work. Hence she’s always been my number one role model.

SeeA: CL, Jeon Soyeon, Taeyeon, and IU.

Why? Well it’s because these women are doing everything on their own. They are pioneering every field, every nook and cranny of the industry. They’re unbelievably charismatic both on and off stage, and just always shine so bright. I truly admire them.

Yechan: I really respect Park Hyo Shin.

Both her musical career and signature styles are extremely inspirational to me. I hope to follow in her footsteps, and to be more like her in the future.

Harin: [Red Velvet’s] Joy sunbaenim [a Korean term meaning ‘senior’]. Watching her performances always lifts my spirits and makes me feel good, because just like her, I too wish to be a person who spreads a lot of joy and positive energy.

Momoka:  My motive for becoming a K-pop idol in Korea was [TWICE’s] Momo, Mina and Sana sunbae!

Miku: My role model is Roseanne Park of BlackPink.

Ever since the very first time I came across her and watched her perform, she has been my idol.

Heesun: It’s IU sunbae.

Whenever I listen to IU’s songs, I think of her as a strong, powerful and cool senior. I think that she’s really talented and hard-working, and deserves all the recognition that comes her way.

Daewang: Lady Gaga, I’m a huge fan of her art!

Heesun, you’re the ‘moodmaker’ and maknae [Korean word for ‘youngest’] of Pink Fantasy, so I thought you’d be the best person to ask a fun question to: if you had to introduce Pink Fantasy to a new listener with just one song from your entire discography, which song would you pick? You have to justify why as well. 

Heesun: I would like to introduce us with the song called “Poison.” Out of all of our performances, I’m positive that it’s one of the best, hence the pick!

What are each of your current favorite songs?

Arang: It is “Party, Feel, Love” by HyunA.

SeeA: Taeyeon’s “Some Nights.”

Yechan: I listen to KiHyun sunbae’s “Voyager” a lot.

Harin:  ”Walk” by  Baek Yerin.

Momoka: It’s “Siren” by Taeyeon sunbae.

Miku: My favorite song right now is Hirai’s “Life is Beautiful.”

Heesun: Benson Boone’s “ROOM FOR 2.”

Daewang: It’s actually “Poison” by Pink Fantasy.

Can you all tell us one unknown fact about yourself?

Arang: In the past, I’ve often heard assumptions, like people’s remarks about me could affect my image and disrupt my mental health. With regards to this, I just want to let everyone know that they don’t have to worry about me, because I’m not the type of person who would be swayed or hurt by others’ words that easily.

SeeA: It may not seem so at first glance, but I am actually the tallest in the group!

Yechan: TMI, but my toes are longer than my thumb!

Harin: Maybe, the innate, sensual aura that I possess? That’s one fact about me which is not well known. 

Momoka: I was actually 104-cm tall when I first entered elementary school.

Miku: I’m sure there are a lot of people who sleep while listening to music, but I sleep while listening to live games.

Heesun: I really like to read books, so I always read a book in bed, with my earphones on.

Daewang: I actually have camera phobia. So it isn’t all that weird for me to stand behind the rest of the members for different shoots and schedules. I’m quite happy and comfortable in my current position.

Daewang, as per your artist profile, can you tell me how your character ‘The Great King’ comes into play in the bigger picture – what role does it signify in Pink Fantasy’s storyline? 

Daewang: Daewang shall play an extremely important role in the soon-to-be-revealed worldview of Pink Fantasy. I’m not at liberty to discuss anything more than this right now, so please stay tuned!

 If Pink Fantasy could share a word of advice with their younger selves, what would it be?

Harin: If you keep persisting and trying without giving up on your dreams, you will surely get to see the light someday. Till then, let’s continue to work hard towards our dreams, together!

What are the larger goals each of you have set for yourselves in 2022?  

SeeA: My goal is to work hard on myself, onwards and upwards towards becoming the best version of me.

Yechan: As a member of Pink Fantasy, I want to be loved not only by national, but also by international fans. 

Besides my group activities, I’d personally like to challenge myself as a musical actor and also explore my abilities in the field of acting.

Harin: Pink Fantasy’s Dome Concert! We’ll show you various different charms of Pink Fantasy.

Arang: As the leader of my team right now, my biggest goal is to let more people discover Pink Fantasy. I want to show more of myself to the world.

On the personal side of things, I’d like to live a happy and healthy life. In order to do that, I have to stand before our audience with new and improved skills and visuals, and I’m really enjoying working on that aspect with Pink Fantasy, because we’re so different from other teams! I’m looking for happiness in the smallest of things.

Momoka: I want to let more people know about Pink Fantasy and my existence. For that, I will continue to work hard every day to show great performances that our viewers will enjoy.

Miku: The current goal is to become a full-fledged [permanent] member of Pink Fantasy. I will work hard on my singing, dancing and Korean, among other skills, for a brighter future.

Heesun: I want to be a person who enjoys what I do more than anything else, rather than having a specific goal of ‘I’m going to do this!’

Daewang: ‘Taking off the mask’ [a Korean proverb meaning ‘breaking out of one’s limit’]. 

That means my goal is to be able to hit Number One on the Billboard charts [Daewang has mentioned in the past that she’ll take off her mask and reveal her identity to the world, once their song reaches the top spot on the Billboard charts].

Are there any new projects that you all are currently working on? What can we expect to see from Pink Fantasy this year?

Miku: We’re working on a lot of new songs for our next comeback, and we’re going to come back with a fresh variety of new music. So please look forward to it!

To wrap up, Heesun, can we have a message for Pink Fantasy’s Indian fans?

Heesun: We hope that Pink Fantasy will be invited to India to perform someday, and get to meet all of our Indian fans in person. Till then, please give Pink Fantasy a lot of love and attention! We love you [smiles].

Check out Pink Fantasy’s special message for their Indian fans:

Watch “Poison” Choreography M/V [Temple Ver.] below:

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