I was so busy that I forgot about BoA's Lookbook. I knew that it was supposed to come out around this time (and as of the time this post comes out, the single was released yesterday in Japan), but with singles/albums being announced two months in advance in Japan all of the time, it is easy for me to forget about songs. Then I figured it would be a ballad song because of the time of the year, so I figured I would listen to it eventually, but wouldn't rush to listen to the song.
Then yesterday (as of the writing of this post, [I know, what a fucked-up timeline for a scheduled post]), I listened to it for the first time. This was the BoA that made me become a fan.
I have a fairly rigid schedule while I'm out traveling for work, but this song ruined my schedule yesterday. Instead of studying, I just studied BoA's hot ass. Then while waiting for my flight in the airport, I kept on watching the music video. I watched it the whole time I was eating at a restaurant. Even after I left, I was still listening to it instead of studying.
Then the thought dawned on me: This is way too good to be a pop song produced in Japan. There are some good producers in Japan, but they were either good 10-15 years ago or they don't produce pop music (that often). I dug deeper and this song was produced by the same European team that produced SNSD's Paparazzi, the last good title track SNSD released in any country.
The song has an addicting electronic melody without having too many of the bells and whistles that many EDM songs have had in the past few years, such as an overly dominating bass or any random warbles and garbles. I like how the song keeps it frantic pace throughout the short version of the music video, as it compels me to keep listening to the song. I have not found a longer version of the music video, which is a shame, since this is BoA's best song in Japan since Bump Bump in 2009.
This song also demands a dance MV since this is one of BoA's best choreographies in Japan since Bad Drive.
Lookbook, along with Shout It Out, should be BoA's MO in Japan from here on out. She can focus on her artistic side with her Korean music, but I would welcome more jams like this from BoA in Japan.
I mean, Japan's pop industry could use some good songs, too. BoA would be the perfect person to release a pop song worth a fuck in Japan.
What is this Zion-T in drag look we have going on in the party bus?
ReplyDeleteOh, one of the best songs of the year btw
DeleteLol.some of them are pole dancers and i don't understand why avex hired them, why not hired ordinary ppl to dancing.
DeleteThe song sounds like Electric Shock by f(x) and I don't like either track.
DeleteI've been replaying this song a lot too. This producer should collaborate with other k-pop artists.
ReplyDeleteSomeone uploaded the full version on YT the full choreography is great. But, I'm pretty sure the vids been taken down by now. I've never understood Japan's strict music laws.
Japan's strict copyright laws when it comes to video and audio distribution, specifically on sites like YouTube, dailymotion, or most other "main" video platforms that aren't chinese based, obscure, or Jpopsuki- are usually enforced so heavily due to Japan's desire to drive CD+DVD edition sales of artists singles and albums. Japan in the last few years has taken advantage of Japan's "content id" copyright system to avoid pretty much ANY of their media being uploaded, and that ranges from anime to music. If something does get uploaded, it gets taken down within a few months at most, unless the view count remains low enough that the companies don't take notice. YouTube was overpopulated with Japanese pop videos, anime fansubs, and other Japanese media, before the age of content ID and streaming services, and back then, Japan was extremely lax. However, as copyright laws have gotten tighter over the years, Japan's gotten a little bit more anal about talking their content down.
DeleteJapan really doesn't give a fuck about pandering to people like the folks in kpop do, which is why they never upload their content in full these days, or as of late, their content has been region restricted by YouTube RED's ad bullshit.
Japan really has more focus on their own country, and for some reason, selling physical singles, even though digital is becoming much more popularized. They don't give a shit about providing their content or making it accessible to an international audience as long as it sells well enough in their own country (though physical sales have plummeted due to widespread piracy and the fact that not everyone in Japan wants to keep making room for more fucking CDs in their collections when the content can be bought digitally or illegally downloaded for free, including the music video).
This exposure, or lack thereof, is part of the reason why a lot of Japanese pop acts and Japanese music in general hasn't hit quite the mainstream, or developed quite the fanbase, that kpop has. If you have to go out of the way to access it in the age where everyone wants what they want, and they want it NOW, then maybe delving into jpop for a lot of people isn't worth the hassle. I got back into jpop when I could still see some of that shit on YouTube in full, so I've found a lot of fondness for certain j-acts since.
That clears that up a lot actually thanks!
DeleteI guess since k-pop has a global appeal (music doesn't suck ass plus the members can't be as young as j-idols) then I guess k-pop can be successful internationally and domestically. However we should keep in mind that 80% of a k-idols income comes from their domestic country and very few groups have garnered recognition overseas.
The only people I really listen to in J-Pop are Perfume, Capsule and M-Flo. And M-Flo isn't even technically J-Pop. However the short version PV's and shit getting taken down is annoying. I've been scratching my head since Smosh's cover of the Pokemon theme song got taken down back in like 2006.
I thought Korea itself was the lowest consumer of kpop. (Last I heard Japan was the highest)
DeleteFEMM is a good j-pop group, Riri is hot
The Japanese are picky as fuck, which is why I never buy their shit legally. There's allegations that they've ddosd anime fansub sites, among other sites distributing their content illegally. all this bullshit from Japan has just encouraged me, as an international fan of their content, not to buy or view it legally. But whatever. Their marketing tactics suck from a modern standpoint, but they clearly still keep pushing enough units to think them effective.
DeleteI personally still prefer korea's music to Japan's, but Japan's had some good artists and releases as well. though I think their best comes from soloists as supposed to groups in jpop, contrary to kpop, where I've always been more into groups than soloists.
I think as far as YouTube views go, Koreans might be lower consumers there, but as far as digital sales on Korean sites go, I thought they were considered to be the highest consumers. It depends on the platform. Since yt is international and kpop companies will usually make their releases available internationally on digital platforms almost instantaneously after releasing them, there may end up being a lot of international digital sales based on that. But as far as physical sales and digital sales from Korean sites go, I'd say Koreans would be the main consumers there since the content is made most accessible to them in the first place, even if a LOT of kpop fans are international. Also, yes, FEMM is amazing.
DeleteI love FEMM. Can'T belive I forgot to mention them.
DeleteFull vers here : https://www.dailymotion.com/video/x3i3v68_b-l_music
ReplyDeleteFor download u can check @BoAfactory twitter.
I'm glad u like it, so many fans don't like it :(
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You spillT that good tea sistren!
ReplyDelete