Coup D'Etat Reviewed by Pitchfork and MTV Iggy, Plus GD Wins on Music Bank

[ah-mui.livejournal.com]

From Pitchfork

The Korean pop star Kwon Ji-yong-- best known as G-Dragon-- is such a force at home that six tracks from his new solo album Coup d’Etat,  released earlier this month, have already cracked the country’s top 10. Ji-yong, a national figure since rising to prominence in the enormously popular and quite good Korean boy band Big Bang, has been fleshing out his solo agenda, which so far has seen 2009’s so-so solo debut Heartbreaker and the more exploratory 2012 EP One of a Kind. (Setting up a career trajectory not unlike that of Justin Timberlake, many have noted.) Both sold extremely well-- at this point, G-Dragon was pretty much just breaking records set earlier by G-Dragon-- but One of a Kind suggested a more frenetic and singular style, best exemplified by the magnificent “Crayon”. That song represented a logical collision of fluorescent, pound-the-alarm EDM, the tomahawk chop chant, and G-Dragon’s referential, sharp rapping; every element throbbed with electricity. But it was an exception, as the quality of his music hasn't always matched his innovations as a style icon. At the moment, G-Dragon is getting more press for his swag than his sound.

The highlights of G-Dragon’s new solo album Coup d’Etat remedy that, but they only go so far. The guest spots-- Missy Elliott, Baauer, Sky Ferreira, Diplo-- are obvious attempts at crossover that are alternately clumsy and clever. Where Missy raps with a sorely missed vitality on the exuberant “Niliria”, a high-velocity flip of a traditional Korean folk song that also features playful rapping from G-Dragon, the midtempo ballad “Black” features a listless Sky Ferreira providing a hook (“If you ask me what happiness is/ Your smile under the sun/ But I’m always on the run”) that feels stitched on and focus-grouped. (On the Korean version, YG president Yang Hyun-suk replaced Ferreira with ascendant YG artist Jennie Kim). The title track wiggles and wobbles in all of the right places, steadied by an assertive G-Dragon, but the straight-up rap outro feels thin and overcooked. The overt genre experimentations that often characterize big K-pop records-- and also seen on Coup d'Etat-- feel skeletal in comparison to his work with YG’s big ticket act Big Bang. Though GD raps and sings throughout Coup d’Etat, he sometimes finds himself in the uncomfortable middle, with diminishing returns.

Though Coup d’Etat feels forced in spots, there are plenty of moments that deliver on G-Dragon’s superstar promise and capitalize on his enormous charisma. The joyous soccer chant of a single “Crooked” might just be a song you’ll play 30 times in a row and never play again, but those 30 listens are pure serotonin-fueled bliss. And while “Niliria” isn’t as wild musically as a recent convention stop suggested, it’s still a promising template where G-Dragon thrives, he and his go-to producer Teddy spin traditional fare into a mutant banger. Lead single/lazer beam capsule “Go” approximates a “Crayon”-like frenzy, and though it ends up being less memorable, it illustrates how GD can carry a song on pure energy.

With K-pop events selling out in major U.S. markets, it’s arguable that this sphere doesn't need a “crossover” moment, especially one this deliberate. (Coup d’Etat even cracked the Billboard 200 in spite of it’s two-part release and lack of a massive global single). So if you come to Coup d’Etat expecting some kind of revolution you'll be disappointed; it’s an intriguing listen, if not an important one.

Edit: Pitchfork gave a score of 6.1

From MTV IGGY

On the recently released Coup D’etat, K-pop star G-Dragon has his cake and has a fanciful outfit made out of it too.

Successful pop megastars engage with a fan’s sense of fantasy. The Beyoncés, Britneys and Biebers of the world incite lusting, envy and lifestyle aspirations. One of the reasons K-pop’s prince is so magical, and not to mention wildly successful, is because he sets the imagination off in so many different directions. He gluttonously engages with identities; he is a suave superhero, a trusty sidekick (especially to his YG Entertainment brethren, like his group Big Bang), and a Tim Burton-esque cartoon villain all in one.

He has the charm of a sociopath who has mainlined decades of pop culture from an early age. He’s ingested the magnetism of Johnny Depp as Jack Sparrow/Edward Scissorhands/Willy Wonka, Parklife-era Damon Albarn, Snoop Dogg in Bones, Lady Gaga, Steve Urkel, Johnny Rotten, and many, many more personas. The allure of his eclecticism carries over into his music, which sometimes ends up taking a backseat in conversations about G-Dragon in the West, in favor of narratives surrounding his fashion sense.

His new solo release Coup D’etat is a mélange of his influences which span from trap music to pop punk to adult contemporary shlock to Korea’s underrated disco-soul scene. At times the album feels like empty calories—artificial whipped cream synths, dated dubstep bass belches, and cheesy hooks. But to their credit, he and his YG Entertainment co-producers Teddy Park and Choice 37, have created a post-modern pastiche of worldwide pop idol sounds in 2013. G-Dragon comes off as eccentric, because he aspires to be everything to everyone. In the album’s outro “You Do,” G-Dragon interpolates Cam’ron’s “Hey Ma” over a trap beat with pop guitar licks, yelps like Lil’ B, and raps in Korean “You could be somebody man / a Superman of justice / Look so fine /Tony Stark or Bruce Wayne …You can do it too, man / Play guitar, Kurt Cobain / Hold a mic, become Lil’ Wayne / be popular like Big Bang.”

A favorite talking point about the album has been about the efforts G-Dragon went to in order to appeal Western markets.  It does feel slightly strained at moments, particularly in the Timbaland-imitating “Niliria” featuring Missy Elliot, but it feels less like catering to an audience and more like he’s had the same fantasies about his heroes as his fans do of him. In “You Do” it sounds like G-Dragon can’t wait to meet Killa Cam to discuss fur coats or meet the Based God to talk about really positive things. If the video for the deliciously dark title track “Coup D’etat” is any indication, he’s probably fulfilled a dream of having late night conversations with Diplo and Baauer about global EDM illuminati secrets.

Unfortunately, there are also times where his infatuation with Top 10 music is trying, like on the Bruno Mars/Maroon 5/Jason Mraz imitation “Who You?” This formula is hugely popular in many parts of the world, but its blandness detracts from G-Dragon’s manicured edginess. A much better fit for him is the brilliant sparse R&B track “Black,” where a bleak meditation on love doubles as a cutesy, flirtatious duet. In the online version of the song, K-pop singer Jennie Kim sings the female verse as impassioned and innocent, while Sky Ferreira’s delivery on the album version is husky and sexy. InCoup D’etat G-Dragon comes off as confident in his ability to manage the K-pop expectations of his hardcore fans, experiment with rap and dubstep, and warm newcomers up to the Jamiroquai-esque disco-soul sound of acts like Zion T.

In the end, only so much can be said about his music without referencing his visual output. The genius of the Korean music industry has long been their financial investment in music videos. G-Dragon’s videos for “Coup D’etat” and “Crooked” exude opulence in a way that’s increasingly rare outside of Korea. They are a throwback to the time when a music video release was a worldwide event. K-pop reaction videos, where fans record the first time they experience music videos, are ideal for his chameleonic looks. Each new character he creates, each brush with androgyny, each time we wait to find out whether we are getting the boy-next-door sweetie or the snarling anarchist, is thrilling enough that there’s a thriving subculture of folks communing over each other’s facial expressions and second-by-second commentary on his videos. YouTube a looking glass where we are anonymous and in Coup D’etat G-Dragon flaunts his delight in being on the other side.

_________________________________________________________________________________________

G-Dragon announced K-Chart winner for last week's KBS Music Bank episode

KBS Music Bank did not air last week due to the Chuseok holidays, and therefore, a winner was not announced for the third week of September.

On September 24th, Music Bank updated their website, announcing the winners for both week 2 and week 3 of September. After revealing KARA as the winner for week 2, G-Dragon was revealed to have taken the crown last week with his track, "Who You?", with 6,441 points.

While EXO's "Growl" maintains their 2nd placing for the 2nd week in a row, and SISTAR's Soyu and Mad Clown's "Stupid In Love" takes in 3rd place, as Crayon Pop's "Bar Bar Bar" moves up 2 places for 4th place. KARA's "Damaged Lady" falls to 5th place for the week.

Congratulations to G-Dragon for his K-Chart win!

Source: koreaboo



Black, Coup D'Etat, Crooked, and now Who You? Congrats Jiyong!

Comments

[ashiva.livejournal.com]

I'm so bored with all the western reviewers thinking that GD is trying to crossover 'cause those few guests on his album. I'm pretty sure his album would be very different if he was trying to do that. Also apparently Asians should only make traditional Asian music or something.

[asnindie.livejournal.com]

A friend of mine who lives in LA was actually interested how there were Kpop events everywhere. He assumed that Korean acts are trying to break through but doing a poor job of it, because mainstream market isn't interested. They don't get that they already have a market in Asia, they're doing well as a niche in the US.

[bulleusekat.livejournal.com]

lol I sometimes wish GD tries to crossover with one or two feats but yeah, he isn't trying at all actually... He is simply comfortable in South Korea and isn't trying to force things.

I don't know about the other comparisons, but I love Jamiroquai and the song "I Love it" but they have nothing in common ! I suspect am sure Western audience expect Asian music to be only either very traditional or super kawaii/visukei eccentric stuff (Japan); le sigh.

[oppameansit.livejournal.com]

I'm more bored with the fact that the guests mean anything. I mean I love Missy but come on? Is this the 90s early 2000s? Sky Ferreira is less than a nobody, Bauuer has one song of note that was mainly a sample... I'll give him Diplo though.

[martha-sal.livejournal.com]

Lol, totally agree, I haven't heard anything from Missy Elliot since 2003 and all I know about Sky Ferreira is that there's greasy pictures of her looking stoned on tumblr.

[obviousgirl.livejournal.com]

Missy's been out of the spotlight due to her health (Graves Disease). Just because she's been out of the spotlight for so long doesn't mean she's (or her music) irrelevant.

[ashiva.livejournal.com]

Missy is on his record not to give him huge publicity, but 'cause she's one of his idols and GD has been hugely influenced by her work. And Sky is probably on GD's record 'cause he likes her voice.

And Diplo and Baauer are friends and fellow artists at Mad Decent, Baauer is probably on record thanks to Diplo and not necessarily out of GD's request, or at least he doesn't even mention Baauer in his complex interview:

“I received the beat quite some time ago. [Fellow Big Bang member] T.O.P and I actually did a record, ‘Knockout,’ with Diplo about a year ago. After that, we did a song over the ‘Bubble Butt’ beat. It was the very first version of ‘Bubble Butt.’ Diplo says that he’s looking to put out our version of the song as a remix sometime soon.

"The initial deal was for me to do a song for Diplo, and for him to give me a song. So, he gave me the beat for ‘Coup D’Etat’ some time ago"

[oppameansit.livejournal.com]

i'm not sure what your point is here

[ashiva.livejournal.com]

His guests mean something for him, they are not there for publicity.

[oppameansit.livejournal.com]

and? i said i was bored by the media's insistence that the guests mean he's trying to cross over b/c the guests, aside from diplo, are not anyone important (although clearly they're important to him)

[ashiva.livejournal.com]

Ah ok.

[stephantasm.livejournal.com]

missy elliott will always be a hugely influential artist, no matter how long her break is from the industry... who the fuck is diplo?

[mjspice.livejournal.com]

Lol Ikr?? Like TLC etc didn't do the same.

[odd-fish-stick.livejournal.com]

Op why didn't you put the pitchfork score?

I'm mad I wasn't seeding this on what.cd now that all the hipsters are going to be downloading it to sample jt

[ah-mui.livejournal.com]

Edited! Thanks for pointing it out lol

[snoaz.livejournal.com]

/stares at gifs.

anyway I suppose the reviews do have some points. but now sure how I feel about all of it. sometimes it's hard to understand exactly what they're trying to say with these things. I liked the point of jiyong having so many identities because that's certainly one of his charms, but he has the charm of a sociopath who has mainlined decades of pop culture from an early age ?

And I also think he actually is less focused on breaking through in the western market than these articles suggest. I mean, of course he'd like it and he does make some moves in that direction, but ultimately his attention always seems to be mainly on Korea. Surprisingly perhaps, because from someone like G-dragon you might expect differently?

[seroquels.livejournal.com]

No lies detected.

Didn't GD already answer the question if whether he was trying to crossover and his answer was no.

I agree with the review mostly though. The fact that all these reviewers are taking notice is only a good thing imo. I doubt GD gives any fucks shit what they think though lol

[sub-divided.livejournal.com]

I think it's the opposite, he cares a lot and that's why he pretends he doesn't care, XD.

[seroquels.livejournal.com]

K

[sub-divided.livejournal.com]

Just a hunch.

[allthingsgood.livejournal.com]

Yeah IA, and idg the GD stans who think GD is above caring what anyone thinks. He COMPLETELY cares what others think and it's so obvious he pretends not to.

[sub-divided.livejournal.com]

That Pitchfolk review is really lulzy (and do you really want your pop stars to be Crayon-level insane on every release, Pitchfork? It'll get old and they'll have mental breakdowns). The MTV Iggy review is pretty good though, if maybe a little too quick to psychoanalyze.

[weerainbow.livejournal.com]

"rising to prominence in the enormously popular and quite good Korean boy band Big Bang"

Just read the first paragraph and already I'm laughing haha

Though actually it's quite interesting reading these analyses of GD's music even with the lulzy moments

[bowtoureonnies.livejournal.com]

Saw it was by pitchfork and I rolled my eyes and thought "here we go."

[love-keiko.livejournal.com]

glad i wasnt the only one.

pitchfork is so full of shit, i'm sorry. but i really cant with everything they do.

[dapo322.livejournal.com]

What video do those gifs come from?

[ah-mui.livejournal.com]

Backstage video after winning for Black on M Countdown. Aired on Mnet Japan

http://www.dailymotion.com/video/x1543sz_gd-mcd-1-backstage_creation