This autumn has been a boon for K-pop girl groups with a plethora of comebacks by top acts. In Korean entertainment, "comeback" doesn't refer to a return from some fall from grace. It just means a new song from a group that has already debuted.

They're called "idol" groups, which I think has become a palatable term because of shows like "American Idol". In Korea it just refers to pop music celebrities, and it's a term adopted from the Japanese pop music scene, "idoru", which of course is taken from "idol".

When I first heard the Japanese use of the word several decades back, I didn't like it because the idea of an "idol" or something that is idolized was an afront to respectable musicianship. An idol was something superficial and glossy; an image that could be manufactured. "Real" musicians and songwriters garnered respect.

For the Japanese, any singer or music group popular enough to appear on TV shows was considered an "idoru", including what I consider legitimate rock bands that aren't corporately manufactured, and who write their own music and play their own instruments.

In Korea, that latter group, from what I gather as an outsider, doesn't get much international exposure or attention. Music is almost all corporate and manufactured with relatively few national artists who write and create their own product. And even though that's something that generally offends me everywhere else, I've somehow accepted it in Korea.

I tell myself it's because the songwriting is good. I still think I'm a discerning listener. Otherwise, I'm not sure where my change of heart occurred. It may be midlife crisis, watching these girls half my age strut their stuff, but I insist it's not prurient interest. If the music isn't good, I'm not going to watch or follow them no matter how "sexy" they are.

And I think I've mentioned before that I still can't stand Western, Japanese or Taiwanese pop music on the basis that the songwriting is still offensively bad. I'm still not discounting the possibility of the future life resonance idea, and the fact that I've out of the blue honed in specifically to Korean music and no other, adding that music is my big love in this life, might speak to that.

So be warned, major K-pop girl group geeking out follows, stop reading if it's not a place to which you're willing to go:

So far, this autumn has seen four top acts make their comeback stages. Kara was the first, followed by Brown Eyed Girls a few weeks later, and then finally Secret and Girls' Generation (SNSD) simultaneously began their new promotions head-to-head (note my consistency: members of all four groups were on Invincible Youth).

My personal tastes rate Brown Eyed Girls' "Sixth Sense" as the best quality of these comebacks. The lead track off their album was actually a song called "Hot Shot" which I initially liked better for its Latin groove, but their main promotion was for "Sixth Sense".

Brown Eyed Girls are a bit of an anomaly in the idol scene because three of the four members are considered advanced in age at 30. Only one member is 24 (Ga-in). But they are with a smaller agency and I gather they have a lot more creative and artistic control than younger idol groups on bigger labels. I also heard that Je-a and Miryo earn copyright royalties because Je-a writes and Miryo takes credit for her own raps.

And even though their stage performances have choreography, they are recognized for their vocal talents, and the media has covered their vocal skills during this comeback, highlighted towards the end of "Sixth Sense" after Miryo's rap section when first Je-a hits a big note, followed by Ga-in and Narsha hitting high falsetto notes (I would also note the subtle background vocals during those high notes which are pretty cool, but not necessarily noticeable unless paying attention to them).

When top acts first make their comeback stages, they're usually allowed to perform two songs, one a truncated version of a second song (in this case "Hot Shot") before going into their main promotion:



Secret's "Love is Move" hooked me immediately, so I would rate it as a very close second.

I thought the only thing that would prevent it from taking number one spots on TV programs is that it was directly going against SNSD's comeback, a Daniel and Goliath battle where Secret didn't have a chance. The thing is that SNSD's comeback was supposed to come a few weeks earlier, but then they changed their plans and ended up releasing simultaneously with Secret.

I applaud Secret for not changing their plans as other groups did to avoid competition with SNSD. Secret and their management seemed confident about their product and even if they wouldn't get number ones on the TV programs, they weren't going to change their plans. That I respect.

It's just a rocking, bopping romp that's a lot of fun.



Kara made a splash with the first autumn comeback, "Step", and I rate it third best among them. The synth blare kinda put me off at first, but the track grew on me:



Finally, SNSD came out with their much-hyped comeback, but it was quite a disappointment for me, if not for SNSD fans. The song is still dominating, but to my ears it isn't great. Certainly not as catchy as their two previously promoted songs, the Japanese language Mr. Taxi and last year's Hoot.

The song was hyped as being created by Teddy Riley who was behind Michael Jackson's "Dangerous", but to me that's a big so what? and indicative of what I don't like about corporate pop music in general.

This track has some good qualities and has grown on me through the promotions, but I wouldn't go out of my way to listen to or watch this track. I'm not a big fan of the fact that there is no bass, and therefore lacks oomph.

I can't fault SNSD's execution as they present their parts and choreography professionally and flawlessly. But in the end I think the success of this track lies in the fact that it's SNSD.



Autumn comebacks are still anticipated by Wonder Girls and T-ara (another Invincible Youth member group).