Compare that to Hospital Playlist, Hotel Del Luna, Goblin, Descendants of the Sun etc. Night and day.
Hospital Playlist is an interesting one as season one was before the change to 24Hits and season 2 after, so the Melon chart change really changed the game overall accentuated by the change in consumer behaviour.
This year has an OST with big hit: Love maybe by Melomnace from “Business proposal” sitting comfortably in the Top 10 for months now. The funny thing is they also appeared in the drama so it’s a promotion in some way. I don’t think there is any close contender for this year OST of the year at this point.
I guess when I think big OST's I I'm thinking more of multiple songs from a show doing well. 1 song doing well can be due to a few different reasons outside of the drama itself
Display MoreYes, it has become very silo-ed. Fandoms and their groups. Maybe a new formula is needed, to judge whether GP is truly interested or not.
ULs and physicals are the 2 sets of data that can be used.
While all fans don't necessarily buy physicals, it can be said most physicals are bought only by fans.
So something like ULs-Physical sales = non-fans, maybe use 1st 24 hours or 1st week period.
Digimons are those whose (1st week ULs-physicals) is the largest in the industry.
** Physicals - imply any merchandise associated with a release other than the digital song(s) - could be NFTs in the future.
It's not just kpop that is being impacted, you see it with kdramas and their OST's as well.
You used to get huge OST's/kdramas every year and now shows with 20%+ ratings struggle to get more than one big song if they even get that. People are cord cutting more and more and switching to OTT services whereas before the main option was watching a drama on TV and then everyone would hear those songs and they'd get big.
Exactly why variety show promotion used to be so important and impactful. Shows like Running Man and Knowing Bros were responsible for a lot of viral moments for the 2nd/3rd gen that pushed them to another level. Jennie on Running Man, Sana's Cheese Kimbap on Knowing Bros being standouts for the 3rd gen. Everyone used to tune in regardless of demographic so the top 2nd and 3rd gen groups have a lot of name recognition with the public.
The TV crowd now that push ratings are the older population who don't normally impact the charts or success a huge amount whereas the young adults/teens are on Youtube, Netflix and the like, so there's a large divide now in a lot of media that didn't exist before. I'd say the last show to have a semi-successful OST all around was Our Beloved Summer and its rating rarely got above 5% but it was very popular on Netlfix Korea, so was driven on the charts by the young adult population on Netflix.
Success for songs and kdramas are so different now to what they used to be. Achieved in different ways and showcased in different ways also. It's why I'm finding the term "national hit" a bit outdated these days as well as there's no easy way to judge it anymore. Consumption is now divided all over the place
The Gaon chart channel did a video on physicals versus digitals recently. It would be really interesting if you could see SK specific sales but I don't think we'd ever get that data and international fans probably make it impossible with the non-shipped back nonsense and whatnot.
The industry has changed so much that you don't get "digimons" anymore. Outside of IU and probably Big Bang there's no artist that can comeback and make me think there's a 95% chance they'll hit number one. Blackpink maybe as well but the lack of comebacks makes them very anomalous.
Everything is so personalised now that there's no real one-stop shop like there used to be that diverted everyone's attentions towards the same piece of media.
People curate their own watching and listening habits more than ever.
I would agree is not their best jpn release and looks like is the typical way of JYP to milk Jonces, cheap and basic content that matters mostly to jonces. About the hype, lets see if is intact when the Korean comeback happen.
I'm pretty convinced Twice's Japanese fans don't care much about their Japanese releases. Hell, Japanese kpop fans listen to Japanese releases the least versus other languages groups release, when was the last time there was a hit Japanese song from a kpop group in Japan? It's either English or Korean songs that take off. Candy Pop is probably Twice's last original Japanese song to have any material impact there.
Even sales wise FoL sold 80k on Oricon and #Twice4 sold 86k, it's not longer Japanese releases hitting 350k+ so there's a big motivation to keep putting out physicals.
Even looking at Twice on Youtube in Japan, in the last 90 days only one Japanese song is in the top 20 for views and that's Fanfare at 15th.
Japanese songs get no traction yet JYPE pump them out like nobodies business. If Twice were to lighten their load going forward one Japanese release per year at most should be the first thing they do. Going by other groups it's not going to impact touring either.
How much did the rest sell
People post about forums without actually posting the engagement levels
I've notices recently that translation sites just translate anything kpop related now. Some of the things posted in the netizen noise section on this site don't even have 50 upvotes as their top answer, some don't even show it.
Have to say I find it a bit bland
Considering the title and context was expecting something more Fanfare like and loud/epic.
Chorus is pretty tragic and like Aespa's release the pre-chorus is the main/only redeeming feature.
Groups hate having nice melodies throughout their songs nowadays
Thought I was listening to his pre-release again
Are you an old acquaintance?
Ah after all the hip-hop and Twice chat in the old forum I would assume so unless I'm confused myself
Had no idea you were still around - just saw your username randomly pop up in the sidebar
With them all renewing I think it confirms one things most people though which is they won't all have solo musical careers as I don't see how JYPE can provide that in any reasonable timeframe. Some may not even want solo careers outside of CF's. Whether Jihyo falls into that category who knows.
After Nayeon, Jihyo is the next obvious choice for a solo but based on what she has said over the years I don't know how fussed she is about a solo, maybe she's more likely to lead a sub-unit.
I don't see JYPE passing up using the 7th year anniversary date as Twice comeback so I feel like August could be an English pre-release single. I know BTS used to do solo tracks as pre-releases to an album so definitely not impossible but I'd be surprised if it was a fully fledged solo. Just too many physicals in a short space of time which I know JYPE has done a lot with Twice over the years, but the JYPE roster is so much bigger now with more releases to balance.
A full fledged solo is a 2/3 week commitment whilst Twice don't promote pre-releases like that (based on the sole example of The Feels). Now I think about it, giving another member a debut through a pre-release after Nayeon would probably raise eyebrows as well so I'm thinking a group English track.
I have many thoughts on this. Curious to see how the next few months fold out.
I wonder if this means they also stick with Warner Japan who I'm sure have a lopsided contract with Twice.
Thought they'd be tempted to delay this release but I guess they don't really promote Japanese releases/in Japan
Seasonal songs will nearly always win in UL's over a long period of time
DTNA about to take over TT for Twice and I wouldn't be surprised if in the near future AIIYL takes over D4.
That's not what the retail album chart will show
i cannot convince u anymore sorry. You seem to be an expert in japan market lol.
You don't need me message me outside of the thread to try and make a point.
I addressed the SEA point. There's clear evidence that BP had substantial support from SEA at debut hence all the YT records. BP built on that as a group to get to where they are now. You couldn't show any piece of evidence to pinpoint Twice's popularity in Japan from debut because it wasn't there. You went from them getting big in Japan because they got big in South Korea as that's when Japan apparently figured out Twice had Japanese members to it being due to promotion.
Twice's Cheer Up records are due to the incidents that happened between LoA and Cheer Up and then the song also went viral. TT was viral throughout East Asia.
cool. u r here trying to convince me that twice blew up in japan only because of tt? I wish it was that easy. they were getting popular in korea and japan at the same time. i don't know why it it's so hard for u to accept it. It's 2022 and korea got tired of them but japan is still there. Atleast that should convince u that its a nationality thing.
The market famous for its longevity for idols in which multiple older idol groups still hold a large fanbase (without Japanese members) should convince me it's a nationality thing. That makes sense.
Yes Twice blew up in Japan because of TT, are you following this conversation at all?
Your point was Twice are bigger in Japan than BP due to their nationalities, yet you haven't provided any argument to back up the facts you were supposedly spewing. You've moved the goalpost multiple times but still come back to this.
Youtube probably has a few things it needs to do/provide before it can be integrated into Gaon you feel.
Billboard in the US and Japan have Youtube integrated and I feel like that was fairly recent (last few years?). Is there's just MV views?
