TW: discussion of mental health, assault, depression, and suicide

KARA was one of the most important groups of k-pop’s second generation, and though their name is not as well known now as, say, Girls Generation or SHINee, they’re also still going strong. They debuted in 2008 with four members: Sunghee, Nicole, Gyuri, and Seungyeon, but had a few lineup changes. The first in 2009 with Sunghee leaving, replaced by Jiyoung and Goo Hara, and the second in 2014, with Jiyoung and Nicole leaving, replaced by Youngji. They were on an extended hiatus until 2022, when they came back with all members except for Sunghee and Goo Hara, the latter of which took her own life in 2019.

Here are my credentials: While I only became a k-pop fan after KARA went on hiatus, I of course heard of them, and have heard a good handful of their title tracks. I know a bit about some of their members, having seen Youngji in the documentary K-pop Generation and having seen Nicole’s solo performances.

Intro: Goo Hara & Mental Health

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Hara was KARA’s main dancer, but she was also a soloist in her own right, an amateur oil painter, and the writer of a beauty book called “Nail Hara.” In 2019, Hara sued her former boyfriend, who had assaulted her. It was during this incredibly public trial that Hara took her own life, after years of both public and private abuse and a little over a month after her best friend, Sulli of F(x) also took her own life. Hara’s death began an outcry in South Korea over sexual assault and related crimes committed against women. But it wasn’t only after her death that Hara furthered the women’s rights movement.

During the 2019 Burning Sun sex scandal, which involved many high-profile k-pop stars, Hara went to the investigators despite the risk to herself, and helped them identify some of the key criminals, even getting one to confess. It was learning this story that truly touched me, and made me want to do this review. Because despite the unimaginable pain she was going through—despite taking her own life just a couple months later—Hara was determined that no other woman should have to go through what she did, and determined to find justice for them. That is an incredible level of bravery, and makes it even more heartbreaking that Hara passed so soon after, unable to see that her actions made a vital difference and helped save so many more women from being hurt.

So, coming up on the 5th anniversary of her death, I wanted to do something on my little corner of the internet to honor her and make sure she isn’t forgotten. And music is the only way I know how. The rest of this review will be fairly standard, but I will wrap up this through-line at the end and in a separate post. So, let’s get into it.

Album #1: Blooming

Break It was KARA’s debut, fourteen years ago, and boy does it feel like fourteen years ago. Between the backwards baseball caps to the R-&-B-based beat to the ever-present bangs, I could’ve sworn that I heard Britney Spears’ Hit Me Baby One More Time hook at least a couple times. What really caught my ear was how rich and well-developed the melodies were, which is vital in what’s such a simple song. It’s definitely subdued compared to their later work, while still being catchy enough to stick in your head by the end of its three and a half minute run. Overall, a strong start, though it doesn’t make me think “KARA”.

From the first album, Blooming, I enjoyed the percussive stomp of If U Wanna, the cathartic final chorus of Secret World, and the gentler sound of I’ll Be There. My hidden gem was Broken Promise, though, with its slow but addictive hook and great vocals. This is quite a dynamic, strong debut! I’m excited to see where they go next.

EP #1: KARA the 1st

Rock U is a complete 180 from their debut, and I’m not sure if that’s due to the sudden change in the member lineup or because their original concept wasn’t profitable, but it’s a bit disorientating either way. The song personifies aegyo in all its 2nd gen glory, covered in shades of hot pink. While there were parts that I enjoyed, like the call-and-response in the hook, the whole thing is way too cutesy for me. I know that a lot of people enjoy this style, but it’s always struck me as bizarre and uncomfortable. Something about it just feels fake, and even in groups that have great vocals like KARA, it’s hard not to come across as cloying.

From the EP, just called Kara 1st, I enjoyed the string-backed Baby Boy, which reminded me of early Gfriend, and the vocalized hook of Good Day.

EP #2: Pretty Girl

Pretty Girl is the first song to truly sound like KARA, taking a middle path between the smoother, more mature vibe of Break It and the insane level of cutesiness from Rock U. Don’t get me wrong, it’s still cutesy, but between the encouraging lyrics, the EDM-led beat, and the general sense of fun running through the whole thing, it won me over. I do have to say though, this song (and music video) is what people who don’t watch k-pop think that all k-pop is, and of course my roommate had to come in at the exact moment I was watching it…and immediately walk out again with her “not touching that with a ten foot pole” expression.
From the EP, also called Pretty Girl, I enjoyed the insistent, synthy hook of Honey, and the (for some reason) yodeling in the aptly named Yodel.

Album #2: Revolution

Wanna picks up around where Pretty Girl left off, at least at first. It keeps all the bubblegum trappings and fun girlishness of their first mini albums, but leans further into the EDM with a synthy beat and a hook that shouldn’t be so catchy with how simple it is. The song doesn’t leave its hook alone either, surrounding it with ad libs that help elevate it, especially in the final chorus. It’s subtle with its changes, but it’s fascinating watching the KARA I know take shape.

As good as Wanna is, there’s no question that it got overshadowed by Mister. Now considered a classic of 2nd generation k-pop, it wasn’t even intended to be a single before its chorus—and the accompanying hip-shaking dance—went viral on music programs. It’s easy to see why in retrospect; Mister’s got all the makings of a hit, from the dancefloor-ready beat to the great vocals to a simple yet utterly addictive hook. Basically, it takes all the elements that worked in their past singles and fuses them together into three minutes bound for the charts.

Next up, Revolution, is another full album, and there’s a lot to talk about. I enjoyed the electronic strings of Magic, the fun-loving energy of Take A Bow, and the poppiness of Aha, but my hidden gem was Let It Go. With its sleek dance floor beat and infectious confidence, it had me singing along in minutes, even though I’d never heard it before. If it was on a less fantastic album, I could easily see it being a single.

EP #3: Lupin

Lupin, in k-pop terms, is to KARA’s Mister as SNSD’s Run Devil Run is to Oh. Besides the tight black leather outfits and the dark eye makeup to reassure that they are in fact supposed to look evil yet sexy, it goes for a heavier EDM sound mixed with strings at a few choice moments to really propel itself forward, especially in its final chorus. While I do like the song, I have one minor gripe: the instrumental breaks, good as they are, tend to shut down the build ups that Lupin seems to be reaching towards, and denies the listener the catharsis that a song like this is designed to bring. Will I still be dancing to it? Of course.

From the EP, also called Lupin, I enjoyed the incessantly catchy hook of Tasty Love and the breakneck-speed and video-game sounds of Umbrella (my hidden gem).

EP #4: Jumping

Jumping announces its arrival with an explosion of brass, synths, and glitter, and doesn’t disappoint. While its first verse is a little more toned-down, once the chorus takes the wheel, the song refuses to stop, even when it slows down to catch its breath. Its structure is tightly woven, with several different layers in its chorus, and by the time the great bridge arrives with its crescendo, you’d be hard pressed not to be dancing along. The more I listen to it, the more it’s becoming one of my absolute favorites of theirs.

From the EP, Jumping, I enjoyed the light distortion in Love Is, but my hidden gem was easily Burn, with its effortlessly cool delivery and insistent dancefloor beat.

Next Time, we’ll be doing Part Two. Tschüss! (Part Three)