Month: October 2020

[International Song Review] Stray Kids, IZ*ONE, FT Island, N.Flying & Super Junior KRY

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A week ago, I wrote a review for five international songs by Korean artists. In that post, I revealed that had another five reviews coming your way. And as promised, here is the next edition of the International Song Review. TTo be honest, the last post is probably more fitting for the term ‘international’, as this post focuses more the Japanese music industry as that is where KPOP has an obvious stronghold and market power. And this is something expected as many more artists have made their debut in the Japanese music industry compared to the Chinese or Western music industry. Moving away from that little ‘analysis’, this post contains brief reviews for five Japanese tracks from Stray Kids, IZ*ONE, FT Island, N.Flying (though this is more of a cover) and Super Junior KRY.

All In – Stray Kids

2020 has been one busy year for Stray Kids. Their 2020 resume consist of a mixtape release, one Japanese single, a Korean OST and back-to-back Korean comebacks. And if you deemed any of the releases for the group as ‘the best’ according to your personal taste, then you probably have not heard All In yet. It builds itself around an epic brass piece that reminds me of primetime sporting events and prestigious award shows. In this song, it makes the atmosphere feel adventurous, theatrical and playful at the same time. Per Stray Kids’ forte, the song is very rap centric, adding to the powerful nature of the song. There are small vocal moments throughout the song, but it is the rappers (and rap sequences) that really steal my attention in this song. Adding more to that playful vibe I mentioned earlier, All In features a hilarious ‘WHAT?‘ from Jisung just before each chorus, which are preceded with the female spoken line ‘There is no search results for STOP‘, which I thought makes perfect sense with the continuous energy that comes from the song.

All In‘s music video takes a page out of their God’s Menu and Back Door music videos by incorporating a similar concept. I wouldn’t be surprised if the music videos are linked. There are background figures standing around the members doing nothing, whilst the same suited older men appear at the table. If you watch the music video carefully, you will see the members interact with the background figures, which I think is a first for the members and this concept. The video also matches the epic vibes of the song with that very bold burning billboard. For the choreography, the dance is equally as powerful, energy driven and epic as the song. For my favourite bit, it has to be the chorus routine, which I am digging very much.

Overall Rating – 10/10

Beware – IZ*ONE

IZ*ONE’s schedule in both Korea and Japan were put on hold due to the controversy that embroiled the Produce series and left an equivalent group disbanded well ahead of their contract ending. But IZ*ONE has managed to bounce back, with all members returning for two Korean comebacks so far this year. And now, IZ*ONE makes their long awaited comeback in Japan with Beware. Aside from their debut single in Japan, all of their Japanese singles have been terrible (harsh, but the honest truth) or forgettable (which is mildly better). Beware doesn’t have the ability to overtake their I Want To Say I Love You debut single. And if I was being honest, I foresee the song falling into the ‘forgotten’ category over time. Beware is delivered to us in a high pitch cutesy manner. Personally, I wished they grounded their vocals in some form and hadn’t gone head first into the cutesy sound. Their melody did help make the song appealing to a degree. It was flat for the most part, though it had its moments and had a nice ring to it. The strongest aspect has to be the song’s electronic synth-based instrumental. It did overpower some parts and did feel somewhat typical, but overall it brought great energy to the song.

With a cutesy sound comes a colourful music video. It is what makes the most sense. For Beware, the colourful video is saturated with pink and some yellow. I like the concept, where IZ*ONE is in in their own world in that suitcase. It isn’t new, but IZ*ONE’s take on it is pretty refreshing. For the performance, I like the energy that comes from the dance. It is fitting for the song and their youthful charms. I really like Chaewon and Minju’s little part during the bridge.

Overall Rating – 6.7/10

Sunrise Yellow – FT Island

It has been a while since we have heard from FT Island, who have reached that point of their careers where they are currently enlisting in the military. But that doesn’t stop them from releasing a single. FT Island current lineup only consist of 3 members (Hongki, Jaejin and Minhwan), with Jonghoon leaving the group/retiring from the industry when he was implicated in a scandal, while Seunghyun left the group to continue his acting career. Sunrise Yellow is the most recent FT Island and it features Seunghyun as his final FT Island release. It is a feel good song dedicated to their fans, with the Sunrise Yellow title referring to their Sunshine Yellow fanclub colour. When it comes to my reviews, I tend to say I love the energy that comes from a particular song. And it is true. But it feels completely different when real instruments are at play and it releases that energetic charge. Sunrise Yellow, hence, blows me away when we enter the chorus territory, with the fast paced energy and unrelenting momentum coming at you. Hongki’s vocals are quite nice, but I love the unique texture that Jaejin gives the verses in this parts. There is a punch to it, which I enjoyed. I wished Seunghyun and Minhwan had a part in this song, which would have increased the impact factor for fans and made Sunrise Yellow extra special.

The song is released as part of their 10 year anniversary for Japanese promotions and there is no other way to make the video special by including their fans in it. The music video simply consists of a mixture of close ups that I assume they shot prior to their concert (so that they don’t ruin the live performance with a cameraperson walking in front of them to film the closeups) and live footage of them performing on stage in front of their fans. Seunghyun is also featured alongside the other three members, making the whole video a little more special for fans. Overall, a fitting video for the group and their fans.

Overall Rating – 9/10

Amnesia – N.Flying

Released back in July of this year. N.Flying made their Japanese comeback with Amnesia. It is also the first Japanese comeback to feature Seo Dongsung, who was officially inducted as a member of the group ahead of their Oh Really Korean comeback. I loved that the group returned to something within the rock genre. It is something that I am yearning for in the KPOP industry and I am hoping that N.Flying returns in the future with something similar to this song in Korea, as Amnesia tells me that they can handle the intensity of the rock genre. In the meanwhile, Amnesia fulfils my rock craving. Once again, Amnesia has really epic energy coming from it. The appeal of Amnesia is slightly different to FT Island’s release (reviewed above) because the energy take shape as more of a head-banging form than ‘feel good’. It was intense and it definitely ‘hits hard’ as some might say nowadays (look at me using young people speak). Vocally, both Seunghyub and Hwesung are powerful vocalists and Amnesia proves that they can handle the genre flawlessly. The slowdown in the bridge comes in at the right time, providing a moment of relief if you think the song is overwhelming. I didn’t, but I still found it fitting for the song.

The music video is made of black and white closeups of the members being emotional. But the good stuff is when the group are performing their instruments in front of that very large screen/projection. The visuals we see are amazing, due to their large size and how they come into play at the right moments. The explosions of coloured dusts and flowers were all timed really well to match the explosion of energy we get in the song. It was something simple, yet they magnified it in a way that made the video so much more monumental.

Overall Rating – 9.6/10

Traveler – Super Junior KRY

It is time this review post goes on a slightly different path. So far, we have two dance tracks and two band tracks. It is time to step into the ballad domain, with Super Junior’s experts – Super Junior KRY. This follows their Korean comeback earlier this year and is their first Japanese release in over five years. However, don’t mistaken the term ballad in this review for something emotional or a track to ball your eyes out. Traveler is a more of a pop-ballad with an upbeat instrumental background. I was caught off guard with this direction, as I had expected something of that emotional route from the trio. I am not complaining, as it does mean that I am not ending this review post on a sad note! I really liked that acoustic guitar solo during the bridge of the song, though it could have easily been missed. It was a subtle change and wasn’t something in the foreground. Aside from the change in sound, Traveler captivates the audience with the trio’s vocals. Their singing is super powerful over the pop instrumentation and their harmonies during the chorus really make the song so much better. Their ad-libs towards the end was extra icing on top. Definitely a vocally charged song in its own right.

Traveler‘s music video was quite simple. The members sat in a chair on a platform singing their lines into a microphone. The camera panned around them. In the surrounding vicinity, we saw coloured balls, three floating light rings and a few pillars to add some colour, lighting and something to fill up the space around them, otherwise the video would have been too plain. Smart move there.

Overall Rating – 10/10

[Review] Siren – P1Harmony

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It seems like FNC Entertainment, once the home of famous KPOP bands, have moved onto producing KPOP groups. P1Harmony is the latest addition to the company’s lineup, which includes AOA, SF9, Cherry Bullet (the KPOP groups), N.Flying, CN Blue and FT Island (the KPOP bands). The new group is a six-member male group consisting of Keeho, Theo, Jiung, Intak, Soul, and Jongseob. Based on their profile (I get all the details of various KPOP groups from KProfiles), it seems like P1Harmony is one of the few new groups nowadays that are not connected to the Produce series or any other trainee survival show in some way. Just a little observation I made while looking them up for this review. The group also made their debut on Wednesday with Siren and the mini-album, Disharmony: Stand Out.

P1Harmony’s Siren is a hip-hop centric dance track, something quite different from their labelmates’ sounds. The verses could have used some oomph in the instrumental department. The background was bland for my taste. One good thing about the instrumentation during the verses was how it contrasted with the chorus, making the latter standout by miles. The chorus instrumental is very dynamic and robust, with the brass-like synths comes together to form an edgy and energetic punch. For those who may know, hip-hop centric sounds are not really my jam. But there is something very alluring about Siren that has me excited to see what is next for the group. It might be due to the fact that Siren really shows off some edgy flair and showcases a lot of potential. As it is a hip-hop sound, the song is mainly focused on the rapping. And boy, the members’ rap all added a lot of energy and intensity into the song, especially during the verses where I made an earlier comment about it being bland. The standout moment has to be the member that pulled that insanely fast paced delivery just before the final chorus. That really shocked me, but in a good way. Between the rapping, there was really good vocal moments. They don’t necessarily steal the limelight, but do help bring some balance to the song. The anthem-like delivery when it came to the chorus made everything in that section catchy and uplifted the energy to even more dynamic levels. Overall, another strong debut and one that puts P1Harmony on my radar!

The group and the producers of this music video were quite ballsy having so many people in one particular place, given the current circumstances worldwide. I was a bit nervous watching the music video because of this. Hopefully all people involved are okay. The graphics and post-production of this music video is definitely on another level. The apocalyptic scenes that kicked off the video was so intriguing. I wanted more of that in the actual music video, but it seems like that would be far too complicated to infuse into the rest of the video. But hey, those opening scenes made me stay and brought my attention to the members and song.

This group definitely has some performance skills up their sleeves. There was twist and turns, footwork and syncness to really help the group standout. The energy that come off from their choreography is something many other groups would envy. Even their facial expressions seemed relaxed and didn’t give off any newly debut feels. Definitely a strong impression was left on me by this group.

Song – 9/10
Music Video – 9/10
Performance – 10/10
Overall Rating – 9.2/10

[Review] Nostalgia – DRIPPIN

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It is time to have a deep dive into those Wednesday debuts. First up is the latest group to join the ranks of Woolim Entertainment’s roster – DRIPPIN. Personally, I don’t like their name. But there is nothing I can do about it. And who knows, it may grow on me in the future. The seven-member male group is made up of Hyeop, Yunseong, Changuk, Dongyun, Minseo, Junho, and Alex. Six of the members participated in Produce X 101. Five the members (aside from Junho, who made into the final lineup of X1, and Alex, the hidden member of the group) promoted under the name W Project 4 post-Produce X 101 last year. On Wednesday, the group made their debut with Nostalgia and the mini-album, BOYAGER.

What Nostalgia nails at first glance is its explosive and powerful nature. And I feel that this is always an appropriate way of making an entrance into the KPOP scene, given the massive influx of KPOP acts nowadays. You want to leave an impression and Nostalgia does just that for DRIPPIN. The song opens up to a pretty decent first verse. It felt very clean and the pre-chorus provided a great buildup to the first ‘explosion’, that is otherwise known as the chorus. My pick for the highlight of the song has to be the way they style the word ‘melody’ at the very end of the pre-chorus sequence by cutting it into syllables and taking away the instrumental for a brief moment. As already mentioned, the chorus is momentous with the way it is styled. The synths gave the song an electrifying effect and some zing to add appeal to the song. There is a subtle groove to it mixed in between the synths and intensity. And I also liked how the energy and intensity never lets up, even as the song moves into the catchy post-chorus ‘La La La… Nostalgia‘ hook. The second verse seems to be taken out of the book of all KPOP release and it doesn’t offer anything new. Glad it is followed up by another round of that explosive chorus. The rest of the song isn’t as cliche. I really enjoyed the more concentrated buildup to the dance break in the bridge and the added grooviness that followed in the dance/instrumental break, before returning to another and final chorus round. What I have yet to mentioned so far the members. Their vocal line is really good and their raps were pretty decent. I did have a craving for move ad-libs towards the end and even more rapping (away from the cliche second verse) to really bump up the song. But regardless, Nostalgia was a great first step for DRIPPIN.

The song is about wanting to return to the past with their lover. My guess when it comes to the storyline of the video is that the members want to recreate the scenery with the tree, as it has a sense of nostalgia for the members. One of the members plant the bare tree branch into the sand in the abandoned plane crash site, in hopes that it will grow to become that tree (which I assume they did). I may have gotten the story the wrong way around, but that is how I made sense of the music video with the lyrics. I really like the pale yellow that seems to be featured throughout the video in one way or another. It was a really nice colour to allow the members to pop, regardless of the white or black outfits that they wore throughout the video. It also felt pleasant, offsetting any harshness from the music/choreography that may have come about.

It seems like to be able to debut under Woolim Entertainment, your dance skills must be really good as they choreography some of the most intense routines ever that the idol must be able to perform in sync with everyone else. That is a particularly big ask and DRIPPIN definitely nailed it. The moves aren’t anything new, but the intensity and power that is placed behind each move is quite impressive. The ending of the bridge with the floating member seems quite cool, as well.

Song – 9/10
Music Video – 9/10
Performance – 9/10
Overall Rating – 9/10

[Review] Jasmin – JBJ95

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The other day, there was a bit of a debut frenzy with new groups making their grand entrance into the KPOP scene. But we also saw the comeback of JBJ95 the other day. It has been a while since we last heard from the pair (Kenta Takada and Kim Sang-gyun), with Only One being their last release and that dates back to December of last year. Their comeback consist of the title track and mini-album of the same name, Jasmin.

It is clear that retro trend is in full effect in KPOP. Majority of the best tracks over the past few weeks (and possibly months) have had some sort of retro effect incorporated into it. I am not complaining, as some of the best KPOP songs ever have stemmed from retro and funky sounds. Jasmin is described to be a disco-based dance track and that is practically what we get. While I would have preferred something with a little more disco upfront, Jasmin manages to stay refined and feel classy. The guitars brings the initial funky influence to the song, which is then followed up with a great foot-tapping induced beat that really adds some depth to the song. I particularly liked how they accented the end of each line in the pre-chorus. The chorus feels like an extension of how the song starts. This isn’t necessarily a bad thing, as the chorus is quite pleasant. I really like the falsetto tone that the pair opted for during the chorus. It keeps the song light and it seems to had to the upbeat nature of the song. I feel like this is where the song could have been more upfront with the disco influences that I mentioned earlier, but what we got from the pair and the producers was definitely quite satisfying to listen to. They continue Jasmin with a catchy post-chorus harmonies, forming into a hook that is probably my pick for the best part of the song. The rapping that slides in effortlessly into the second verse fits in perfectly. For the bridge, they practically took away all of the music, highlighting their vocals before bringing the instrumentation back into play to wrap up the song. It all works out really well and the song literally wraps up with me feeling good. This is a great effect to end with. And especially with a song that is so easy going and impressive like this, Jasmin is a success.

The video was okay. I really liked the bar setting of the video and felt that was quite fitting for the song’s lyrics, which essentially compared someone to be as seductive as the scent of jasmine. Definitely classy setting for a classy idea behind the lyrics. There is a bit of a plotline that felt cheesy to me and I wished they did something better with it. I am talking about the very brief scene where the pair go to save the lady they are interested in (who is kidnapped and bound by ropes). Two things about this story line. One – it never resolved and we actually didn’t see her again after it was revealed she was kidnapped. And two – when they go for the big jump from the building right after shooting all those balloons, they landed on a cloud. That was where the cheese mostly came from and practically distracted me from the video for the remainder of it that followed.

I liked the slight funkiness that the music video brought to the performance, especially in the pre-chorus and post-chorus sections of the song. I also like their duo moments with the female dance just before the second chorus. Overall, a nice performance to compliment the song.

Song – 8.5/10
Music Video – 7/10
Performance – 8/10
Overall Rating – 8/10

[Review] Jungle – CIX

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Reviews for this week are coming a day late, as you can already tell. The first song that I am reviewing today is CIX’s Jungle, which is featured on the group’s third mini-album, Hello Chapter 3: Hello, Strange Time. Originally, this comeback was scheduled for the end of June this year. However, Bae Jin Young became injured in the lead up to the comeback and their company decided to postpone the comeback til yesterday. Regardless of when the group was due to make this Jungle comeback, it was still their first comeback of 2020 and their first comeback since the release of Numb.

Jungle continues the groups intense style in a very unexpected and unconventional manner. The song starts off with a mixture of piano and organs for the background. It is chilling, haunting and just downright atmospheric. It also doubles as a unique start to a song and it impresses. The instrumental proceeds to add in a simple beat to the first chorus. It adds a calculated amount of definition to the song to keep it interesting. Not too much that it throws the rest of the song off balance or changes the song’s momentum. But not too little that it practically added nothing to the song. The chorus is then followed up with a brief pop instrumentation (that was also well calculated) that adds even more intensity to the song before leading into the second verse. The second verse is more so a continuation of the developments thus far and the momentum doesn’t really change until we get to the second chorus. It does manage to incorporate a pre-chorus, which brings back some of that organ from the first verse. For the second chorus, they bolster the first bit of the chorus by adding a more dynamic and bouncier beat to the mix. Yet it still keeps everything in frame and doesn’t change up the song too much. The bridge features the rap, which is played over top that dynamic beat that featured briefly at the start of the second chorus. I liked that they didn’t change the rapping ‘fit the song’. Instead, they made the instrumental fit the rapping, allowing the rapping to add a kick ahead of the final moments of the song. When it comes to the final chorus, I felt they missed the opportunity to amplify the chorus one more time to really bring Jungle to a dynamic and fulfilling close. One thing I have touched on yet are the vocals. I felt that the vocals as a whole was stealthy and artful, fitting perfectly with the subtle intensity that oozes from Jungle.

This is another elaborate video that I just can’t wrap my head around. There seems to be a lot of symbolism throughout the video. The entire video had these creepy yet captivating scenes and images that draws you into the music video. Below this section of the review is quite a lengthy explanation of the concept, connecting both the music video and teasers released prior to the actual comeback to Dante’s Inferno. It was quite interesting and helped me put a lot of context to the video. It also provides a few connections to their previous music videos. Aside from the plot, big ticks for the choreography and post-production scenes as well.

I am not too sure if the music video didn’t do a good job of showcasing the performance, but the moves looked overly powerful for the first chorus. It was such a distinct and noticeable mismatch. I guess we will find out tomorrow once they perform their comeback stage. As the performance progressed, the moves fitted in with the music more neatly and felt appropriate. It is just that first part I wasn’t keen on. The setup for the rap sequence also looks really cool.

Song – 8.5/10
Music Video – 8.5/10
Performance – 7/10
Overall Rating – 8.2/10

[Review] Blue Hour – TXT

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Also making their comeback on Monday is TXT, with Blue Hour. This is featured on the group’s third mini-album, minisode1: Blue Hour. This comeback follows the completion of their The Dream Chapter trilogy, which ended with their third mini-album (The Dream Chapter: Eternity) and the title track, Can’t You See Me. And TXT has been proven to be getting popular as the days go by, with reports suggesting that the group has managed to crush personal album sales records. That is a little statistic that I will share once I get around to an album review. In the meanwhile, here is the review for the Blue Hour comeback.

TXT is another group to follow the ongoing retro trends of KPOP. Or possibly, they are taking a page out of their labelmate’s recent release, BTS’ Dynamite. But either way, it is a really great move for TXT. Given their young age, they really should capitalize their youthful charms now before they inevitably move to more mature releases to fit their age. A mature concept now and then is okay (such as their previous comeback), but there is just a lot of unexplored territory if they don’t embrace that youthful side earlier on. The way Blue Hour started with the female voice going ‘boom boom…‘ (I think this was the lyrics that female voice was singing) was very intriguing. We then move into a more upbeat pop territory, with impressive vocals from Soobin and Beomgyu. The chorus confirms the Blue Hour‘s final form of disco pop. And paired with melodies like the ‘Cuz of imagination‘ (that starts off the chorus) just makes everything so much more appealing. The ‘Can’t you feel the rush‘ line was super catchy and this make the post-chorus hook my favourite part of the song, without a doubt. When it came to the second verse, I wasn’t impressed with Yeonjun’s rapping line. It just felt incoherent with the rest of the song. I did like Soonbin’s follow-up line that goes into falsetto mode. Taehyun’s husky voice that really makes ‘The sun is down...’ so much more impactful and Heuning Kai’s vocal rap line was a better form of rapping in the song. I did lowkey expect a rap sequence with a little more heft somewhere in the song and felt a little disappointed that didn’t actually occur once the song wrapped up. But overall, Blue Hour is fun, energetic and very enjoyable.

Once again, TXT’s music video features a story. And it seems to be an elaborate story that might connect to future music videos, based on the final scene alone where Beomgyu walks away from the tree and steps on the book that fell to the ground earlier. Likewise, where did the rest of the members go, as they were all sitting in the tree at the start of the video? And what the significance behind turning off the merry-go-round? Many questions to ponder and most likely answered in future videos. Unfortunately, I don’t have time to theorise what the video means, so I am making a bunch of assumptions for my ‘first take’ of the video. I liked the fun and youthful side of the music video (for the reasons I mentioned arlier on in the review.). I also liked the ‘imagination’ setting that I assumed the members had come up for the video. And those squirrels looked so cute (this last point is not an assumption, but a fact!).

The choreography looks light and fitting for the song. But it still looks complicated. I liked how there was a dance break version, which I assume included a few extra lines (as I don’t recall hearing some of the bridge in the Spotify version, which is what I based my song review on, though I do recall them appearing in the music video). The dance break version I reckon should be the default version as it added a layer of lighthearted coolness to the performance that I thought was unique.

Song – 8.5/10
Music Video – 8.5/10
Performance – 9/10
Overall Rating – 8.6/10

[Review] I Can’t Stop Me – TWICE

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One of the groups kickstarting the final week of October is TWICE, with their highly anticipating comeback, I Can’t Stop Me (the title track) and Eyes Wide Open (the title of their second studio album). It follows on from their More & More comeback from earlier in the year. While this is great news for ONCEs, unfortunately promotions for their new song and album will not feature Jeongyeon (my favourite member of the group) for health reasons. Hopefully we will see her soon! But in the meanwhile, here is my review for I Can’t Stop Me.

I might be in the minority when I say this about I Can’t Stop Me, but I don’t see anything special with this track. For me, TWICE is renowned for their really catchy hooks in their song and these hooks usually employ a vibrant kick in the instrumentation and/or some really addictive repetition. I Can’t Stop Me doesn’t have any of that and hence it just feels flat. This might be a perspective of style, given that the producers opted for a mature take on the retro trend that has re-emerged in KPOP this year. I really liked this aspect of the song, given that it was a logical choice for TWICE and that the song did come off somewhat refreshing. Not only does retro and TWICE click together in your mind without any issues, but I Can’t Stop Me intersects with their continuation of mature sounding songs. But the KPOP industry has very creative minds throughout (as evident by the quality of music that we listen to everyday and I review) and I am sure someone could have come up with a catchier hook that allows TWICE to maintain their well-known techniques, but also embrace their new sound. What we did get was decent and had potential but I wished they somehow amplified the retro instrumentation a bit more to make the song a tad stronger. And I feel that the hooks may have benefited from this. Vocal wise, it seems like they didn’t push themselves hard enough and it felt a little dull for my taste. On the flip side, they might have pushed too hard when it came to the ad-libs, as they felt strained. Likewise, the rapping had the same issue. Together, they might have done this intentionally to fit the style of the song, so this might go back to stronger instrumentation to amplify everything else in I Can’t Stop Me.

I think JYP Entertainment outdid themselves with the green screen this time around. I mentioned in the music video review for More & More that JYP Entertainment made magnificent music video with the use of sets and green screens. This time around, I was wowed by the blooming flower at the start of the video, revealing the members within the blooming flower. The galaxy background for that part was captivating. The members closeups all looked stunning and I really enjoyed that hexagonal pattern for the second verse. I felt like the music video featured two sets that felt similar to other music videos – namely the train station platform from BLACKPINK’s As If Its Your Last and the mountains from Red Velvet’s Bad Boy. I am not saying they are copied, but they felt familiar. The ending was also pretty interesting with the cliffhanger of the train at the edge of the cliff.

The choreography was excellent. I really liked the energy they put into moves, particularly when it came to the chorus. I also liked their instrumental break that follows the first and final choruses. I also liked that they carried over the flower formation from the start of the video.

Song – 6/10
Music Video – 9/10
Performance – 8/10
Overall Rating – 7.3/10

[Review] Umbrella – H&D

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This particular comeback occurred a month ago on the 23rd of September, so once again apologies for the month-delayed review. H&D (Hangyul & Dohyun) returned on that mentioned date for the final time as a duo with Umbrella, the title of both the lead single and their special mini-album. Don’t be alarm as this won’t be the final time we will be seeing the pair, though. The two have been confirmed to be making their debut once again as part of BAE173, Pocketdol Studio’s first male group. Both members have already appeared in individual teasers for this upcoming group, who is set to debut sometime in the near future.

Umbrella is very different to SOUL, which was the pair’s debut track. For those who may not remember, SOUL was an edgy, hard-hitting and dark-sounding dance track. Umbrella, on the other hand, is lighter in all senses. It is a R&B jazzy type of song, fitting for a coffee shop on a rainy day or some retail music in a high-end store. While those may be the more generally accepted locations to have Umbrella playing, I personally have been playing it whilst working or doing some tedious tasks that makes me sensitive to loud upbeat music. So I guess I am showing how versatile this lighter sound is. But the song is easy on the ears, which makes it more appreciable. The vocal work in this song was quite nice, with both members bringing a very palatable touch. Even Dohyun’s slowed down rapping was tweaked fittingly for the more jazzy vibes of the song. Their harmonies really add some definition. All is good. The issue with Umbrella is that it isn’t striking enough to carry on the momentum that SOUL had, nor is it striking enough to tease or raise expectations for their upcoming re-debut. It is a bit twisted to think this way, given that this was their ‘farewell’ of one chapter of their careers. But this presented a great opportunity to do both.

The music video for Umbrella is quite simple. And for many of my readers, you might know that I liked to think that simplicity sometimes speaks louder than complexity. I feel like this is the case where the simplicity was well used. A stage where the pair stand on and sing into microphones. Surrounded by musicians playing the instruments that make up the song’s instrumental. Perfectly coloured backgrounds, fitting clouds floating above them and light strobes to mimic rain. Even the closeups behind the wet glass panel were on point. Definitely a perfectly executed music video.

Song – 8/10
Music Video – 10/10
Overall Rating – 8.8/10

[Album Review] -77.82x-78.29 (2nd Mini Album) – EVERGLOW

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Today’s album review is EVERGLOW’s -77.82x-78.29. Probably the most intensive name to remember and say aloud if someone asks you for the mini-album’s title. I did a brief Google search and I couldn’t find out what this title actually means. And I can’t remember if the group has done an interview with a media outlet to explain the album. So if anyone knows the meaning behind the title, then let me/the rest of us know! The album is a really strong release from the group, outdoing Reminiscence (their first mini-album). At the forefront of -77.82X-78.29 is LA DI DA, a strong indication of the quality of this mini-album. Don’t believe me? Check out the other tracks on the mini-album below!

-77.82x-78.29 Album Cover

1. LA DI DA (Title Track) – Click here to read the full review for LA DI DA. (10/10)

2. UNTOUCHABLE – Continuing the groovy vibes from the title track is UNTOUCHABLE. The synth/disco combination that forms the instrumental is the first thing that really grabs at you. And it leaves a very strong impression on you, as while LA DI DA was very upfront with its retro touch, UNTOUCHABLE’s retro influence took more of a backseat approach. This ‘backseat approach’ pairs extremely well with the group’s light vocals. Like many successful retro tracks out there, the song features a number of catchy hooks and melodies that really strengthens the appeal of the song. One could underestimate the song’s appeal for its lighter instrumentation (in comparison to the heftier LA DI DA), but the hooks and melodies definitely add an extra layer that is hard to argue against. (10/10)

3. GxxD BOY – When I listen to GxxD Boy, I can’t help but think about how successful the song could have been if it was released in the Western music industry by some of the top names at the moment. And if a song has that type of impression, you can definitely tell it is going to be a good one. I pretty much enjoyed all aspects of the song. From the whispering introduction to the rapping verses, to the vocals in the pre-chorus, to the rap-whispering delivery of the chorus, the delivery of the song was spot on! The instrumental feels quite indulgent, oozing confidence and sexy vibes whilst successfully relaying edgy vibes to the song. It is dynamic and very exciting. (10/10)

4. NO GOOD REASON – I really liked how refreshing and relaxing NO GOOD REASON sounded on this album. It is another song that could easily be successful in the Western music industry. I do feel that the song is their blandest on this album, but it is still a nice listen. It is a vocally centric song, though I did feel that it was missing a rap sequence. That could have provided it with that extra oomph to potentially be another 10/10 song. But as I said before, it is still a nice listen. It is also well placed at the very end of the album, relieving us from the three intense songs (in their own right) that preceded it. (9/10)

Overall Album Rating – 9.8/10

-77.82x-78.29 Teaser Image

[Weekly Chart] 4th Week of October 2020

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It is going to be a quick run through the Weekly KPOP Charts for this past week as I have a few reviews to get through, along with preparing stuff for the week ahead! So without anymore dilly dallying, here is the Weekly KPOP Chart for the 4th Week of October 2020.

First up to be discussed are the big jumps of the week. For those who are new to this segment, I categorise big jumps as rises on the charts that exceed 30 or more. Only two songs this week had a ‘big jump’. For this week, Weeekly’s Zig Zag experienced the highest jump of 41 positions. This was followed by Mamamoo’s Wanna Be Myself, who jumped 32 position this week.

And like every other Weekly Chart post, it is time to look at the Top 5. If we were to look at the fifth to second position, all the songs are new releases from this week. In the fifth position, we have LOONA’s Why Not?. Edged ahead slightly to sit in the fourth position is B1A4’s Like A Movie. Mamamoo’s pre-release single, Dingga, debuts in the third position, while SEVENTEEN’s HOME;RUN makes its entrance in the second position. The only song from the previous weeks to be in the Top 5 is this week’s number one song. That is Pentagon’s Daisy, which remained steady from last week. For more of the charts, scroll down below.

  18th Oct – 24th Oct 2020
Title Artist Status
1 Daisy Pentagon (=)
2 HOME:RUN SEVENTEEN (new)
3 Dingga MAMAMOO (new)
4 Like A Movie B1A4 (new)
5 Why Not? LOONA (new)
6 WANNA BE MYSELF Mamamoo (▲ 32)
7 Back Door Stray Kids (▼ 2)
8 Pump It Up Golden Child (▼ 4)
9 Zig Zag Weeekly (▲ 41)
10 From Home NCT U (new)
11 Light UP10TION (▲ 7)
12 I LOVE YOU TREASURE (=)
13 Alien Suhyun (AKMU) (▲ 19)
14 Twilight WEi (▼ 4)
15 Goblin (Favorite Boy) A.C.E (▲ 16)
16 Obliviate Lovelyz (▲ 18)
17 La Di Da EVERGLOW (▼ 9)
18 Feel Good (SECRET CODE) fromis_9 (▼ 7)
19 One (Monster & Infinity) SuperM (=)
20 THANXX ATEEZ (▲ 23)
21 Shine Together SF9 (▼ 7)
22 Cool Weki Meki (▼ 20)
23 Make A Wish (Birthday Song) NCT U (▼ 17)
24 Think of Dawn GHOST9 (▲ 26)
25 Bad Idea MOONBIN & SANHA (ASTRO) (▲ 4)
26 RIDE KNK (=)
27 Beautiful Scar Lee Eun Sang ft. Park Woo Jin (AB6IX) (▲ 15)
28 Bon Voyage YooA (Oh My Girl) (▼ 13)
29 Criminal Taemin (SHINee) (▼ 1)
30 Open Mind Wonho (▲ 3)

Songs leaving the charts this week are:

  • Flame – CRAVITY
  • No More – Kim Yo Han
  • GUNSHOT – KARD
  • Ice Cream – BLACKPINK ft. Selena Gomez
  • A Song Of Fire and Ice – OnlyOneOf
  • Shadow – M.O.N.T
  • THANXX – ATEEZ
  • Bad Guy – JENYER

Thanks once again and I will see you in the upcoming reviews.

[Review] Dingga – Mamamoo

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On Thursday, I wrapped up the reviews for all of the Monday releases. And now, I can move onto reviews for the releases during the other days of the week. Some of these other releases during this week have been moved onto my ‘Coming Soon’ list of reviews that I updated this morning, which you can view by clicking on the top right hand corner of this page. Some of the releases no on that list are the ones I want to cover over this weekend. The first is Mamamoo’s pre-release single, Dingga, which will be featured on their upcoming mini-album, Travel, due for release in early November.

For a pre-release single, Dingga is super catchy and fun. It almost feels like a title track in its own right. Note that I say ‘almost’, as I feel that Dingga seemed like it was holding back. A title track, to me, would have gone ‘all out’. It is an odd concept to think about but pre-releases tend to have their own vibe, such that when you listen to it, you know it is a pre-release. And while Dingga does have a title track profile to it, the song does have a hint of that pre-release vibe. That or I have been listening to KPOP for too many years. Dingga features a funky and vibrant pop instrumental that conforms to the current trends of retro appeal. Pair that with Mamamoo’s well-known vocals and Dingga is pretty much like every other fun and quirky Mamamoo release. The melodies were definitely on another level in this song, as it effortlessly rolled off their tongues. The most impressive member in this track happens to be Moonbyul and her rapping. The song enables her to delivery some her lines in a refined manner. The best part, aside from the catchy chorus, is the dance break instrumental sequence we get. That was a pretty cool moment that I did not see coming and ended up enjoying a lot. If Dingga was a hint of what is to come, then whatever title track that Travel and Mamamoo presents to us come November 3rd is going to another massive hit for the group!

Matching with the funky and catchy vibes of the song, the music video is quite colourful, fun and cheerful. Set in a roller derby, diners, and arcades, the members and their dancers have an absolute ball hanging out with one another. There are some hints of the current pandemic, including the wearing of masks and the virtual calling at the start of the video (though this could easily have been passed off as an invitation to hang out). And while this is a great light-hearted video to watch, it is the ending that gets me intrigued, with Hwasa all decked out in black leather approaching someone who is dressed in red. She is handed a pickaxe that she proceeds to study. Her stare she gives at the end sends goosebumps down my arm and the pan flute we get as a possible music hint gives off a mysterious vibe. Definitely looking forward to this upcoming release!

Pre-release singles don’t tend to get a choreography version of the music video. But it seems like Mamamoo is indulging us with this comeback. All the moves they do when they sing the Dingga title are all the catchiest dance moves. Moonbyul and Wheein’s pop and locking dance break was also awesome! I wished Hwasa and Solar had a moment for themselves as well. That would have been another ‘cherry on top’.

Song – 9/10
Music Video – 9/10
Performance – 9/10
Overall Rating – 9/10

[International Song Review] SEVENTEEN, SNUPER, Taeyeon, NU’EST, Jackson

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For those who may not know or remember, Saturdays used to be when I dedicated a review to a Japanese release made by a Korean artist. This year, I made the move to expand to more music releases that aren’t Japanese based and now the segment includes music releases by Korean artists in other languages such as Chinese and English. Since we find ourselves on another Saturday, and now that found enough releases to post two International Song Review posts (this one and another one next week!), it is time to revisit the segment. The releases in this post are more of the recent releases including SEVENTEEN, SNUPER, Taeyeon, NU’EST and Jackson Wang.

24H – SEVENTEEN

Two days after I published my last ISR (i.e. the 24th August 2020), SEVENTEEN dropped their latest original Japanese single, 24H. To me, 24H impresses with its refined take on their Korean releases, opting for maturity in the way they deliver 24H, without necessarily using an ‘edgy’ and dark concept to relay this maturity. The start of the song, which features S.Coups’ vocals, opens as if it was a Western pop song. I particularly like this as its allows the song to kickstart with something different than what we are used to. As the song progresses with acoustic guitars at the forefront of the background, the song gets heavier with its beat. The chorus feels rugged, with the guitar used here moving the song forward with a chugging momentum. The bridge amps up the chorus with what seems to be the song version of going ‘all out’, before returning the song to how it started before launching us into the chorus once again. Over its structure, the more vocal-centric side of the group appears, allowing that refinement to be taken to the next level. 24H‘s melodies and hooks are quite strong as well, giving myself an excuse to return to the song.

24H‘s music video continues the aesthetics from their Fallin’ Flower music video, albeit more darker. However, it doesn’t look like the members opted for a dark concept, just more serious. They do end up showing more of a masculine energy through this video, something I would love to see them show off in their Korean releases. Not exactly sure what it going on in the video plotwise, especially with S.Coups’ scene at the end with that metallic floating wire attacking him. I haven’t seen a theory for this video just yet, though I can tell it is going to be interesting. The choreography also carries some of the aesthetics, especially the sequence in which they form circle around Hoshi and The8. Overall, a strong Japanese comeback for SEVENTEEN.

Overall Rating – 8.8/10

Oxygen – SNUPER

It has been a while since we have heard from SNUPER. Domestically, the group has not released anything since 2018. On the Japanese front, the group was more active in Japan with releases in 2019 and now Oxygen in 2020. Oxygen is a song that is driven by a deep house club beat. We don’t get that deep house club beat until the chorus hit. At first glance, it was thrilling drop that felt wholesome and quite pure. But the more I listened to the song, the more I felt that the chorus could have been a little more ‘spicier’, if you understand what I mean. What we get in Oxygen leans slightly to the more generic and unimaginative side. The verses that surround Oxygen were pretty lackluster and failed to really bring anything more to the song. Even the rap sequences opts for a trap-based background, which is pretty generic move.

With the lack of promotions, it seems like SNUPER no longer has a substantial budget for their music videos. While the visuals were quite crisp and high definition, the uninspiring sets and location really dulled the music video. The dark lighting was probably done so to make the group feel more mysterious. However, it was a poor choice as we couldn’t really see the members in the poor lighting. For the moves, I thought they mismatched the upbeatness of the song, especially when it came to the chorus. The moves felt sluggish and could have been snappier.

Overall Rating – 5.7/10

#GIRLSPKOUT – Taeyeon

Taeyeon made a surprise drop earlier this month with the release of the music video, #GirlsSpkOut, the title track from her upcoming Japanese mini-album release of the same name. It is pretty disappointing that SM Entertainment haven’t done much promotions for this MV release. It literally dropped out of nowhere. That aside, when I first heard the song, I thought it was going to be a 2.0 version of Taeyeon’s Spark due to its use of acoustic guitar. However, #GirlsSpkOut ended it being quite different. It sounds a lot funkier and it had more of a substantial pop feel to it. And as you listen to more of it, the song builds into something decent. If you were to judge the song by listening to only the first chorus, you are listening to it all wrong. It isn’t an active representation of the latter choruses, which both have more of a kick to them. Unfortunately, this extra energy never actually amounts to a peak, leaving #GirlsSpkOut as a somewhat flawed release. #GirlsSpkOut also features Japanese rapper, Chanmina, alongside Taeyeon’s nice (and well-known) vocals. This is something new, Korean artists have never really collaborated with someone from the Japanese music industry as far as I remember for a release. Chanmina’s featuring in #GirlsSpkOut was needed to give more energy to the song and help build the song. But her delivery was something I was not a fan of.

Based on the title alone, anyone can tell that the song is about female empowerment. And the music video tells you just that. Taeyeon is approached by a guy who doesn’t seem to understand the answer ‘no’. He is involved in an accident (a falling light sign – what are the chances?) just moments after Taeyeon leaves him. He is taken to the hospital in a full body cast. Taeyeon and her female friends band together to teach him a lesson. Chanmina also features in the video, which was also a nice treat. The choreography scenes were okay. They just didn’t show anything impressive or amazing-looking to make me go wow. Her visual game and outfits though looked awesome!

Overall Rating – 7/10

Drive – NU’EST

It has been a while since we last heard a Japanese release from NU’EST. Their last was 2015’s Nanananamida, the title track of their first Japanese studio album, Bridge The World. 5 years on, the group dropped Drive earlier this month, alongside their second Japanese studio album of the same name. Drive is a little different to your standard Japanese release, opting to step away from a choreography-required song. Drive focuses more on the singing and rapping, upfronting a pretty pleasant instrumentation made up of nice rhythmic guitars and an upbeat pop melody. I like this change up in style for the Japanese music industry, which separate the group’s release from the pack for uniqueness. The singing pulls you in and captivates you. It also compliments the instrumentation, adding to Drive‘s pleasantness and softness. As a result, I would gladly put this song to listen to the NU’EST vocalists. I did feel that the rapping was a little mismatched for the song. It could have potentially been more fitting if it was a tad smoother. But overall, a really good display of style and refinement from the members of NU’EST.

If I were to breakdown the music video, it is simply a music video full of a bunch of closeups. ‘There is a storyline embedded into those closeups, with JR approaching each member and pulling them to the circle of chairs we see in the video. I am not sure what this is supposed to mean and whether it represents something in the lyrics or not (I couldn’t tell). My best guess is that it something about coming together after being separated for so long. As mentioned previously, there is no choreography for this comeback. Instead, the group scenes were shots of the members singing into microphones, which was a nice touch that compliments the softness of the song. I liked the golden aura that comes from these scenes.

Overall Rating – 8/10

Pretty Please – Jackson Wang & Galantis

The final song on this list today is Jackson Wang and Galantis’ collaboration, titled Pretty Please. For those who are not familiar with Galantis, they bring the funky and groovy electronic-based instrumental that forms the backbone of Pretty Please to life. It is a really awesome backing for the song and feels super addictive. Jackson brings the vocals to the song. I really like his deep and raspy vocals in this song. He adds some unique colour to the song and the texture is super appealing over the electronic instrumentation. Music-wise, big ticks from me. My only complaint is the song goes by so quickly. Two and a half minutes is nothing. And especially with such a fun, groovy and upbeat instrumentation, it literally blurs by in a matter of seconds. I wished there was more to it, as every time I listen to Pretty Please, I am caught off guard by the unexpecting ending that comes out of nowhere.

The end of the music video gives a bit of context to the idea behind the video. Jackson has always wanted to shoot something along the lines of ’90s Hong Kong movie’ concept. And I agree with him that it is a pretty cool setting to shoot in. The video starts off with Jackson and his friends at a Chinese restaurant, watching a documentary about wolves, emphasising the idea of loyalty of friends and to partners. Enters the actress, the same one who played his love interest in 100 Ways. He notices that she left a pendant of a wolf and starts following her to get her attention down the street in a cool montage. And he doesn’t stop, presenting us with the first of the two loyalties. The second of the two loyalties is shown in the lead up to the dance choreography, where his friends (shown as wolves for a brief moment) come running from the restaurant to join him in the choreography shot at the end of the video. The video cuts to dark and it is revealed at he is still in the restaurant with his friends and he is holding the pendant. His eyes turns white, revealing him to be a wolf and is probably going to go searching for his female counterpart later on. The choreography in this video looks really cool and matches with the funky vibes of the song.

Overall Rating – 9.3/10

[Album Review] IN-OUT (1st Mini Album) – Moonbin & Sanha (ASTRO)

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Another album review written over a month after its release. ASTRO’s Moonbin and Sanha formed this subunit mid-September through the release of their first mini-album, IN-OUT. Featured on this mini-album is the title track, Bad Idea, that the pair have wrapped up promotions for. The entire album, aside from the title track, is doused heavily with R&B. Whether I enjoyed this heavy dose of the R&B genre, continue reading to find out.

In-Out Album Cover

1. Eyez On You – Eyez On You has two major letdowns that really drags the track down for me. The first letdown is the really generic R&B sound that the verses opt for. It bored me, nor did it excite me. The second element is the overwhelming ‘noise’ that forms the basis of Eyez On You’s chorus. It is very jarring and the multiple layers of instrumentals feels very obnoxious. Some might find it a charm, as I have said in the past with some song’s and their respective noise. But Eyez On You’s take on this felt too much and prevented me from liking the opening track. And these two elements overpower the pair’s vocals, leaving them forgotten. All of this is quite a pity, as the pre-chorus managed to successfully change the song’s gears and allude to something fun, upbeat and vibrant. (5/10)

2. Bad Idea (Title Track) – Click here to read the full review for Bad Idea. (9/10)

3. Alone (섬) – Alone returns to that R&B genre that unsuccessfully opened the song. While Alone does take on more of that generic R&B sound, the song instantly sounds better and more refreshing. It is because Eyez On You really left an impression. Anything generic yet is executed well enough would be on many levels higher than the opening track. I did like that Alone had a bit of a spring in its instrumentation. The piano was also a nice consistent touch to the song. What really makes this song even more pleasant and palatable are the vocals, particularly Sanha’s. The way he sings ‘I am so lonely’ in the song was very memorable. The song’s melodies also gives off strong promise. (8/10)

4. All I Wanna Do – To me, All I Wanna Do is their best side track on the album. I really like the instrumentation when it came to the chorus. The bass add definition and dynamism to the strings. And the strings add prominence and a striking element to the chorus. The rest of the song goes down the R&B hold once again. For this song, this isn’t really a problem as the chorus compensates for that flaw. Once again, the song features the stunning nature of Moonbin and Sanha’s vocals. They sound very silky and sweet. I felt that both members were well utilized throughout All I Wanna Do and made the song more appealing. (9/10)

5. Dream Catcher – Dream Catcher is more of a ballad, though it encroaches into the R&B realm. The song is very calming and soothing, feeling almost like an acoustic-centric track. I say ‘almost’, as the main instrument is an electric guitar that is played softly. The rest of the instruments come in to help lift the song up ever so slightly without disrupting the soft acoustic-vibe of the electric guitar. Their vocals shine in Dream Catcher, adding to that soothing nature of the song. Their harmonies were well used to give the ballad some definition and feel more warming for fans. (9/10)

Overall Album Rating – 8/10

Bad Idea / In-Out Teaser Image

[Review] ALIEN – Lee Suhyun (AKMU)

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We take a little moment to steer away from this week’s comebacks and focus on a comeback from last week. Once again, I apologise for the week long delay for this particular review. It somehow just got away from me.But back to introducing the focus of today’s review – Lee Suhyun, who made her solo debut last Friday with the single, ALIEN. If Lee Suhyun is unfamiliar to you, you might recognise her as one half of the sibling duo, AKMU (Akdong Musician). Lee Seehyun’s brother, Changhyuk, is the other half of the musical duo. While her brother is not performing with her, it looks like he is working with others to write and compose songs for her. It seems AKMU will always be a pair.

ALIEN takes on a funky disco profile, something that has been trending in KPOP a lot lately. If you are becoming tired of the re-emergence of the retro trend, then maybe ALIEN would be an eye-roll to you. But Lee Suhyun’s take on the genre is quite pleasant and refreshing. ALIEN isn’t oversaturated with the trend and it actually feels held back quite a bit. Holding back in this sense makes the song feel more refined and gives it a modern, despite the disco influences still being prominent. I also felt that holding back from going full on vibrant and powerful retro was done so to compliment the delicate nature of Lee Suhyun’s vocals. Her breathy vocals take the song to the next level and she slips into this falsetto style which really adds to that refinement I mentioned. I also find the chorus to be super catchy and the melodies throughout the song to be enjoyable. Everything comes together to be quite pleasant. However, I find the song lacks something. While it has been out for a week, I haven’t really gone back as much to the song as I hoped for. A theory behind this lacking element could potentially be a stronger and more defined climax. What we good was consistent and logical, but I think something with a little more oomph could have given ALIEN extra mileage and appeal.

Lee Suhyun is super cute in this music video. Visual game aside, I really like how it is revealed that Lee Sehyun is an alien (just like her mother told her so in the lyrics). The music video constantly changes between a human form and a comic form. This conversion made the video appealing and a little more interesting. It allowed for the ‘Earth saving mission’ storyline to be incorporated alongside the increase in self confidence that she experience once she is aware of this secret (i.e. she plays the arcade game in her room and then later on in the public arena). Another clever and well thought out video.

Lee Suhyun focuses more on the live vocal aspect of her performance, which meant she had to forsake some of the performance aspects. I would have liked to see more energy behind her moves and sharpness. It is her first time as a solo artist, so I understand why she would nervous and stiff. Hopefully as time goes by, she feels a little more comfortable. I raise this because I felt that the performance had some attitude and I wished it was reflected in her moves.

Song – 8/10
Music Video – 9/10
Performance – 7/10
Overall Rating – 8.1/10

[Review] From Home – NCT U

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Last week, NCT made their comeback with a whopping 23 member lineup through their NCT 2020 Resonance Pt. 1. This album consist two title tracks amongst others. One of the title track was Make A Wish (Birthday Song), which I reviewed last week. The other is From Home and its music video was dropped on Monday (apologies once again for reviewing this a few days late). For this NCT U release, we have Taeil, Yuta, Kun, Doyoung, Renjun, Haechan and Chenle joining forces together.

NCT is a very multinational group, featuring members from the US, Canada, Japan, China, Thailand and Korea. And so, I find From Home to be a fitting song for the group. Firstly, it is a soft pop ballad that expresses their journey of becoming members of NCT, and their new ‘home’ alongside each other as a group. The song’s meaning is definitely quite touching Secondly, the song has this very comforting warmth to it. As a listener, I couldn’t help but smile that the melodies and feelings that the song places on me. If I was a member of this group, I would constantly return to this song during times when I am lost or alone, remembering that there are 21 other friends in the same boat (and that number is most likely going to rise in the coming years!). Thirdly, the song is sung in four different languages. While the song is mainly in Korean (and there is a Korean version), the song also features lyrics in Japanese, Chinese and English. I feel that this was a very personalised move for the group, given that a bulk of their members are of this nationaliities. It is a pity that the song didn’t have some Thai representation. Meaning aside, I find From Home is a nice song musically. It may not be as impactful or memorable as Make A Wish, but it is a nice delicate side of the group that we should be able to see more often. There are some really good vocal moments, especially the airy vocals we get into the chorus and the really stunning high note Taeil gives us at the climax of this ballad. I also like how they weaved between languages, which is a pretty strong feat, given how different Chinese and Japanese is, in terms of tone, pitch and other characteristics. I also really liked it when all the members sung together for the chorus, adding more to that warm and welcoming feeling that I mentioned.

I really liked that the producers took this video to the outside, rather than make them stay inside sets. I also really like how perfect the day was for the music video shoot. It adds to the aesthetics and appeal of the song, particularly that really warm feeling. I also liked the mix between the modern camera shots and the home video shots. It just makes the whole thing feel homey. The visual game the members bring is also phenomenal. The baby photos and their thanks was also really nice. Given the song meaning, I think it would have been super nice to have the rest of the NCT members to appear towards the end, which would have made this a super special music video for them and fans alike.

Song – 9/10
Music Video – 10/10
Overall Rating – 9.4/10

[Review] Why Not? – LOONA

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Joining the influx of comebacks this week is LOONA. The female group dropped Why Not? on Monday (sorry for the later review), along with their third mini-album, 12:00 (which is to be read as ‘midnight’). This new comeback continues LOONA’s newfound sense of edginess, following in the footsteps of their title track from earlier in the year, So What?. This is also the second comeback to not feature Haeseul, who is still sitting out for health concerns.

LOONA impresses once again with their title track. It isn’t as fantastic as their last one (more on this in just a second), but I found LOONA’s bright energy and catchy hooks to still be quite memorable. The funky and bass-heavy electro-pop that makes up the instrumental aligns the song to the current trends in the industry, but the way it comes together is quite refreshing. The song is more on heavy with the rapping, giving that edgy vibe that I mentioned earlier. The vocals in the song are quite nice and pretty strong. I particularly find the ‘Di Da Dum‘ repetition we get in the first half of the chorus to be the most memorable and addictive part of the song. I did kind of expect a little bit more in this regard, though I felt that this was partly due to what I am about to explain next. I feel that there is a strong contrast between Why Not? and So What? and it is this difference that really sets the two songs apart. (For those who may not remember, I really enjoyed So What? – giving it a 10/10 rating for its review). Why Not? lacks that punch that could have made the chorus a lot more powerful and impressive. What we good had a nice ring to it and I do find it quite catchy. But I felt that the hook could have been beefed up with some attitude and the music could have been a fraction punchier to bring it up to par with their preceding title track.

Once again, my mind is instantly trying to connect this music video to their previous music videos. As mentioned in my last LOONA review, I will be (hopefully) one day revisit my LOONAverse music video theory that I wrote up for LOONA two years ago, including So What? and Why Not? (and any new videos between now and then) in that revisit. Standalone, it is another decent looking girl-crush concept. It isn’t as powerful visually, as well. I also think the addition of the not-so-much ‘girl-crush’ scenes (i.e. the more innocent looking scenes) were a good move. I also liked the unit choreography scenes. Not that I experienced it before, but one could become overwhelmed with so many people in one scene. So that was a good choice.

I personally like the energy that comes from the performance. The group brings a nice vibrancy to the stage and this makes it a fun performance to watch. I also feel that the song requires a fair amount of confidence in order to pull-off, particularly the random ‘yeah‘ throughout the song and ‘woah woah woah woah‘ we get just before the choruses.

Song – 9/10
Music Video – 9/10
Performance – 9/10
Overall Rating – 9/10