[Review] Switch To Me – Rain & JYP

The next collaboration that I wanted to quickly cover was the final release of 2020. Dropping on the 31st of December 2020 was Switch To Me, a collaboration between Rain and JYP. Rain, for those who don’t know, is a well-known soloist in the KPOP music industry and his famous physique that he has flaunted in his musical releases on numerous occasions (the most iconic being Love Song). More recently, he saw a resurgence in his fame through the remergence of his 2018 track Gang, collaborated with Zico for Summer Hate and collaborated with Yoo Jae Suk and Lee Hyori for SSAK. JYP is a male soloist who we all know, thanks to his old school hits (which are considered classics in the industry) and more recently collaborated with Sunmi for When We Disco. But today, we are hear to have a closer look and listen at Switch To Me.

Switch To Me delves into the new jack swing genre, bringing forth a strong retro appeal for their new song and collaboration. It is super jam packed with energy, which is representative of the genre. And knowing Rain and JYP’s style of music, this energy driven song is totally both their styles. In hindsight, Switch To Me is a pretty straightforward song. But there was a few elements that really made this a collaboration enjoyable. Aside from the energy that I have already touch upon, I really liked the chorus of this song. It was quite memorable and catchy. I particularly liked the way they ended their choruses, giving us a little more than a hard finish would have. I really liked their voices in this song. JYP’s sings in his signature style, while Rain employs a little more huskiness than what I remember his voice contains. The rapping in the second verse was quite nice and adds a burst of exciting energy into the song. I don’t have much else to say about Switch To Me, aside from the fact that it is a strong collaboration track and one that I am sure fans of both soloists have enjoyed.

The music video starts off with what feels like a K-drama scene of two frienemies or rivals praising one another by keeping tabs on one another’s recent achievements. I also like how their dialogue touches on the point that Rain used to be an artist under JYP’s guidance and that he learnt everything from JYP himself. Enter in the actress, who Rain and JYP spend their time throughout the music video competing against each other for. There are abs being flaunted, horse riding and expensive cars being driven. But the ending cracks me up with an unsuspected contender turns up. The ending shows the actress walking towards Rain and JYP, with us suspecting that she will choose one of them. But she ends up going for Psy, whom she was very pleased to see. I loved Psy’s face in response to the two singers and Rain’s reaction to the event.

The performance was pretty good. Despite their age, both Rain and JYP commit to the energtic side of the performance. It is really enjoyable and helps liven the song up a lot more than just the instrumentation/song itself. There seems to be a tiny hint of comedy in the performance from how I see things, no doubt a play on Rain’s recent trendiness and JYP’s usual outrageous performance style. I also quite liked the ending, with both singers going for that half split.

Song – 8.5/10
Music Video – 9/10
Performance – 8/10
Overall Rating – 8.6/10

[Review] Hop In – Uhm Jung Hwa ft. Hwasa (Mamamoo) & DPR LIVE

During the final days of 2020, we were gifted with a number of releases. Usually, this time of the year is very quiet in terms of releases. But like the entire year as a whole, 2020 was an exception. The first release I want to review is a collabroation between the legendary Uhm Jung Hwa, the trendy Hwasa (from Mamamoo) and DPR Live. The single, titled Hop In, came to life on the 22nd of December and was performed at each of the end of year music festivals.

Hop In starts off with Hwasa in a ballad-like set up. Hwasa has been known to kill ballads in the past and this start is no exception to this trend. But that is only the intro, a small fraction of the song. In a matter of seconds of wrapping up the balladic nature, the song brings in a very energetic and upbeat retro beat (similar to the new jack swing genre of music) that is very lively and brings so much personality to the song. This also marks Uhm jung Hwa’s entrance into the song, which is bold and powerful. All of which definitely suits the legend that Uhm Jung Hwa is. I really like the rock elements in the instrumental, which just amps up the song to a whole new level. DPR Live ‘s featuring is much shorter in comparison to Hwasa’s featuring. At first I enjoyed his part, giving the song some vareity. But as his part progresses on, it just bored me. Hwasa returns at the end of the song to close off the song with that balldry style that she started the song off with. There are two parts of Hop In that I really enjoyed, on top of what I have already pointed out thus far. The first has to be the mini rap-like sequence Uhm Jung Hwa brings to the song towards the end. And the second is the spoken ‘Click Clack’ just before the song’s choruses. Both parts felt iconic and definitely are Uhm Jung Hwa’s strong points. Overall, Hop In was a very strong collaboration between generations that manages to appeal towards the taste of listeners of KPOP today.

I find the music video to be quite well done. It is quite simple, with majority of the music video shot in a dark set and lights being used as effects to fill up the void in the darkness. It is quite effective, as the simplicity allows you to just zone right into Uhm Jung Hwa and Hwasa. And they are performing in leopard print, which fits both of their bold, confident and fierce personas. The coloured lighting in the white rooms were pretty weak and not as bold. I wished they had some oomph to them to be on par with the rest of the music video.

Uhm Jung Hwa and Hwasa are sexy icons. So without a doubt, their performance will go down the sexy route. Those outfits definitely allude to the direction already. It is quite an enjoyable routine and there wasn’t anything overly explicit about it. But despite that, I like that neither holds back, going straight for the boldness that I am sure shocked fans and the Korean public.

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

[Double Review] ASURABALBALTA + Dracula – T1419

It is time to do some catching up and review a new release from earlier in the week. Killing two birds with one stone, as the saying goes. T1419 made their debut on Monday with ASURABALBALTA. Those who don’t know who T1419, they are a nine-member male group from MLD Entertainment. Because they come from MLD Entertainment, the group is being marketed as the younger-sibling group of MOMOLAND, who also hails from the same company. Fun fact, the name T1419 is based on the current age range of the members (i.e. 14 to 19 years of age). The group also pre-released a single prior to their debut, Dracula, which is the second song in this review today.

While this is a double review, I will be focusing on ASURABALBALTA as that is their debut track. ASURABALBALTA is clearly an attempt of trying to fit into the industry with the dark and serious sound trend that male groups have been going for, particularly in 2020. I do like prefer this style of music from male groups. But T1419’s debut track fails to really captivate and capture my attention. ASURABALBALTA features a powerful instrumental that is undermined by the group’s delivery. The vocals and rapping don’t feature that same level of impact and hence weakens the integrity of the song quite a bit. And even while I describe the instrumental as powerful, I will admit that its content is very unimaginative. I wish there was more to every element. Let the instrumental have that spark it need to make it even more explosive. Let the vocals and rapping have a bit angst behind them to really make the song more captivating. I will give them a second chance when they next comeback rolls around. But ASURABALBALTA is just a listen once song for me.

Dracula was released back before Halloween 2020. I personally don’t remember what I initially thought about Dracula when it was first released. But post-ASURABALBALTA, Dracula has a bit more indivudality, even though it does have a plainness vibe to it. It, too, is an attempt to fit in with the darker sound of male idol groups in the KPOP industry. But there are acoustic guitars and flute work that is mixed into a bass-heavy and squeaky synth instrumentation. I also like the suspenseful bridge of the song, which works with the time period they released the song in. It isn’t exactly a fresh sound, but it definitely has its perks. Dracula also manages to put a bit of ‘life’ into the rapping, which I think is much better than the debut song’s rapping (even though, it is heavily deepened to give off a ‘possessed’ type of aura). The vocals don’t really scream out at me in Dracula, which felt more dried and dulled than ever. I just wished the instrumental (and vocals) had more oomph and energy, which would have Dracula a much more successful debut track than the former song.

ASURABALBALTA‘s music video was pretty one-dimensional. I wanted more to it, as it just opted for the basic choreography and closeup formula. At least, MLD Entertainment could have made the closeups a little more captivating. Aesthetic-wise, the colour palette works extremely well and the edgy vibes are well translated. But that is the best comments I can give for their debut music video. As for Dracula‘s music video, it was a smart video. It is relatively simple music video, featuring just choreography shots. But it taps into that Halloween pretty well. The setting that was chosen for the music video served its purposes for this concept. I really like the bats and chuckled at the randomness of the wolves. But the winning element, without a doubt, has to be the faces of the members. Scary, yes. Mysterious, yes. Creepy, yes. And going back to that ‘smart’ comment, Dracula also serves its purpose of being a teaser to the group, leaving us guessing and asking questions about the members.

T1419’s strongest point has to the choreography and performance. Both ASURABALBALTA and Dracula were strong performances. ASURABALBALTA showcased their syncness and energy quite well. I just wished the song was something more along the lines of the intro, which would have really showed us more of their performance skills. Dracula could have used some more flair, but it was still a decent routine that worked well with the rest of the music video.

ASURABALBALTA
Song – 5.5/10
Music Video – 6/10
Performance – 8/10
Overall Rating – 6.2/10

Dracula
Song – 6.5/10
Music Video – 8/10
Performance – 7/10
Overall Rating – 7/10

[Review] HWAA – (G)I-DLE

Please accept my apology for drip feeding you the reviews like this. Today, we are covering another comeback that occurred on Monday of this week. (G)I-DLE made their comeback with HWAA and the mini-album, I Burn. This release follows their DUMDi DUMDi comeback that occurred back in August of 2020. Since the August comeback, the group has been busy with their Japanese comeback, their return as part of the K/DA lineup and an online fanmeet.

The first thought that popped into my head while listening to HWAA the first time was that this new song reminded me of HANN quite a bit, a previous single by the group. And I guess this was based on the atmopsheric approach that the songs share in common. But HWAA is a little different, as (to me) it has a bit of an edge thanks to the more upbeat instrumentation that the song ended up developing towards. I also find that the more intense moments of the song come during the verses, which is slightly different to HANN’s chorus approach when it came to that atmospheric vibe. And as we have that atmosphereic mindset in play, I was also slightly convinced that the group was going to pull an Oh My God styled chorus, which I personally would have been down for. I specifically note this, however, as I have recently found that I seem to be in the minority of people who actually enjoyed the Oh My God comeback. Obviously with that supposed general consenus, something similar would probably have made HWAA less palatable. I am hoping that this is more satisfying for other listeners to actually appreciate the effort that (G)I-DLE has put in for this song/comeback. I personally enjoyed the chorus, but wished there was something more than the HWAA harmonisation to give it that extra oomph. The rest of the vocal work in the song is superb, especially with Soyeon’s vocals at the start of the song and rapping in the second verse. It is however disappointing to hear that Shuhua only got four seconds of lines in the song. The biggest flaw for me with this song was the ending. Too abrupt for my liking. Overall, HWAA was a great song, though the ending was the biggest let down. And such an ending stays with you.

The music video was very aesthetic and stunning to watch. To me, this would rival any YG Entertainment music video. And this is saying a lot given how I am always amazed at the quality of their videos and the grandness of their set design. HWAA consisted for really beautiful and captivating set designs. The icy landscape with the dying tree in the background, Soyeon’s birdnest, the oriental styled walling and the moonlight garden were just so good. I also find their outfits and visuals stunning. Stealing my attention right away is Yuqi’s haristyle and those dresses with flowery patterns on them. The song doesn’t necessarily suit those dresses, but they work extremely well in that moonlight garden setting.

Hand motions and arm work heavily dominate the choreography. It is commendable how graceful they make the all those motios look during the pre-chorus vocal moments, matching with the music. And I really like how robust they make it look during the chorus, giving it energy and intensity to also match with the music at those parts. Essentially, they are doing the same thing but making it go both ways.

Song – 8/10
Music Video – 10/10
Performance – 9/10
Overall Rating – 8.8/10

[Review] MY TREASURE – TREASURE

Also making their comeback yesterday was TREASURE. For those who missed the second half of 2020, TREASURE made their debut with BOY back in August and made comebacks with I LOVE YOU and MMM. And with these releases under their belt, the newest male group to the YG Family have been sweeping the rookie awards of this ongoing award season. They are also my pick for best rookie of 2020 (hint hint). This comeback with a full length album and (I guess) the title track, MY TREASURE, was originally hinted to be a December release. But their company made the decision to delay it slightly to allow the members focus on more special performances which they are performing at award shows and end of year music festivals. But as we are now in mid-January (and YG delivered on their promise), we are here today to check out MY TREASURE.

I personally find TREASURE to be a very interesting group, given their company’s background. MY TREASURE doesn’t conform to anything that YG Entertainment is known for. I had that inkling through their earlier releases. But MY TREASURE seems to confirm that TREASURE is going in a different direction to what the roots of the company were based on. The new song itself is very cheerful and vibrant in a pop music manner, which works extremely well with the uplifting nature of the lyrics. I feel that the company/members ultimately chose this song as their comeback track for these characteristics. It definitely brought some light back into our lives after such a hard year. I appreciate this greatly and think the effort pays off, as the song does make you want to smile as you listen to it. I also really like the warm feeling the song gives off thanks to the brass- and string-based instrumentation, particularly during the chorus. Another positive aspect of this song is that with this style, more of TREASURE’s vocals are showcased. I definitely enjoyed this as well, as it really allowed TREASURE to show more of that side of their music. The rapping was still quite good, giving the song some much needed oomph and additional intensity. The hooks were catchy and memorable. But while this upbeat and pop sound is fantastic, I just wished there was more to the song. At the moment, MY TREASURE feels like it could have been pulled off by any other male group. I just wanted a bit more personality and indivduality, adding to what we saw in their earlier works from last year. I also wonder where TREASURE would go from here and how this more pop-centric sound would alter YG Entertainment’s portfolio. But it still a great listen, nonetheless.

With such uplifting lyrics and such a vibrant sound, it was clear that this music video would be along the lines of that bright and cutesy style. I am glad that the members didn’t get dragged into a cutesy concept, as that would be a bit much for me (as always). ‘Bright’ would be the best term to describe the song with. There is a lot of smiles in this music video, and also frowns being turned upside down. I also liked the splash of colour in their sets, making this a really pleasant video to tune into. The video does take a slightly serious turn, showing a lonely child, students taking exams in a very harsh environment and a child blocking their ears from hearing their parents arguing. But we see their hearts shine, showing us that they will shine through the hard times no matter what.

Like the music video, the performance was definitely bright and vibrant. But I will be honest, there isn’t much else to the performance. I didn’t find any moves that were captivating or worth mentioning. You could blame the song, but I felt the creative minds could still manage to find somehow one-up their MMM and other performances.

Song – 8/10
Music Video – 9/10
Performance – 6/10
Overall Rating – 7.9/10

[Review] What I Said – VICTON

VICTON is officially back with their first studio-length album since debut. Titled Voice: The Future is Now, the group launches right into promotions with What I Said as the title track. This comeback was originally scheduled for early December, but the members came into close contact with a person with COVID-19 days prior to their comeback. ‘The company, Plan M Entertainment, decided to postpone the comeback to allow the members to quarantine and ensure that they all had a clean bill of health (which fortunately, they did) for promotions. This follows Mayday, which was released in June of last year and Han Seong Woo’s solo debut with Sacrifice.

What I Said continues the Latin trend that has been going around the industry for the last few years. While this would definitely elicit a groan and a eye roll from some (which does include me), What I Said manages to stand out with the more energetic nature of the instrumental. I think it is better described as an explosion of energy, thanks to the layered instrumental of brass and thumping percussion. The song features a powerful dance pop vibe in the song, which really helps distract me slightly from the Latin influence that is undeniably there. And if you know me, I do like my vibrant pieces of music. So that really enhances What I Said for me. The members do a really good job of matching this vibrancy. From their vocals to the rapping, everything was definitely popped out at me. I liked how their vocals and rapping added an edgy vibe, which fits in with VICTON’s matured profile that they opted for in 2020. I also liked the energy they channeled through the vocals and rapping, giving the song some more power in another form. The hooks of the song made the song even better, giving it that memorability factor that I always looking for in these song. I did find the second verse the most interesting, with the start of verse reminding me of the ‘I Like It Like That‘ sample which was made recognizable most recently through Cardi B’s I Like That. Hanse’s rapping and Chan’s solo moment right after were very captivating and extremely intense. Overall, What I Said might be a bit cliché in some regards. But this is easily overlooked with everything else that VICTON pulls out of the bag.

Personally, I am not exactly sure if the music video sets have much meaning. They look quite extravagant, sleek and definitely something that feels like it was thought out. Furthermore, I am quite sure they reflect parts of the lyrics. But I just can’t seem to pinpoint the exact meaning or message behind the music video. I am always interested in reading theories, so feel free to comment any below that you may have figured out or heard from other viewers/fans. But I can say that the sets are stunning (as already touched on). The camera work looked cool and the video highlighted the visuals of each of the members. I also like their outfits in this video, especially those black jackets and gold detailing.

While the choreography is a great representation of all that energy, intensity and power that I mentioned in the song review section of this post, I felt the choreography was lacking depth and dynamism. I just wanted more with this choreography, something to make me go wow. The synchronization was good, but it just wasn’t paired with jaw-dropping moves that would have enhanced their performance even more.

Song – 8.5/10
Music Video – 8/10
Performance – 6/10
Overall Rating – 7.9/10

[Album Review] One-reeler Act IV (4th Mini Album) – IZ*ONE

Album reviews for 2021 will continue per the usual schedule next month. In the meanwhile, album reviews will be coming out spontaneously as I complete them. I want to wrap all the album reviews for 2020 this month, whilst also publish the album reviews for January 2021 releases, so I don’t fall behind on them like I did so at the end of 2020. This will also allow me to focus on some of the other posts in January such as the end of year charts and the announcement of the 2020 KPOPREVIEWED Award winners. But more on that in the future. This post focuses on IZ*ONE’s fourth mini-album, One-reeler Act IV, which was released at the start of December 2020. It features the title track Panorama and five other songs on the mini-album, so let’s check them out. Let me know what you think of them down in the comments section below.

One-reeler Act IV Album Cover

1. Mise-en-scèneMise-en-scène follows the same music formula as the rest of their other title tracks. The song starts off in the pop realm and slowly develops into a dance track with a very abrasive drop in the chorus. What Mise-en-scène manages to do well to differentiate itself from the rest of their previous works is the more electronic profile and detailing in the song. This adds so much different texture and helps makes the song standout. (9/10)

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

3. IslandIsland is surprisingly what I had expected. It is a cute number confirmed by their vocals and the twinkling effect at the start. But the group manages to put an IZ*ONE spin, bringing that abrasive instrumental I mentioned earlier into the song. That being said, Island is not just noise and it turns out to be a very strong song altogether. I really like the different directions the song does go in, which helps elevate the song’s appeal and prevents it just sounding like an amped up cutesy track. (8/10)

4. Sequence – IZ*ONE tones back the energy of the instrumental ever so slightly in Sequence. The funky and retro instrumental isn’t as rough as the previous tracks. But the song does still have that heightened texture to it, though I would describe it as more sleek in comparison to their other songs. I really like what they did with the chorus, adding more to it as it progressed along. I felt this really made their vocals pop during the chorus, which helped made the song more enjoyable. (9/10)

5. O Sole Mio – At just a glance, I thought it was just another house dance track. Literally, if you blink (whatever the equivalent for hearing is), you would miss the Latin flair hidden behind the house influence. I personally like this ‘touch of Latin’, as the Latin trend has become overused in my books now and I am slowly getting tired of it (though, I do keep my mind open to other clever uses of the trend). Just the house influence does make O Sole Mio sound typical and cliché. The song also sounds like it opted for a ‘touch of matureness’, which I attribute to some of the vocals. The rapping was also a nice addition. (8/10)

6. Slow Journey Slow Journey is group’s most held back sound on the album, opting for a pop ballad sound. It is very nice, though I wished they removed some of the percussion and disc scratching. It distracted me from the sweet vocals and really bright acoustic guitar work. Otherwise, I reckon the song would have been more delicate and sweeter sounding. (7/10)

Overall Album Rating – 8.3/10

One-reeler Act IV Teaser Image

[Weekly Chart] 1st Week of January 2021

And now we move onto 2021. We are already a week down with another slow week in the KPOP industry. Elsewhere though, the week was quite eventful and filled with shocking surprises. But this is a KPOP blog, so we will focus on the former. The good news is that we are expecting many comebacks this upcoming week, with majority of them occurring tomorrow. These include the return of (G)I-DLE, TREASURE, VICTON and the debut of T1419. It is going to be an intense day tomorrow. But before we can proceed, we shall reflect upon the past week that was the 1st Week of January 2021.

New releases of the week

As mentioned earlier, it was a slow week in KPOP. We saw comebacks from Jeong Sewoon and MCND, which I have reviewed. There were a few additional comebacks including Hong Eunki’s (former member of Rainz) comeback single, ON&ON, AB6IX’s collabroative remix single Fallin’ (Adrenaline) with Why Don’t We, another single (Luxury Big House) from BOYHOOD (Nam Donghyun), and A.C.E’s Fav Boyz (Favourite Boy (Goblin)) remix with Steve Aoki and Thutmose.

Non-KPOP release by a Korean artist

I want to give a shout out to songs that are described as non-KPOP, but are by someone with roots in the Korean music industry. So I will be dedicating a segment in the Weekly KPOP Charts posts each week to the showcase the non-KPOP song that I was tuning into for that week. For this week, I have been returning to Chungha’s Dream of You with R3HAB. It will be featured in an upcoming International Song Review segment.

The Charts

And here we are, the main centrepiece of the Weekly KPOP Charts segement, the charts. Congratulations to TWICE’s Cry For Me surprise single release for coming out on top of the charts for the 1st Week of January 2021. For more of the charts, see below!

  3rd Jan – 9th Jan 2021
Title Artist Status
1 Cry For Me TWICE (▲ 7)
2 In The Dark Jeong Sewoon (new)
3 Life Goes On BTS (▲ 26)
4 Panorama IZ*ONE (▲ 2)
5 Crush MCND (new)
6 BUMP BUMP WOODZ (▼ 5)
7 Black Mamba aespa (▲ 8)
8 Chandelier BRANDNEW YEAR 2020 (▲ 31)
9 I’m Cold Kim Sung Kyu (Infinite) (▲ 2)
10 Last Piece GOT7 (▼ 8)
11 Mmmh Kai (EXO) (▼ 8)
12 MAGO Gfriend (▼ 8)
13 Resonance NCT (▼ 6)
14 Idea Taemin (SHINee) (▲ 14)
15 Just Can’t Stop Loving You Jang Hyun Seung (▼ 2)
16 Amusement Park Baekhyun (EXO) (▲ 2)
17 90’s Love NCT U (▼ 8)
18 Forbidden Island Ha Sung Woon (▼ 6)
19 Given-Taken ENHYPEN (▲ 1)
20 Hop In Uhm Jung Hwa ft. Hwasa (Mamamoo)& DPR LIVE (▲ 19)
21 Switch To Me Rain & Park Jin Young (▲ 18)
22 Breath GOT7 (▼ 17)
23 Camellia Jukjae & Hyuk (VIXX) (▲ 16)
24 Teddy Bear NATTY (▲ 10)
25 Better BoA (▼ 8)
26 30 Seconds Might Be Too Long Jun.K (2PM) (▲ 11)
27 What Do I Call You? Taeyeon (SNSD) (▼ 6)
28 So Bad STAYC (▲ 11)
29 Then, Now. Forever CN BLUE (▼ 10)
30 BBUYSEO ONEUS (▼ 6)

Leaving the charts this week

The following songs have wrapped up their nine week run on the charts and will be removed to make way for new songs:

  • Forbidden Island – Ha Sung Woon
  • MAGO – GFriend
  • Idea – Taemin (SHINee)
  • So Bad – STAYC
  • Teddy Bear – NATTY
  • Tears of Chaos – E’LAST
  • Pit-A-Pat – Junsu (JYJ)

[Weekly Chart] 5th Week of December 2020

Wait? 2020. Wasn’t that 10 days ago? Well, yes. It was 10 days ago. But as I was on my break, I wasn’t able to post the Weekly KPOP Charts segment for the 5th and final week of 2020. Hence, it will be posted today, before we get into 2021 any further. The 5th Week of December, which consisted of the dates 27th December to 2nd January (inclusive), consisted of a lot of food eating, time with the family (though very limited due to the re-introduction of restrictions), a lot more mask wearing and the New Year Countdown. It also consisted of the first two days of the new year which reminded us that 2020 is still lurking around us. But there is still hope for 2021, with many more days in the year to come! For this post, I will be going through the Top 5 breakdown and straight into the charts after that (aka. a quick one post).

Starting from the bottom of the Top 5 for the 5th Week of December 2020, we have GOT7’s pre-release single Breath. In the fourth position, we have GFRIEND’s answer to retro, MAGO. In the third position, we had Kai’s solo debut single, Mmmh. In the second position, we had GOT7’s Last Piece, which remained steady from the previous week. And in the first position this week, we have WOODZ’s Bump Bump! WOODZ’s single came out on top, as I spent a lot of the 5th Week of December playing some of my favourites directly and Bump Bump was one of those songs. For more of the charts, scroll down below.

  27th Dec 2020 – 2nd Jan 2021
Title Artist Status
1 BUMP BUMP WOODZ (▲ 12)
2 Last Piece GOT7 (=)
3 Mmmh Kai (EXO) (▲ 16)
4 MAGO Gfriend (▲ 4)
5 Breath GOT7 (▲ 18)
6 Panorama IZ*ONE (▼ 2)
7 Resonance NCT (▲ 14)
8 Cry On Me TWICE (▲ 18)
9 90’s Love NCT U (▲ 16)
10 Love Killa MONSTA X (▲ 26)
11 I’m Cold Kim Sung Kyu (Infinite) (▲ 11)
12 Forbidden Island Ha Sung Woon (▲ 26)
13 Just Can’t Stop Loving You Jang Hyun Seung (▼ 3)
14 Show Your Love BTOB 4U (▲ 10)
15 Black Mamba aespa (▲ 2)
16 GOTCHA Park Ji Hoon (▲ 25)
17 Better BoA (▼ 16)
18 Amusement Park Baekhyun (EXO) (▼ 9)
19 Then, Now. Forever CN BLUE (▲12)
20 Given-Taken ENHYPEN (▲ 22)
21 What Do I Call You? Taeyeon (SNSD) (▼ 18)
22 MMM TREASURE (▲ 6)
23 AYA Mamamoo (▼ 18)
24 BBUSYEO ONEUS (▲ 19)
25 SALUTE AB6IX (▲ 7)
26 Christmassy! The Boyz (▲ 20)
27 Ready or Not MOMOLAND (▼ 20)
28 Idea Taemin (SHINee) (▼  13)
29 Life Goes On BTS (▼ 2)
30 Work It NCT U (=)

Songs that left the charts at the end of the 5th Week of December 2020 are:

  • Love Killa – MONSTA X
  • SALUTE – AB6IX
  • AYA – Mamamoo
  • GOTCHA – Park Ji Hoon
  • Dancing Cartoon – BOL4
  • Red Lipstick – BOL4
  • MMM – Treasure
  • The Melody – Super Junior
  • ACCIO – Berry Good
  • Got That Boom – SECRET NUMBER
  • Bad Blood – DAHYE

And that is it for the 2020 Weekly KPOP Charts! The next Weekly KPOP Chart segment post will be for the 1st Week of January 2021 and that will be posted later today!

[Review] Crush – MCND

MCND makes their comeback, just a few days after the group kicked off their musical career with their pre-debut single Top Gang one year ago. They later debuted in 2020 with Ice Age, and returned with Spring and nanana later in the year. On the Thursday and Friday that just passed, the five member male group from TOP MEDIA returned with Crush and their third mini-album, MCND Age.

Since their debut, MCND has managed to show more and more of their skillset to me through their main title releases. And it seems like Crush continues momentum with another pretty good song for me at least. Their new song has this playful persona especially when it came to the song’s chorus, which helped made the song appeal to my taste and make it likable. It is a little masked, however, which allowed the group’s hip-hop roots to flourish a bit more and help it be consistent with the rest of their discography. I am not troubled by this though, as Crush still comes out to be a really enjoyable song for me. The instrumental has this really nice energy profile throughout the song. From the looping guitars to the conisistent snare beats to the synths employred throughout Crush, everything comes together really tightly. I really liked the dance break section that formed part of the bridge, which felt like a brief reset before the song brought back the chorus in a more amped up and chanty fashion. Their vocal delivery was also quite good. It might have been a dull move when paired with other instrumentals. But the deep rap-speak delivery of the lines in the chorus worked really well and added that playful persona that I mentioned before. The ad-libs were also quite nice, giving the song some flair at the end. Altogether, a great listen from MCND.

Aside from choreography shots and closeups, the music video to Crush doesn’t have much else to it. But despite the basic formula, I did enjoy the various sets that the members shot those scenes in and the different angles/confined places that were used helped make the music video feel a little more creative. I do question some elements. The closeup shot of one of the members in a tanning bed doesn’t seem like a great message to send out to the audience (I come from a country where those are banned because they are dangerous and not great for one’s health). The whole final set of scenes where the members perform ‘outside’ with hot air balloons floating in the background made no sense and felt like a random addition. The hats worn by two members in those scenes were also horrendous. Who ever thought that pink fluffy hat in particular was good really needs to have a long think about themselves. But apart from those questionable elements, it was a good video.

With a song such as this and great energy being one of the highlights, it is expected that the choreography would carry through the same energy levels. And they do just that. The song’s playful nature also carries over, making it quite en enjoyable stage. The members’ smirks and smiles add another layer of appeal to the performance. That dance break we get at the end was another highlight of the choreography.

Song – 9/10
Music Video – 8/10
Performance – 8/10
Overall Rating – 8.5/10

[Weekly Chart] 4th Week of December 2020

As you may know, I decided to take a break over Christmas and New Years. This meant that I wasn’t able to post my usual Weekly KPOP Charts on Sundays over this break and hence wrap up 2020. But I still kept my records and I will still be posting the Weekly KPOP Charts for both the 4th and 5th week of December 2020 in the coming days. Today, I will be posting the Weekly KPOP Charts for the 4th Week of December, with the dates ranging between 20 December to 26 December. For these two charts, I will only do the Top 5 breakdown, post the charts and recap the song leaving the charts for that week.

Strating from the bottom of the Top 5 is Mamamoo’s AYA, which rose into the fifth position from the 31st position last week (3rd Week of December 2020). IZ*ONE’s Panorama falls slightly into the fourth position. Taeyeon’s solo comeback, What Do I Call You?, rises into the Top 5 and sits in the 3rd position, while GOT7’s Last Piece also dipped slightly and fell into the second position. The victorious song of the 4th Week of Demember 2020 was BoA’s Better, the title track that marked her 20th year in the industry. Congratulations BoA! For more of the charts, scroll down below.

  20th Dec – 26th Dec 2020
Title Artist Status
1 Better BoA (▲ 5)
2 Last Piece GOT7 (▼ 1)
3 What Do I Call You? Taeyeon (SNSD) (▲ 15)
4 Panorama IZ*ONE (▼ 2)
5 AYA Mamamoo (▲ 26)
6 Tears of Chaos E’LAST (▲ 31)
7 Ready or Not MOMOLAND (▲ 13)
8 MAGO Gfriend (▲ 7)
9 Amusement Park Baekhyun (EXO) (new)
10 Just Can’t Stop Loving You Jang Hyun Seung (▲ 18)
11 A Book In Memory ONEWE (▲ 14)
12 Pit-A-Pat Junsu (JYJ) (▲ 38)
13 BUMP BUMP WOODZ (▼ 1)
14 30 Seconds Might Be Too Long Jun.K (2PM) (▲ 22)
15 Idea Taemin (SHINee) (▲ 7)
16 Jasmin JBJ95 (▲ 39)
17 Black Mamba aespa (▼ 3)
18 I Can’t Stop Me TWICE (▲ 6)
19 Mmmh Kai (EXO) (▼ 12)
20 So Bad STAYC (▲ 27)
21 Resonance NCT (▼ 8)
22 I’m Cold Kim Sung Kyu (Infinite) (▼ 12)
23 Breath GOT7 (▲ 9)
24 Show Your Love BTOB 4U (▼ 21)
25 90’s Love NCT U (▼ 20)
26 Cry On Me TWICE (▲ 14)
27 Life Goes On BTS (▼ 8)
28 MMM TREASURE (▼ 11)
29 Jungle CIX (▲ 22)
30 Work It NCT U (▲ 14)

Songs that left the chart this particular week included:

  • I Can’t Stop Me – TWICE
  • Work Hard – DKB
  • Blue Hour – TXT
  • Jungle – CIX
  • Nostalgia – DRIPPIN’
  • Siren – P1Harmony
  • Jasmin – JBJ95
  • +HWA+ – CL
  • Run Away – Mino

The Weekly KPOP Charts for the 5th Week of December 2020 will be published in the coming days. And then we can start looking at the 2021 charts!

[Review] In The Dark – Jeong Sewoon

Finally…. The first song review of 2021! And the honour of kick starting the reviews for 2021 belongs to Jeong Sewoon, the first artist from a major company to make their comeback in the new year. About 6 months ago, Jeong Sewoon made his comeback with the first half of his first studio album, 24, and the title track Say Yes. It has been incredibly quiet since that release. Today, the soloist finally returns with the second half of his first studio album and the title track, In The Dark.

While the last title track had a cheerful tone to it, In The Dark opts for a little more matureness and seriousness. This doesn’t effect the upbeat nature of the song, as the acoustic guitars that make up In The Dark‘s background is incorporated with band percussion to give the instrumentation some bounce to it. I quite like this, as the energy is very straightforward and consistent. Usually, I use these descriptors to highlight them as flaws. But In The Dark uses them in a very appealing manner, so it is definitely a highlight of the song. Another highlight has to be the husky vocals that Jeong Sewoon employs in this song. They blew me away and made the song a lot more captivating to listen to. It just bring so much texture of the song, particularly for the chorus. And it is the main selling point of the song that makes me want to go back to the song each time it wraps up. Unfortuately, I do have one issue with the song. I was expecting the ending to be somewhat different to the rest of the song to really bring it all home and blow me away completely. Whether that was through amped up vocals (or some sort of high/long note or ad-lib) or maybe different instrumentation routes, I wouldn’t mind. I just thought the ending called for something more. But aside from that, In The Dark still manages to blow me away.

While In The Dark sounds more mature and serious, the lyrics are unexpectedly quite uplifting. It reassures fans and listeners that being ‘in the dark’ is okay and that ‘you will shine’. He also offers tips of ‘hold your head up high’ and ‘bring back the mindset that you started with’ whilst in the dark. What does this have to do with the music video? Well, majority of the video is Jeong Sewoon in the dark. I interpreted his face in some parts to be worrying and scared. But we see him have a boogie and dance around, making the most of his time in the darkness. It is clear he is showing that while the dark is scary, he can hold his head up high and shine with his smile. And if he can do it, you can as well!

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

[Album Review] Border: Day One (1st Mini Album) – ENHYPEN

I know I promised the restart of reviews yesterday, but I decided to delay that to focus on some other stuff for the blog. I will restart the reviews tomorrow when the first 2021 release officially drops and I will then return to writing some other 2020 reviews. In the meantime, I hope the next album review suffice. The artist at the focus of the album review is ENHYPEN, who made their debut at the very end of November with Given-Taken. The song was featured on the group’s first mini-album, Border: Day One, which has sold over 300,000 copies since its release. Given-Taken faired pretty well, so let’s see what I thought about the rest of the mini-album.

Border: Day One Album Cover

1. Intro: Walk The Line – There are some vocals in the Intro track, which lands itself on the reviewing block. Honestly, I don’t have much else to say aside from that Walk The Line sets the tone for this mini-album. The music itself is quite atmospheric. It, as a whole piece, pretty much felt like a marching band was following them as they embark on their journey as artists. The members also sing ‘Walk The Line’ in Italian, which isn’t a language we see at all in KPOP. Definitely a good start to the mini-album. (9/10)

2. Given-Taken (Title Track)Click here to read the full review for Given-Taken. (8.5/10)

3. Let Me In (20 Cube) Let Me In a lot less serious compared the title track. It actually taps into a more vibrant sound, which I find appropriate for the youthfulness the group brings to the industry. To me, the song is a solid dance track that features a hint of a reggae beat. The vocals are nice, though I felt that they could have reduced the autotune that filtered their vocals. Just a personal preference of mine. I also did think the song needed a more substantial rap sequence. Ni-Ki teased us with his really deep voice, but I wanted more of that in the song. (8/10)

4. 10 Months 10 Months continues the upbeat and vibrancy from the previous track. It is a fun number with a bouncy instrumentation. To me, it wasn’t a really interesting track. It was a nice listen and I did enjoy the energy that came from it. But I wanted more from the group in this song in terms of vocals and rapping. I also wanted more robustness and dynamism from the producers. The only interesting moment(s) worth mentioning was the unique (and possibly fancy) way the members sang ‘Love’, which sounded like ‘La-Uve(6.5/10)

5. Flicker Flicker was a song previously performed on the I-LAND. Though this version is at a higher pitch and felt a bit faster than what was performed on the show. The instrumental was definitely texturally interesting, with its use of guitars and other synths. The members also sound more promising in Flicker than the other side track, though the excessive autotune could have been reduced. Listening to this song (and taking in account my thoughts from the songs above), the group aligns better with a mature and serious tone. It just seems to click better and felt more nature for me. (8/10)

6. Outro: Cross the Line – The outro track doesn’t feature any vocals per say, so I won’t include it in final album rating score I usually give. But I have to make a few comments about it. It is so creepy. The voices of the kids in the background were chilling. The European (possibly French? roots) instrumental influences were very haunting. And this was all followed by rock version of the Phantom of the Opera’s most iconic tune. Hopefully, this outro is teasing us with what is to come. I would totally be game for this.

Overall Album Rating – 8/10

Border: Day One Teaser Image

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[Album Review] Travel (10th Mini Album) – MAMAMOO

Welcome to my first post of 2021! The first few posts come in the form of album reviews that I was meant to schedule over my break, but ultimately forgot to do. I have just returned from my break (back to work as of tomorrow with song reviews coming your way) and have decided to quickly post these album reviews as soon as possible, as I don’t want to really be holding onto these album reviews which would delay the 2021 album reviews (which I would like to avoid). First up is Mamamoo’s Travel, the group’s 10th mini-album since their debut almost seven years ago! The mini-album features the pre-release track Dingga (which performed better than the title track) and the title track, AYA. The mini-album also contains other songs which is why we are here today. Let’s check out these other songs as well.

Travel Album Cover

1. TravelTravel opens up the mini-album with an extremely pleasant pop track, one that I will gladly listen to whilst on a road trip/holiday (whenever we can next do that). In addition to making me dream about a holiday, the song has this layer of nostalgia, which I find to be very soothing and likeable. I really like how the members vocals compliment the pleasantry nature of the song. Usually, I prefer Mamamoo with their power vocals. But it was a good call to leave that approach behind for this song. Moonbyul does bring a bit of a kick through her rapping lines at the end of the choruses, which helps change up the song slightly without causing major disruption to the song. (9/10)

2. Dingga (딩가딩가)Click here to read the full review of Dingga. (9/10)

3. AYA (Title Track)Click here to read the full review for AYA. (6/10)

4. Chuck (척) – When I first saw the title Chuck, all I could think of was Seventeen’s Chuck. Seventeen’s Chuck was definitely very memorable and impactful. However, I was confident that Mamamoo wouldn’t pull a Seventeen styled Chuck, so I was intrigued with the song. What Mamamoo ended giving us was a pretty robust track. I really liked the striking nature of the instrumental, from the repetitive beat in the chorus to the wooden xylophone-like tapping in the post-chorus. The intro gave me Blurred Lines vibes, just a lot more classy. Mamamoo’s vocals were amazing in this song. I love the tease of the powerhouse vocals during the opening moments of the chorus and the energy they bring to the chorus. I also enjoyed the alternating Chuck that they simply speak during the post-chorus hook. (10/10)

5. Diamond Diamond was an unexpected track on this album and for the group. It takes on a sensual vibe that is quite alluring to listen to. It is also quite refreshing, given that this isn’t Mamamoo’s style of music. However, they nail it. I really liked the elongation of some of their words, dragging it out as if they are teasing us with their vocals. And the way they vocally spell out the word Diamond was quite interesting. Both Hwasa and Wheein really flourished, given their vocals fitted this style. Moonbyul’s signature rapping is brought back in this song and she blends in perfectly into this song. My only issue with this song is that it just didn’t go anywhere. (8/10)

6. Good Night (잘자) – It doesn’t help that I am writing this review past midnight. The first section (and ending of Good Night) is putting me asleep. Not because it is boring. But rather, these sections of Good Night appears to sound like a ballad and features piano that felt almost like a sleepy tune on Spotify. The song then suddenly changes into a café style music by incorporating some percussion and energy, and it slowly builds from there. I am unsure why though this was necessary. As the song builds, we get more and more (and it ends with a high note from Solar). Definitely no longer a sleep tune. But that complaint aside, the song definitely sounded good and everything was well executed. (8/10)

Overall Album Rating – 8.3/10

Dingga / Travel Teaser Image