Time to start reviewing the releases from this week that I have missed. First up this weekend is WEi, who made their comeback on Wednesday with Bye Bye Bye. The new song is the lead single from WEI’s third mini-album, Identity: Action. This is the group’s second comeback of the year, following February’s All or Nothing comeback.
Bye Bye Bye continues the influx of Summery tracks this week, by pushing WEi into the pop realm. It is a departure from WEi’s previous high octane and intensity driven sound that they had returned with at the start of the year. The minimal use of synths in this song allows us to hear the members in a more melodic and clearer fashion. Bye Bye Bye starts off with rhythmic guitar, before bringing in percussion that adds a bit of bounce into the verse. It isn’t the most innovative instrumental mix. But I quite like its simplicity and upbeatness. For the most part, the track doesn’t stray away from this sound profile and stay quite consistent throughout. There are appropriate changes along the way to allow us to differentiate between certain parts of the song (i.e. like in the chorus, we get a bit more percussion to amplify the central part of the song), but it isn’t a significant or wild change that breaks up or redirect the flow of the song into something different. You might think I am going to say it is boring, as a result of the consistency (which is something I do tend to bring up). But instead, I think Bye Bye Bye benefits from this. Throughout the verses and choruses, there was this strong stylish and refreshing vibe to the music thanks to the guitar work that is constantly in the background. To help prevent the song from falling into the bad side of consistency, the rappers really gave the song a much needed kick that felt suitable for the song. It was all done over similar or the same instrumentation as the rest of the song. Bye Bye Bye also has catchy hooks, such as the repetition of the song’s title, which helps make the new song even more memorable. If I were to be critical, I felt that the song could have been more vibrant during the chorus, especially in the final one. I think some vibrancy would have really lifted the song up to a whole new level and allow Bye Bye Bye to end off in a more spectacular note. But overall, Bye Bye Bye was a pleasant listen that really feels just right for the Summer season.
While the song missed that tinge of vibrancy, the music video that accompanies the release of Bye Bye Bye was very vibrant, in the sense it had a lot of colour. I really like how the music video looks really stylish, and isn’t necessarily an explosion or mess of various colours. It all felt well balanced and bright. The song is all about letting go of your worries. And the members do this in a literal sense, by performing a disappearing act to another country. The newspaper and milk carton had pictures of the group and captions/headings that labelled them missing. I wonder what worries they had to make such a decision to say ‘Bye Bye Bye‘ like that.
For the performance aspect of the performance, I thought Bye Bye Bye had a good routine. As expected there was a lot of waving throughout the performance. What I also really like was the footwork when it came to the chorus. It looks cool and felt very suitable for the refreshing guitar work in the song’s central part.
Song – 8.5/10 Music Video – 8/10 Performance – 8/10 Overall Rating – 8.3/10
Two days ago, one of Korea’s leading female groups made their comeback! The group in question is TWICE, who has returned for the first time in Korea since the release of I Can’t Stop Me in October of last year. They also released the single Cry For Me at the start of the year (but I haven’t reviewed this track as there is no accompanying music video). The group also recently released the Japanese single Kura Kura (which I have reviewed). The comeback this time is lead by the title track Alcohol-Free, which was released as a pre-release single ahead of their tenth mini-album, Taste of Love, which officially dropped earlier today.
Even before listening to the song, I have my reservations about the new song. Alcohol-Free is an awkward title for a song, and I feel this is because of the common perceptions of the term ‘Alcohol-Free’. To label something as ‘Alcohol-Free’ is a bit of a kill joy. (But those drinks do have their benefits in society). True to the common perception of the term, I find the song to be equally lackluster as those drinks. TWICE usually have these bold pop tracks that are super catchy and are quite memorable. But Alcohol-Free opts for a chilled track that delves into hip-hop and bossa nova genres. I acknowledge their attempt to change style and sound, but I don’t think this TWICE material. Well, their usual material, to be more exact now. Alcohol-Free, as whole, feels like an extension of elevator music, plain and boring. I did like the use of bossa nova to add that Summery feel. I particularly like the bossa nova element that started up the second verse, adding a bit of a fun vibe to the song. But I also found the song feel like it was stuck in a neutral gear from start to end, never building to anything substantial. I think that is the elevator music side of the song speaking, quite profoundly. But when you listen to the song more closely, you do hear some promising elements. The melody was pleasant to listen to. It did lack memorability and catchy hooks, as you usually would associate with TWICE’s music. But it was still likeable. Similar comments can be applied to the vocal work. I do, however, find their vocals fizzle out as they approach the end of each line, which isn’t really the best effect. The rapping in the bridge was a bit more promising, adding some oomph to the song. But it wasn’t enough to be the saviour element to boost the song to anywhere near the top of my personal list of TWICE’s best title track. But like the rapping, it wasn’t substantial enough to make an impact on my perceptions of the song as a whole piece. Overall, Alcohol-Free isn’t my cup of tea.
To fit the Summery vibes of the song, I felt the music video was appropriate for the music. Shot on the waterfront by the beach is pretty fitting (though I assume the waterfront was a set, and the beach imagery was applied post production). But nonetheless, it all made sense. I also really like other set, the one with the platform, massive cocktail glass and lighting that brings a silver tone to the set, which gave off a modern feel. I also guess, fitting for the title of the song, there are a lot of drinks throughout the video, which I presume to be alcohol free. The term alcohol-free in this song is actually used to describe their drunk feeling towards falling in love. They aren’t drunk from drinking, but rather the feeling of love. And I feel that the members show that well using facial expression throughout the video. They don’t look drunk, but rather blissful and happy at that feeling they are describing in the song.
For me, I felt the performance was quite refreshing, once again suiting the Summery vibes of the song. It also suited the mature direction in which the group had opted for in their more recent comebacks. I do think the performance could have been more energetic, but that is more of a song issue than a choreography issue. I do like their side-ways movements in the second verse, with that being the most memorable part of the choreography for me.
Song – 6/10 Music Video – 8/10 Performance – 7/10 Overall Rating – 6.8/10
Finally getting around to writing a review for Rocket Punch’s Ring Ring. The female group from Woolim Entertainment made their comeback on May 17 (a while back now) with a new single album which shares the same name as the title track. This is Rocket Punch’s first comeback since the release of Juicy back in August 2020. A week after the release of their new song, Rocket Punch was confirmed to be making their Japanese debut, so there is a chance you will be seeing Rocket Punch back on this blog with a review of their debut single (provided that it isn’t a Japanese version of their Korean title tracks). But until then, here are my thoughts for Ring Ring.
Ring Ring taps into the retro trend. But while we have heard numerous songs of this style in just this the first half of 2021, I have to admit that Ring Ring actually comes off as quite wholesome and likeable. And this alone is a huge improvement from their previous comeback, which I did not enjoy to say the least. Ring Ring features 80s retro metallic synths as the main instrumentation of the song, creating a fun and energetic sound that is synonymous with the retro genre. Ring Ring is particularly good when the song is turned up. While any song would sound better at a higher volume, the higher pitch at which the instrumentation and vocals are at within Ring Ring really need that oomph to stand out and hence benefits at the high volume. The group’s processed and high pitched vocals actually compliment the retro synths in a good way. While I do feel that their vocals were a tinge too cutesy, I do like how they felt bold at the same time, which is a definite plus when it came to the chorus allowing them to be heard on top of the instrumentation. To me, the weakest part of the song is the rap sequence we get in the second verse. It has a trap-centric approach to the instrumentation which felt generic and didn’t really feel retro, given everything surrounding it was retro based. The rap sequence in the bridge was much better and provided a really strong rebuild, launching us into the final chorus. The best part of the song has to be the pre-chorus. Everything in pre-choruses was very ear-catching and well-defined. It was also a really go lead into the chorus, connecting the chorus with the verse in a really cool fashion. Overall, Ring Ring is definitely their best title track yet. Hopefully, Rocket Punch (and their company) can continue the this trajectory.
I really like the sets. They felt very 80s, matching up with the synths and instrumentation of the song. I particularly really liked the massive gas station set. I know, it is just a gas station. But in this music video, it was really cool and tall. In the video, the members wait around for a phone call. Based on the lyrics (Ring Ring is about choosing between two potential love interests, boldly expressing that the subject of the song will go to whoever rings her phone first – taken from Soompi), the members are awaiting a phone call from one of two partners. There is a lot of ringing of all sorts which the members seem to mistaken for the phone. But in the end, the member answered a ringing phone (which came out of a fridge). I am glad that the video didn’t slip into an overly cutesy concept, keeping me onboard for its three and a half minute run.
The choreography did tap into the cutesy side of things. But I won’t hold it against them. It actually worked well with the song and showed off their youthful charms on stage. I particularly like their moves during the song’s main hook. Don’t know why, but it felt very retro and hence suitable for this song.
Song – 8/10 Music Video – 8/10 Performance – 8/10 Overall Rating – 8/10
Also making his comeback yesterday is Ha Sung Woon with Sneakers, the title of both the lead single and mini-album. This is Ha Sung Woon’s first comeback in 2021, with his last being Forbidden Island and Mirage from November of last year. This is also his first comeback since the confirmed disbandment of HOTSHOT. It is always disappointing to hear the disbandment of a group, but at least fans could have some closure with the confirmation of the disbandment, especially since it has been almost three years since we last heard from the group (their last comeback was without Ha Sung Woon and titled I Hate You). But sad news aside, we are hear to listen to Sneakers today!
Sneakers had a slow yet pleasant start. I guess the intention of this is to start the song from point zero, as there was a patient buildup in the instrumentation as we progress through the first verse. The pleasantry of this part is the melody, which brings out Ha Sung Woon’s soft vocals really nicely. What came next is pretty unexpected. I don’t think anyone suspected the burst of vibrant energy and super upbeat nature that was Sneakers‘ chorus. Firstly, it is the highlight of the song for me. The chorus is always the central part of a song, and so it should standout. And that is exactly what we get in Sneakers. Secondly, the vibrant energy (thanks to the influx of percussion) is just so catchy and memorable. I also really like the bounce to the song, which is so cool. Same goes for all the melodies we get throughout this section of the song. And thirdly, the chorus brought a smile to my face. And I guess that is thanks to the same vibrant energy (and may also be due to the music video, but I will get to that soon). Once the first chorus, the second verse doesn’t revert back to the slow pace of the first verse entirely. Instead, it keeps the beat going for a bit, which is great, The slowness does return as part of the pre-chorus, though I think this helps make the second chorus feel even more explosive. We get a brief stripping of the instrumentation for the bridge, before a quick buildup to the final chorus. Ha Sungwoon’s vocals in this part sounds so good and I really like how clear it is. Ha Sungwoon shows off more of this vocals in the final chorus, with high notes and ad-libs. Overall, I really enjoyed Sneakers, as it is vibrant and a super fun track that makes me smile.
I feel the music video is very relatable, especially due to the past year. A lot of us were in lockdown for the most part of 2020, staying away from strangers and the world in hopes not to contract the COVID-19 virus. And Ha Sungwoon portrays that in this music video. However, I think Ha Sungwoon is isolating for other reasons other than a pandemic. He is in bunker and he basically locked himself in there. He also has a lot of supplies that looks like it might last him a while. While he was reaching for a new water bottle, he knocked over a box that contains some sneakers. Memories of times where he was hanging outside start flooding back and he even reminisces about those time. In the end, he decides to leave the bunker to re-experience those memories and it appears to be the best decision he has ever made, enjoying the fresh air and sunlight that he sees for the first time. I guess it helps that your bunker is in a prime location like how his one was. Though scenes of him enjoying the sun and air, along with his memories of those times, brought a smile to my face. It all looked very genuine, and his enjoyment is easily transferred to you.
A really energetic performance accompanies the release of Sneakers. While this is expected, I really think Ha Sungwoon and the dancers went above and beyond, incorporating jumps that are high and take up a lot of your energy. I do think there is opportunity for more footwork throughout the performance, to really show off the sneakers. This is on the basis (and I hope) there are some awesome sneakers worn during the promotional period.
Song – 9/10 Music Video – 9/10 Performance – 9/10 Overall Rating – 9/10
One of the comebacks kicking off this week is N.Flying’s return to the stage with Moonshot. The new song is featured on the group’s first ever studio-length album, which is titled Man on the Moon. N.Flying is one of those groups who have waited forever for a Korean studio album. The band has been around since 2015, so that makes the wait over six years. That is definitely some time to release a lengthy album. The good news is that since their debut, there have been many mini-album and singles released, such as their most recent comeback Oh Really last year. I can’t wait to check out the album. But in the meanwhile, let’s have a closer listen to Moonshot.
What I like about Moonshot is the heft of the chorus. There is so much energy channeled into this alternative rock track that is comes off as bold and well-defined. And similar comments can be extended into the verses. The guitars in the verses were quite bold yet paced with the beat, standing out over the drums (which was kept on board to be the minimal beat of the song). And as the verse progressed along, we get a bit more guitar work, though it all revolving around the beat of the song. Seunghyub’s vocals here were really good, assisting with the minimalistic effect. But apparently that isn’t minimal enough, with the pre-chorus stripping the background to be even barer. But I like that technique, as it really made Moonshot‘s chorus explode out and have that high level of impact. We are also blasted with powerful vocals from both Seunghyub and Hwesung, which compliments that explosion from the instruments that I just mentioned. The chorus also features the line ‘If you want to change, be not afraid‘, which is quite catchy after multiple repeats. The second verse has a similar set up with a minimalist vibe for Hwesung’s solo part, this time the guitar work being a electric guitar riff. Seunghyub returns briefly as a vocalist before coming in as a rapper. His rap sequence was actually cool, and I like his delivery which showcased a tinge of hip-hop. In the bridge of the song, we get a brief stripped back sequence before slowly rising back to the final chorus. There is a bit of a suspenseful delay to the reintroduction to the beat, allowing Hwesung’s vocals to be showcased once again in a raw fashion before the drums come back in to close out the song with the hefty style that featured in the first and second choruses. Moonshot is a powerful yet simple alternative track that speaks volume in music and meaning.
The meaning of the song can be expressed simply by that one hook line, ‘If you want change, be not afraid”. At the start of the video, we see the members cowering in fear. They seem to want change, but it appears they fear the unknown. Their world is constantly watched, which the members work out based on the cameras you see everywhere, the eye we see in the roof and the TVs they find with all the footage of them throughout the video. The world is also “fake”, with boundaries set up to keep them in (I got Truman Show vibes when Hwesung and Seunghyub touched the barrier). I think the moon (wearing the spy gear) is a fake moon and whoever is behind this fake moon is elicting fear on the members. Once the secret has been unveiled, they take their desire for change to the next level, by attacking to the moon which subsequently blows up revealing the real world. Thus changed had occurred, only because the members stopped being afraid. Overall a good video with a really deep and meaningful message.
Song – 8/10 Music Video – 9/10 Overall Rating – 8.4/10
EXO IS BACK! That is the first time I am saying that since their last ‘full-group’ comeback under the name of EXO with Obsession (both the name of the title track and album) in 2019. The main reason to the almost two year hiatus is because of military enlistment. Even during the Obsession comeback (and even today’s comeback), EXO has a few members currently enlisted in the military. And in 2020, it was announced that EXO would focus more on solo and unit promotions, with the successful debuts of Suho and Kai, and the successful comebacks of Baekhyun (Candy and Bambi), Lay and EXO-SC. But today, we welcome back EXO through the release of a special single, Don’t Fight The Feeling, which features members Xiumin, D.O (both who have returned from the military), Chanyeol, Baekhyun (both who have just enlisted), Lay, Kai and Sehun. This comeback also marks the first time Lay has featured in a comeback since 2018’s Tempo. Suho and Chen are currently on hiatus due to their enlistment (alongside Chanyeol and Baekhyun). Okay, formalities out of the way, let’s have a closer listen to Don’t Fight The Feeling.
Described as a dance song with a ‘cheerful rhythm’, Don’t Fight The Feeling really delivers with its upbeat instrumental and catchy lyrics. If you are looking for the usual serious and mature sound from EXO, this isn’t the song you are looking for. But if you are looking for something upbeat and vibrant as Love Me Right or Power, then Don’t Fight The Feeling is what you be looking for. I really like the no nonsense approach the song has when it came to its instrumentation. From the very start, you could feel what the song’s description was stating. And as the song went on, the synths gave off a funky vibe (which is a very 2020s thing), while the bass gives the song its depth. I do dislike the inclusion of the trap-based background for the rap sequences, with its stripped back nature being a bit too standard for my taste. I felt that these part could have been a bit more enticing with something a little more original. Overall, it is a really cool instrumentation that gives you in the mood for a bit of a groove. The chorus was catchy with the repetition of the song’s title and the overlapping of vocals. This technique really kept the song going and helped key the song’s hook into your mind. Though, I would have liked to hear a more dynamic hook to the song, but what we got in Don’t Fight The Feeling was satisfying nonetheless. When it comes to the vocals and rapping, it is definitely great to hear everyone again. There wasn’t anything as explosive with their delivery however and I didn’t think any member stood out of the pack. That’s fine though, because EXO still gave us a satisfying showing of their vocals. But while that was the case for the overall song, it was definitely nice to hear Xiumin, Lay and D.O, as it has been a while since we have heard from them. As for the rapping, what we got was okay. But it wasn’t really the best showcase of Chanyeol or Sehun’s skills. I think if the producers went with a backdrop that flowed with the rest of the upbeat instrumentation’s momentum, it would have worked more in Chanyeol and Sehun’s favour. Personally, Don’t Fight The Feeling is a really good return for the group and a song I wouldn’t mind casually replaying. It isn’t until I sit down to consider the elements individually, that I find myself slightly disappointed.
Don’t Fight The Feeling‘s music video fits into the new SM cinematic universe, which appears to revolve around KWANGYA (the planet in which aespa’s virtual members live on). As the lyrics, I think that members have to travel through KWANGYA to EXO-Planet, which is EXO’s destination in this video. I think that is a nice tie into the cinematic universe, but also keep EXO’s storyline as its own separate entity. As for the visuals of the music video, I thought it looked quite cool, with the spaceship and air-craft carrier. It was definitely nice to see most of the group on our screens, as well. Lay also made an appearance during his solo part. Though, it is clear he had to film elsewhere (most likely China) and the editor(s) inserted him in later. Everything was all good until we got to the final scene, where the members are all partying up and we see a snippet of the choreography. I am happy they inserted Lay into the choreography shot, bringing EXO together once again. But the green screen usage at the end was pretty poor in my opinion, and I felt like this impacted the quality of the music video in the end. The video just didn’t feel great anymore, thanks to the ending.
The choreography definitely looks cool, and I am glad the green screen didn’t ruin this aspect. It is definitely more lighthearted and not intense as EXO’s usual style, but I attribute the change to the music which calls for a lighter set of moves. I liked the chorus, when they do pivot with their arms stretched out in a diagonal fashion.
Song – 8/10 Music Video – 8.5/10 Performance – 8.5/10 Overall Rating – 8.3/10
Last week, GHOST9 made their second comeback of the year with Up All Night and their fourth mini-album, Now: When We Are In Love. This continues the string of comebacks by the group in a span of less than a year, which (as I had stated in my last review for GHOST9) I am glad for, to help get their name out there. I just hope that the members do get an opportunity to rest and their management doesn’t overwork them (like we have seen happen with other groups in the past). This comeback in particular comes after their February comeback with SEOUL.
Up All Night opts for a lighter and brighter tone, fitting for the Summer season that Korea is currently entering into. All their title tracks thus far have been of of a intense EDM sound, which is very typical for male groups currently. So it is nice to hear GHOST9 switch up their sound for something more pop driven. And as one of the first groups to release song of this fun and bright style, Up All Night has great energy and drive. If the song was released closer to Autumn, I don’t think I would have been as excited for the song as I am now. The song starts off as your standard pop number, pumping in this upbeat energy that is synonymous with having a great time on Summer break. It then leads into a chorus, reminding me of One Direction’s style of pop music back when they were still around. The second half loses that touch slightly to incorporate a bit of rap into the chorus, but it is still as dynamic as the first half. The second verse continue the momentum that has been set for it, continuing the appeal of the song. The bridge of Up All Night slows down a bit, but I feel this just helps the final chorus be just that bit extra impactful (even though I am quite sure it is the same chorus on repeat from earlier). I really enjoyed the rap sequence that formed part of the bridge. It just came in the right time and had all the right vibes for this part of the song. I also really liked the extension to the final chorus, and how they call came together for the final to wrap it up. As for the vocals and rapping, I felt like Up All Night put a really nice display of those elements. Their delivery of both vocals and rapping were fitting for the overall style of the new song, and they were quite clear and crisp to listen to. Up All Night may be a straight forward song in some sense, but I think it was a great showcase of what GHOST9 has to offer outside of EDM.
The chorus blasts you with colour. Most of it wasn’t artificial, however, as the entire video is shot outside. The colours are just vibrant and feel fitting for the Summer season. The invisibility cloak scene and the massive red balls added a cute tone to the video. I do question the flying whale. Not sure what it means exactly, but I have seen it often in KPOP. As for the members, we see them have a bit of fun in the sun and in the shade, bringing forth the energy of the song. Overall, the music video is fitting for the song, so there isn’t much else to ask for.
I really like fun the choreography looked for this comeback. It has this slight bounce to it and I felt some of the moves were just a bit fun infused into the routine (like how they move about in the second half of the chorus). I think there is opportunity in the final chorus for the group to change the routine a bit between performances. It think this would make the performance more enticing to continually check in on.
Song – 9/10 Music Video – 9/10 Performance – 8.5/10 Overall Rating – 8.9/10
One week ago, I said I was going to prioritise one particular song for review as it rose to the top of my personal Weekly KPOP Charts for the 4th Week of May 2021. Unfortunately, I didn’t around to writing that review during the week. But it is still a priority, especially since I am publishing this review before so many other releases that I have promised myself to write reviews for (some of them released weeks before this particular song was released). But just in case for those who missed it (or don’t pay attention to my Weekly KPOP Charts), the song I am talking about is titled Hurt and it is a collaboration between Baekhyun (from EXO) and Seomoon Tak, who is a South Korean rock singer. This collaboration was released on the 10th of May, and has gone since without a review. However, that will change today with the release of the review! Just a few days prior to the release of Hurt, Baekhyun enlisted as a public service worker to fulfil this military enlistment duty.
I didn’t immediately check out the song upon its release. And that turned out to be a regret, because Hurt is soooo (yes, the extra o’s were necessary) good. Hurt is a rock track, showcasing both Baekhyun’s and Seomoon Tak’s vocal powers. The instrumentation has a nostalgic factor (i.e. synthesizer keyboard) for me, bringing me back to music I used to take a liking towards when I was younger. On top of that, the instrumentation is fiery and powerful, acting as the perfect backdrop to help lift those power vocals I just mentioned to be even more so. The song starts off with Seomoon Tak, who I am unfamiliar with. She is a rock singer (as stated earlier) who made her debut back in 1999. She takes the first verse and presents us with her raspy and husky vocals. Based on what you hear, you can tell she has experience in the genre. She sounds amazing throughout her solo parts, teasing us with her vocals with what you know is coming. Baekhyun doesn’t make an appearance in the song until the first chorus, in which he leads. We all know Baekhyun is a capable singer through a lot of his solo work and through EXO’s songs. But I don’t think we have ever heard him like this, showcasing powerful vocals that leave in me in awe. I really like the echoing they do with the song’s title in the chorus, which added so much depth to the song, The pair play switcheroo for the second part of the song, with Baekhyun singing the verse and Seomoon Tak taking helm of the second chorus. That being said, there is some crossover. Baekhyun has some stunning high notes in the second chorus. But I think the ultimate singer has to be Seomoon Tak who blew me away with the heft and intensity she throws behind her vocals in her chorus. But remember, Hurt is no competition between the two singers. They come together in a spectacular fashion for the final chorus, harmonising their power vocals together to create a really satisfying end to the song that just touches your inner soul in all the right places. Overall, the passion and intensity of Hurt, along with the pairing of Baekhyun and Seomoon Tak just makes Hurt unforgettable and highly recommended.
The music video for Hurt is quite simple. The pair perform their songs into microphones in front of a band, who plays the instrumentation of the song. The lighting makes the video’s ambience quite moody. But the song itself prevents the video from entering a gloomy feel. I liked the hand held camera work in this video, which I think made the video more impactful with its shakiness. It gave off a live impression. While we are on the topic of ‘live’, I did wish this was a live video, where they were singing and recorded live. That would have made it more stunning and impressive, whilst also showcasing the song in a very gripping way.
Song – 10/10 Music Video – 9/10 Overall Rating – 9.6/10
I can’t believe we are already in June! How crazy fast has 2021 been? And this is definitely something, given how 2021 is already looking like a repeat of 2020. But we are not here to be sad or disappointed! I am sure that we all found an escape in KPOP in 2020, but I am sure it has extended into the present. And talking about the present, I will be looking back at the 1st Week of June 2021 today. A number of comebacks happened this week including TXT, Joy’s solo debut, Mamamoo and MONSTA X. Also, Stray Kids was crowned the winners of Kingdom: Legendary War, and they (along with fellow contestants The Boyz, BTOB, SF9, ATEEZ and iKON) performed their newly released songs on the show this past Thursday. Click the link to see my thoughts/reviews of those stages (and for the rest of the series). But as for now, it is time to wrap up the last week!
New Releases of This Week
Apart from the new releases I had already mentioned, there are some other releases this week from GHOST9, B.I, Ravi (VIXX), VROMANCE, Zelo and NCT 127. Because of my slightly busier week, I haven’t really had the opportunity to sit down to listen these tracks. Though I am hoping to still review them in the coming weeks, after I do a bit of catch up with the other songs I have been holding onto.
Throwback Corner
For this week’s throwback, I have picked a recent-ish song. And when I say recent-ish, I mean the second half of 2020. That is The Boyz’s Whiplash, a side-track off the group’s fifth mini-album, CHASER. It is quite an addictive song, and I recommend that you check out if you want to listen to more of The Boyz!
The Charts
Congratulations to Mamamoo, who tops KPOPREVIEWED’s Weekly KPOP Charts for the 1st Week of June 2021, with their recent comeback Where Are We Now. For more of the charts, keep on scrolling down!
30th May – 5th Jun 2021
Title
Artist
Status
1
Where Are We Now
Mamamoo
(NEW)
2
Hello
Joy (Red Velvet)
(NEW)
3
Finale (Show And Prove)
BTOB
(▲ 38)
4
GAMBLER
MONSTA X
(NEW)
5
ONE
ASTRO
(=)
6
KINGDOM COME
The Boyz
(▲ 64)
7
|Believer|
SF9
(▲ 60)
8
WOLFGANG
Stray Kids
(▲ 61)
9
FIRST
EVERGLOW
(▼ 2)
10
BLACK MIRROR
ONEUS
(▲ 8)
11
0X1=LOVESONG (I Know I Love You)
TXT ft. Seori
(NEW)
12
The Real
ATEEZ
(▲ 54)
13
Hot Sauce
NCT DREAM
(▼ 9)
14
Son Of Beast
TO1
(▼ 11)
15
Not The End
HIGHLIGHT
(▲ 13)
16
Dun Dun Dance!
Oh My Girl
(▼ 14)
17
Touch By Touch
GreatGuys
(▲ 55)
18
libidO
OnlyOneOf
(▼ 5)
19
Like It Hot
GWSN
(▲ 4)
20
M.A.F.I.A (In The Morning)
ITZY
(▲ 20)
21
Atlantis
SHINee
(=)
22
At Ease
iKON
(▲ 46)
23
You Make Me
DAY6
(▼ 12)
24
INSIDE OUT
NU’EST
(▼ 14)
25
Hurt
Baekhyun (EXO) & Seomoontak
(▼ 24)
26
Drunk-Dazed
ENHYPEN
(▼ 6)
27
Switch It Up
JAY B (GOT7)
(▲ 2)
28
10 Times
B1A4
(▲ 18)
29
Purple
woo!ah!
(▲ 43)
30
Ugly Dance
ONF
(▼ 18)
Songs leaving the charts this week
Songs that have wrapped up their nine week run on the charts and hence won’t be appear on the charts from next week are:
Earlier this month, Kingdom: Legendary War began its run, pitting six well known and high performing male groups against one another for the throne. The Boyz, winner of the prequel season Road To Kingdom last year, is featured as one of these male groups. During the 2020 MAMA Awards, it was confirmed that Stray Kids and ATEEZ will be participating. And in January 2021, it was also confirmed that iKON, BTOB and SF9 will be joining the lineup. It was also confirmed that TVXQ (a name in the industry worthy of the Kingdom title without a doubt) will be hosting, but this was later reduced to just Max Changmin, as Yunho was involved in a scandal and was edited out as much as possible (and will not make an appearance in future rounds).
As I have reviewed part of Queendom and all of Road To Kingdom, I will also be reviewing the stages of Kingdom: Legendary War, recapping the high caliber performances from each round and also putting forward my thoughts on what the ranking should have been for that round.
Final Round – WHO IS THE KING?
After two months of performances, we have finally reached the final round. WHO IS THE KING? started a week prior to the episode airing, with the final songs released to see which group would garner more attention on the music charts. This attention (and their ranking on the music charts) would determine the first set of points the group’s would get, thus contributing to their final score.
When the episode starting airing, fans were given the opportunity to live vote for their favourite groups, thus creating a second set of points the groups were able to get in the final round.
At the conclusion of the performances, the live votes were tallied and added to all the points which the groups have accumulated throughout the competition. The group with the most points would be crowned the King!
For this review/rundown, I will be having a deeper listen to the songs released by each of the groups and a closer watch of the performances. I will also be giving a final rating based on these aspects, allowing me to determine a rank for the final round.
Then I will look at all my rankings I have done since the start of the show to determine who I thin should have been crowned the King! See you at the end.
The Real (멋) – ATEEZ
Going first up in the final round is always a daunting task and that task was assigned to ATEEZ. But knowing ATEEZ’s style, this task was going to be a piece of cake for the group. The Real taps into the hip-hop genre, combining it with a really dynamic and upbeat instrumentation filled with abrasive synths that has a sense of familiarity for me. I am sure somewhere on the blog, I have heard these same synths somewhere. But despite that, I really like that ATEEZ took those synths and really made it their own hype song. ATEEZ’s rappers kept the song dynamic, especially in the verses, and helped moved the song along. The vocalists really help give The Real some definition, and kept the song grounded and still for a brief moment. I think this was needed to prevent the song from being too overwhelming with the synths and energy. It also made the chorus that followed become more impactful. But what really sold me with this song is the energy that comes off it. I love the relentless energy that just doesn’t stop coming at you. And I also really liked how the energy just kept on piling up, especially towards the end. It was an exciting and stimulating opener to the round. It even got the crowd (i.e. other participants) hyped up. Definitely a style I would like ATEEZ to continue with in the future.
I feel the stage for this performance was a bit weak. While the choreography and energy was undeniable, I felt the performance could have had more of a wow factor to it. It might have been a stylistic choice to not include a wowing moment in the performance, but I felt that is where this performance fell short. I really like how the markings on the locker and the way the microphones were positioned to make the hangul of the song’s title appear at the right angles. That would have taken a while to set up and to ensure the camera work was on point (we all know how sometimes camera people like to not capture the right moments). I also feel the other stage props and setups had a fun vibe to them, which also matches the song (i.e. the puppet box and the chickens). As for the choreography, it definitely had that hype energy that felt on par with the song. I also felt their stage presence and personality made the choreography more energetic.
Final Rating – 7.9/10
WOLFGANG – Stray Kids
With WOLFGANG, Stray Kids relies heavily on momentum and intensity to get through their performance. There is also a showcase display of vocals and rapping from the members throughout the song. But I feel that comes second in WOLFGANG. I feels the members could have been a bit more angsty at certain parts (like in some of their other performances), which would have made for a more intense and thrilling performance. This would have made the dynamic performance even more dynamic and powerful, and give them more room to experiment with performance strategies on stage. I also find it interesting that none of the members really stood out to me in this WOLFGANG. Each member brought their individual style to the song, but the limelight was shared between members. Instrumentally, I liked the choir-like background to this song. It gives of a suspenseful atmosphere and does a good job of contrasting with the vocal/rapping delivery that we did get in the song. It also felt like something was simmering away in the background, concentrating as the song progressed along. Glad to hear in the end that energy was released in a relentless and concentrated manner that makes for a really thrilling ender to the performance. It started with the EDM instrumental break before leading into a dramatic increase in strings for the final sequence. It definitely showed Stray Kid’s powerful potential and it gave what I thought the performance definitely needed.
I really like the idea of the members turning into werewolves for this performance. The members started out as humans, before they start donning fur to show their transition from human to werewolf. But I think they are new to this transition, with some of dance moves starting off small (i.e. when they jump off the dancers back the first time). But as we get towards the end, the members become used to this change and exert more dominance, leading them to leaping off the dancers’ back the second time around. The choreography for the ending sequence also looked really powerful, matching the energy they exuded in the song. The show-stopping moment of the performance has to be Bangchan putting on the wolf attire showing some skin in the process, which I assume has thrown the STAY fandom into disarray.
Final Ranking –8.1/10
KINGDOM COME – THE BOYZ
The Boyz rounded out their Kingdom journey (Road To Kingdom & Kingdom: Legendary War) with KINGDOM COME. I liked that their song reminded me of their winning song from Road To Kingdom (CHECKMATE). This one sounds more intense, especially thanks to the powerful orchestral influence the producers of the song infused into the chorus. To compliment the chorus, KINGDOM COME teases us with less intense strings in the verses. Their vocals and rapping also fits in really neatly. The second half of the second verse brings in a really stylish and cool electronic-based instrumental break to facilitate a dance break on stage (more on that in a bit). It led to Juyeon’s dance break, which retained the dynamic thumping but opted for strings rather than EDM. The chorus returns, before transitioning with a really cool rough textured electronic sequence to the bridge song, which showcased nice vocals from New, a bit of deep rapping from Sunwoo and a spectacular elongated high note from Sangyeon. This marked an entrance to the final chorus, which I am sure had the same energy levels as the previous chorus. But until this point, KINGDOM COME has been snowballing all its energy to release it during the final chorus to give off an ‘edge of your seat’ vibe. I really like the autotuned ‘Until Kingdom Come‘ line that repeats. I didn’t notice it at first, but I think it added to the suspense that contributed to a really strong ender from The Boyz.
What I really liked about this stage is the pre-recorded footages featured in the performance. As mentioned at the start, this performance wraps up their time on the Kingdom series. In the first pre-recorded footage, we see each individual member wearing a different stage outfit from each of their RTK and Kingdom performances. The second pre-recorded footage we see features Younghoon, who couldn’t physically dance in this performance due to an injury. And the third pre-recorded footage features the members dance in white shirts and black pants while it is raining in the background. These pre-recorded footages were interlaced throughout the stage performance, allowing for different visuals to be in play, similar to how a music video switches between solo shots and choreography scenes. A unique concept and idea. On stage, The Boyz pulled off really both intense and graceful dance breaks (the latter being in a shallow pool of water) and powerful choreography that was captivating to watch. I liked fiery red colour of the stage at the end that showed us their passion.
Final Ranking – 8.7/10
Show And Prove (피날레) – BTOB
What I really like about Show and Prove is how uplifting it sounds. And because of this, it has a very different sound to all the songs by the other participants of Kingdom: Legendary War. I really like the dramatic rock-influence instrumental sequence that kicked off the song, which lead into Peniel’s opening narration to enjoy their stage, Changsub and Eunkwang’s vocal pairing and Minhyuk’s rap sequence. Up until this point, it appears that BTOB had opted for a rock styled instrumental for the song. But what keeps Show and Prove exciting is that they changed up the style for the chorus, opting for a much brighter and warmer melody. The rock influence remains, but it clear the vocals do most of the speaking during the song’s central parts. And while we are on the topic of vocals, the members’ smoothness really sell me this song. You can also feel the passion and energy through their vocals, which makes a really great song to finish their journey on Kingdom with. I particularly commend Changsub, who seems to employ a bit of a musical flair with his vocals in this song. The same structure of rock-dominance in the verses and the warm melodies for the chorus repeats again, repeating the same level of captivation from the first time they did it. The entire bridge and final chorus sequence, consisting of Minhyuk’s vocals, high notes from the members, harmonies between the members in a choir like manner and more of Peniel’s speech, gave me goosebumps and was a really polished finish Show and Prove.
For the final stage, the members of BTOB keep true to themselves and focus on what they know best. They don’t dance or participate in the accompanying choreography. Instead, they showcase their vocals. Despite opting this arrangement in terms of the stage performance, it doesn’t mean it is any less dynamic or impactful. I am sure I have mentioned this somewhere on my blog, but their vocals speak volumes. That being said, the dancers did a lot to give a bit of a wow factor to the stage and I liked how BTOB used the stage for this performance. If I were to nitpick at one aspect, it has to be how the stage was set up for the final sequence. I think some of the dancers should have been in front of the members (who were already on high blocks). I think the stage would have looked better and potentially warmer, as a result to fit the song’s vibes. But overall, a really strong performance by BTOB, who were clever and played with their strengths.
Final Ranking – 9.1/10
At Ease (열중쉬어) – iKON
There was no surprise when I heard At Ease for the first time. It taps into hip-hop, which is iKON’s preferred genre of music whenever they release something. Like most of their songs, the rap is dominant in At Ease, which definitely plays towards their strengths. But based on what I heard, the rapping in At Ease was pretty standard for iKON. Nothing special in that department. Similar comments can be said about the vocals that make up the pre-chorus, though I was glad for some melodic flair in the song. It the last few seconds of the chorus when the song gears up for the chorus drop that starts pulling my attention towards the song. The repetition of the ‘Play Play Play‘, paired with the drumming instrumentation, was a really cool and intense buildup. Then came the chorus, which brought all the energy down. While I do wonder where all that energy those last few seconds had brought to the song, the militaristic vibes and bombastic creates a very powerful atmosphere that I feel iKON could only create. I do think it pairs well with the rapping we get in the verses, even though I did mention they felt standard. Their anthem ending sequence was expected, as it tends to appear in all iKON songs (and have been appearing in their Kingdom stages). And while I do groan at the unoriginality of how they approached the ending, I do find the energy that comes off this sequence to be fitting for this song. It felt like a last hurrah, following all the seriousness that the chorus felt, infusing a bit of freestyle and fun into the song. Personally, At Ease isn’t my preferred song of the bunch. But they definitely infused their roots into the song.
As for the stage, I did like the way they used the fences. From the mini ‘rooms’ created by the fences (like how the cameraman was trapped in at the end of the performance), to how the cameraman shot through the fence to create an edgy effect. I did think they could have taken the stage a step further and made it more interesting. Aside from the fences, there wasn’t much to really talk about. As for the choreography, it was good. Though like the stage, I think more could have been done. I do find their outfits interesting. I would have thought they would have gone something to compliment the militaristic style of the song. But I guess that would have been cliché.
Final Rating – 7/10
Believer (숨) – SF9
SF9 finishes up the final round with Believer. The song comes off as smooth and showcases the charm that SF9 was most successful with during the earlier rounds of Kingdom: Legendary War (i.e. sensual). What I find interesting about Believer is that it is the least bold song out of the bunch. But that might be a good thing on one hand. All the other performances rely on dramatic flair and powerful instrumentation. Believer differentiated itself as a result from the pack, allowing it to become an ‘easy on the ears’ listen, which is definitely appreciable after so many powerful and intense sounds. But on the flip side, it might not be able to standout and become forgotten within the mix of powerful songs. For me, I feel the former (it being a good thing) to be the case here. Though, I do think there is room for the song to be bolder with its instrumentation. The synths in this song are quite stylish and sound like they have never been done before in KPOP. It is almost trippy and hypnotic in a way (combined with the percussion we get in the instrumentation). I find the vocal work to be quite sleek, while the rapping infuse a bit of edge to the song. As for the chorus, the melodies were memorable and catchy. The ‘Tuk Tuk Tuk‘ at the end of each line in the chorus was very addictive.
Of all the six stages, I think SF9’s was the stylish. And that is thanks to that hexagonal mirror structure present, which reflects the stage’s lighting and imagery from the screen. As a result it gives off a really cool effect that takes me back to a few music videos from KPOP’s past. I also like how it wasn’t just a tube, but rather segments that SF9 used really well to reveal members and have them quickly disappear. As for the choreography, SF9’s stage was also pretty cool. I really like the idea of mirroring that was employed in the routine (seen during the start with Hwiyoung and Yoo Taeyang and then again between Chani and Youngbin after first chorus). I am not entirely sure what the story behind the choreography, but it seems like there is a struggle between light and darkness based on the imagery we see on stage. I did wish they brought more of a sensual vibe to the choreography, though. The best part of the stage has be Zuho’s stage presence during his rap sequence, where we saw the light and dark come together in a moment of peace. His outfit was split between the two sides and the contacts he was wearing was quite scary, but at the same time, very memorable.
Final Rating – 8.6/10
And the winner of this round is…
Formal results for the final performances were not provided, with the crowning of the king taking precedence once the performances wrapped up. We did get to see digital results for the final round, but these are based on their rankings on music charts since the release of the songs a week prior to the final episode. The ranking for the digital music points were The Boyz (1st), Stray Kids (2nd), BTOB (3rd), ATEEZ (4th), iKON (5th) and SF9 (6th).
As a result, I have decided to ranking the final performances amongst each other. The table below shows the ranking for the final round only. Keep on scrolling down if you want to find out how I ranked each group’s performance throughout the entire Kingdom: Legendary War series.
Do you agree with my ranking of this round? Comment below if you agree/disagree. Plus include what you think the ranking would have been like!
Rank
KPOPREVIEWED’s Final Round Ranking
1st
BTOB
2nd
The Boyz
3rd
SF9
4th
Stray Kids
5th
ATEEZ
6th
iKON
And the winner of Kingdom: Legendary War is…
And it is the moment you have been waiting for! I will be sure not to going into dramatic pauses, like what Changmin did on Thursday. I did laugh at how quick MNET decided to flash the final results on our screen on Thursday at the very end.
For the most part, I agree with the crowned winner, which was ultimately Stray Kids! But it the rest of the rankings which I for the most part did not agree with, considering how I ranked the performances and stages from all the rounds. You can see the results below!
Do you agree with the shows’ ranking? Or do you agree with mine? Or do you disagree with both and have a different ranking in mind? Let me know in the comments section below!
Ranking
Final Kingdom: Legendary War Results
Final KPOPREVIEWED Ranking
1st
Stray Kids
Stray Kids
2nd
The Boyz
BTOB
3rd
ATEEZ
ATEEZ
4th
BTOB
The Boyz
5th
iKON
SF9
6th
SF9
iKON
And that’s it! Thank you once again for sticking around for my review and thoughts for Kingdom: Legendary War! While I do have negative thoughts on how MNET operates, I do hope that we get to see more Queendom and Kingdom seasons in the future. Congratulations to all the groups for their amazing performances. Mad respect to all of them and I can’t wait to see all of their future comebacks and works! (Now to get back on track with the reviews…)
Mamamoo is the next big name group to make their return this week. So far this year, we haven’t heard too much from Mamamoo. This might be due to the fact the members were renewing contracts with RBW. Currently, all members aside from Wheein have confirmed to have resigned with their company, with Wheein’s contract still being negotiated. That being said, we have seen some of the members since their promotions of AYA and Dingga at the end of last year. Solar has released an OST track for the Korean drama Vincenzo, Wheein made her comeback with her first solo mini-album and the track water color and Moonbyul collaborated with Bumkey for the single The Lady. On Wednesday, the group made their comeback with their 11th mini-album, WAW and the single Where Are We Now.
For a group who is known for their amazing and power vocals, it is pretty interesting that this is Mamamoo’s first full-fledged title track that is also a ballad. They did release Paint Me in 2018 as single, but it didn’t get the same promotional treatment as Where Are We Now. The new song was initially breathtaking as Paint Me, showcasing the group’s vocals abilities in an undeniable sense. The song starts off with Hwasa’s husky vocals and piano/guitar backdrop, before we are introduced to the lightness with Wheein’s vocals. And this is all followed by Solar’s soaring vocals. I really like how they keep the song grounded, despite all the lightness and high notes we do get. It brings the song back to a stable point and allows for the thrill of the same lightness effect and high notes to return as we listen to the song some more. But let’s skip back a few sentences. I stated that ‘The new song was initially breathtaking…’. Key word in this statement is ‘initially’. It came off as breathtaking the first time I listened to it for sure, but I think the effect has worn off with multiple listens. Sure, the song is still captivating. But with multiple listens, I am pretty familiar with the song and yet I find myself preparing for the disappointment that comes in the song’s second verse. And that disappointment has to be Moonbyul’s rapping. It isn’t her style or delivery that I find disappointed. I just find the rapping to be an ill-fit for Where Are We Now. I wished Moonbyul had stuck to singing like the rest of the members, and showed off some vocals like in 10 Nights. I am not looking for Moonbyul to replicate her high note that from example song, but I think Where Are We Now would have sounded better full of vocals rather than with a rap sequence. I also think Moonbyul could have been given more parts and not be confined to just the second verse. Overall Where Are We Now had potential to be grander, if it hadn’t conform to the need for a rap sequence as per most KPOP songs.
There was a mix of elegance and casual visuals throughout the video for each the members. But regardless of which scenes fell along the spectrum of elegant and casual, they all came together to make this a really beautiful video to watch, complimenting the same captivating feeling that the song had. While I tend to not like the moody colours filter that was applied throughout the video, I felt that the moody colour tone was expected to fit the ballad genre. The most stunning scene has to be the one where they are in their white dresses, surrounded by the revolving lights. The birds-eye view shot we got with the lights started twinkling was amazing to watch, and appropriately matched the peak of the song.
Song – 8.5/10 Music Video – 9/10 Overall Rating – 8.7/10
Next up on the reviewing block is yesterday’s release of GAMBLER by MONSTA X. The new single comes from their ninth mini-album, One Of A Kind. It follows the November release of LOVE KILLA and their third studio album, Fatal Love (which I have previously reviewed). Since then, the group released Japanese versions of their previous Korean title track, a new original Japanese single (titled Wanted) and their third studio album in the Japanese pop music market titled Flavour of Love. The lead single off that album hasn’t been reviewed yet and I will doing that in an upcoming International Song Review post. In the meantime, sit back and prepare for a secretive listening session with MONSTA X’s GAMBLER.
MONSTA X takes a few steps away from their usual EDM based tracks for a sleeker sound. The usual intensity that we have gotten through many title tracks from MONSTA X is still present, just delivered in a different manner this time around. GAMBLER features this groovier foundation, which is a refreshing sound for the group. Sure, it might not be the most innovative technique out there in the wider KPOP music scene, but it is definitely so for the group. The bass in this song brings forth that funkier sound and is highlighted by the electric guitars and drumming. There are synths in the song, that bring a rougher texture and bombastic sound, but they are not as intense and don’t contribute to the ‘noise’ as much as in their previous songs. The best part of the instrumentation, for me at least, is all the deep instrumentation we get. So much depth and texture to GAMBLER. Also adding so much texture to the song are the vocals and rapping. To me, I feel like the members are making up for that lack of EDM through their deliveries. Kihyun blasts us with his power vocals throughout the song, and we see more coverage of Hyungwon and Minhyuk in this song. I like Joohoney’s and I.M’s more rhythmic rapping sequence in the second verse. Usually, they come at us with this really aggressive sequence, featuring a lot of growling and raspiness. However in GAMBLER, they tone it back but still have that really impressive tone to it. Joohoney, in particular, also surprisingly brings us a high note towards the end of the song, showcasing his vocals which we have previously heard during their Versace on the Floor cover a few years back. His skillset is reiterated further down the track during a really intense ad-lib which compliments the electric guitars that come into play to close out the song. I have been waiting for Joohoney to bring that to a track and it is finally here. My most favourite part, in terms of vocals/rapping in GAMBLER, has to be the harmonies we get following the thumping dance break. There was a lot of unpack from the song and I don’t think I even covered all bases with regards to what I liked about GAMBLER. Though, I think it is safe to say that this is one of the best in a very long while.
Throughout the video, MONSTA X successfully hatch a very lucrative plan to steal a gem that has been dubbed MX0514 (MX standing for MONSTA X and 0514 representing the date in which they made their debut over seven years ago – which I guess means they have renewed their contract with Starship Entertainment given that initial contracts last 7 years). They each infiltrate a private auction and try to scare the potential buyer by putting him under some bidding stress by following his bids very closely. All the members become bidders by killing other bidders or stealing their invitation. Meanwhile, Joohoney kidnaps the person who is supposed to be overseeing the auction and takes on the role of the auctioneer. Assuming that they didn’t have money to begin with to win at the auction, Kihyun and Minhyuk start a fight at the auction, timing it to when Kihyun had set the timer to go off to cause an extensive blackout, which resulted in the members defeating everyone who is not part of their team and hence allowing them to steal the gem without any problems. I am not exactly sure of the ending though, as they drive away from the scene in police cars (i.e. are they police?). My guess that this is just a cover to help they get away from the scene. It is a really cool video that shows off their fierce and bad-boy looks, showing us who not to mess with.
Unfortunately, Shownu is sitting out of promotions for GAMBLER due to a medical issue. Despite this, the rest of the group make up for their leader’s absence by filling up the stage with their stage presence. I have said this before, but facial expressions make up a really massive part of the stage performance. And watching their performance, each member really hit the nail perfectly in regards to facial expressions, filling up any gaps with their stage presence. The energy that comes from the performance as a result is thrilling and really captivating.
Song – 9.5/10 Music Video – 10/10 Performance – 9/10 Overall Rating – 9.6/10
Hello. Welcome back to the usual transmission of song reviews. We start off today with where we left off on Monday. Joy, one fifth of Red Velvet, made her solo debut at the start of the week with Hello and the mini-album of the same name. She is the second member to officially go solo, with the first being Wendy, who made her solo debut earlier this year with Like Water. While we are all excited to hear from Joy (and the other members through solo and unit promotions), I am still waiting for a full group Red Velvet comeback, which hasn’t occurred since December 2019 with the release of Psycho. But I guess we just have to wait a little longer. In the meantime, let’s have a listen to Joy’s Hello.
If Monday’s review was for an emotionally charged rock track is at one end of the spectrum, then Hello is another rock-influenced track at the other end of the spectrum. Joy’s Hello is cover of a 1999 single titled Good Bye by Park Hye Kyung. I personally do not have much to say about the song aside from the fact that I really liked it. I didn’t know what to expect from Joy when it was announced that she would be making her solo debut. So I was geninuely surprised to hear such an enjoyable song that really boasts addictive and colourful energy. Joy’s cover carries over the same energy and cheerful vibe from the original song. If anything, Joy’s version amplifies the energy, released in a day and age where technology gives that opportunity to take it to the next level. But the rock influences within Hello is only one side of the song’s instrumental. There is a lot of brass during the chorus to really heighten the energy and happy feeling of this version. And this really appeals to me (because you know I like my brass). I also find the song really suitable for the upcoming season of Summer, as it is chirpy, extremely upbeat and refreshing to listen to. It ticks all the boxes of what you would want in a song positioned for release in Summer. As for her vocals, I find Joy’s vocals make this version super sweet and youthful, which fits her image and personality. Like the original song, the choruses was probably its most defined moments, with the verses falling into the forgettable category unfortuately. The chorus had the really catchy and colourful melodies that the song relies on. Overall, Hello was a great step for Joy for her solo career. Hopefully she returns soon with an original track as the title track that shows off more of her skillset!
The music video for Hello was super cute. While I am sure there is a deeper meaning to the video, just looking at what you can see on the screen in a literal sense already brings a smile to your face. Based on the start of the video, it appears that Joy is in some sort of stagnant part of her life. She clearly looks tired and is pretty much over whatever she is experience. So after some responsible cleaning up, she starts afresh and goes on a road trip. On this road trip, she comes across a young girl and decides to take her home. The only probably is, she is relying on a map that is handdrawn (by the young girl I persume). So she seeks the assistance of local bikers. seafood divers, farmers and surfers, who point her in the direction of the young’s girls home. After a long road trip, we see Joy reunite the young girl with her family. It is such a happy and feel-good type of video, complimenting the energy coming from the song. Even the waves and smiles on the faces of the locals bring one to your face.
Not entirely sure if there will be any choreography for this solo debut. Based on the original performance of the original version, there was no choreography. Instead a live band played in the background while Park Hye Kyung sang live. There is a possibility that Joy might do the same. But I think this is a great opprtunity to separate the cover from the original. We will find out more come Friday when she makes her first appearance on stage with Hello.
Song – 9/10 Music Video – 10/10 Performance – To Be Updated Overall Rating – 9.4/10 (To Be Updated)
Apologies regarding how long this post has taken. The finale rundown should be published by Sunday!
Earlier this month, Kingdom: Legendary War began its run, pitting six well known and high performing male groups against one another for the throne. The Boyz, winner of the prequel season Road To Kingdom last year, is featured as one of these male groups. During the 2020 MAMA Awards, it was confirmed that Stray Kids and ATEEZ will be participating. And in January 2021, it was also confirmed that iKON, BTOB and SF9 will be joining the lineup. It was also confirmed that TVXQ (a name in the industry worthy of the Kingdom title without a doubt) will be hosting, but this was later reduced to just Max Changmin, as Yunho was involved in a scandal and was edited out as much as possible (and will not make an appearance in future rounds).
As I have reviewed part of Queendom and all of Road To Kingdom, I will also be reviewing the stages of Kingdom: Legendary War, recapping the high caliber performances from each round and also putting forward my thoughts on what the ranking should have been for that round.
Round 3B – NO LIMIT
Round 3 was broadcast over three episodes (Episodes 7, 8 and 9). It was also spilt into two sections. For this post, I will be focusing on the NO LIMIT segment of Round 3. You can see the performance rundown, comparison and results for Round 3A ‘Collaboration’ here.
In this part of the round, each individual group was given the freedom to cover any song they wish. As we are back with six individual performances for each group, I will revert back to the original format of this Special segment.
For this rundown/review of each stage, I will be looking at their song arrangement, concept and overall performance.
Classy Savage – iKON Original Song/Artist: Pretty Savage – BLACKPINK
There were some slight modifications to the start of iKON’s version of Pretty Savage. You will notice that the instrumentation in iKON’s version has a deeper tone. And some of the lyrics and delivery of lines were changed to fit in with each member’s abilities. I really liked it how they sneakily slipped a swear word into the pre-chorus (in case you didn’t noticed). Expect iKON to do that! The chorus is where the song changes up. I really like the robustness and dynamic percussion alongside the ‘BUM BUM BUM‘ and the new-found intensity the members brought to the ‘You better run run run‘ line in the chorus. The jungle sound inserts (at the start of the song), tribal drumming and cult-like choir we get leading up to the epic featuring of Lisa herself actually worked well with the concept and stage design. I also liked it for the fact it gave a bit of an interesting colour to their version. They maintained their version’s deeper tone when Lisa started her rap sequence, and it made me think that this should have been the tone of BLACKPINK’s version of Pretty Savage to begin with. I think I would have enjoyed the original song more if they had this deep tone to the instrumentation. Following Lisa’s featuring, everything becomes very lively and energetic. I really like the hype feel from the final bit of their stage, which really exuded a lot of energy and made the entire stage more appealing in a last minute pitch.
For the concept, I am not exactly sure how to describe it in one word, so I will split it up. The performance starts with the members watching previous YG performances. (In addition to Winner, BLACKPINK and iKON themselves, we also get some Big Bang – just another hint that these KPOP Kings are working in the background for an upcoming and long awaited comeback). A portal opens up, leading them to this foreign jungle land, before being captured by the people who live there. During the performance, we see the people call upon their Goddess (i.e. Lisa) and the members convert to following this Goddess (hence why their outfits change from casual to golden). I liked the concept and thought it was fun. It is nice to have a less serious concept once in a while.
For the choreography, I didn’t really see anything that new or unfamiliar. They took a number of moves from BLACKPINK’s version and made it look more intense, which fits in with the music. To me, the best bit of the performance has to be Ju-ne’s kick at the end. Other than that, the members relied heavily on stage design and Lisa’s featuring.
God’s DDU-DU DDU-DU – Stray Kids Original Song/Artist: DDU-DU DDU-DU – BLACKPINK / God’s Menu – Stray Kids
Another BLACKPINK cover, this time Stray Kids is covering BLACKPINK’s debut single, DDU-DU DDU-DU with a surprise. More on that in a bit. Following Felix’s narration and BLACKPINK’s song’s chorus, Changbin comes swinging with his lines. It was an impressive display of his rapping skillset that really sets the bar high for the rest of the performance. The rest of the performance falls into line and continues the momentum that Changbin and the first chorus had set up. I really like the edgy rock feel of the instrumentation that fits so well with BLACKPINK, Stray Kids and the song(s). The next chorus comes along, with a bit of God’s Menu infused into the chorus. How did this occur? Well, God’s Menu has ‘DU DU DU‘ in its chorus, so it was an easy fit. I am glad they didn’t overuse this technique, obviously to preserve BLACKPINK’s song. In addition to the just mentioned, we also get really powerful and dramatic drums, which makes it the cover’s most iconic sequence. I shamelessly rewatch the performance to hear this exact chorus again as it had it all. Felix also brings in some more God’s Menu in his rap sequence, however indirectly, as he threatens mentions Gordan Ramsay who happens to be a Michelin Star Chef (and this latter term is referred to God’s Menu). For the cover’s final sequence, Stray Kids take it to the next level, coming at you with all of this intense and powerful energy that we have yet to see in the competition. They also managed to integrate their tag line ‘Stray Kids all around the world‘, ending a performance that cleverly reminds you of the group and BLACKPINK as well.
For Stray Kids’ stage, I really like the idea of Deadpool and breaking the fourth wall, which Deadpool is notorious for doing in his movies. Felix starts off the performance by narrating the introduction, while Bangchan introduces the final segment of the performance (really like the humour in Bangchan’s segment, pushing down the JYP speech bubble). Not entirely sure of the massive rice cooker that Felix sits on at the start, but I guess that is reference to God’s Menu. I also really like the use of the camera angles to unveil the van, which Felix had stole the smaller version of earlier in the performance.
Breaking the fourth wall also made it into the performance, with Lee Know smiling in a cute fashion whilst all the guns were pointed at him. As for the rest of the performance, it was a powerful routine combining the likes of DDU-DU DDU-DU and God’s Menu. There were also a bunch of other cool moments, such as Felix’s navigating his way through the red laser lines and the ending sequence which saw the members stomping their way to leave a lasting impression.
Blue Moon (Cinema Ver.) – BTOB Original Song/Artist: Blue Moon – BTOB
Based on commentary from the MC, BTOB would be competing in this round with their own song and it would be a song that has never been performed on stage before. The song in question is Blue Moon, a single written by Minhyuk from their 11th mini-album, This Is Us. When I compare the two versions, it doesn’t seem like much as changed. The jazzy instrumental was retained. If anything, it does sound like it was amplified for the stage. But I think there was a bit a vocal rearrangement to accommodate for the stage performance and the fact that BTOB has been reduced to four members for the competition. I know for a fact that the raps have been changed, while some of the vocal bits have been altered to allow for harmonies and high notes to come through. To me, standout members for this performance was Minhyuk and Eunkwang. Minhyuk’s rapping in this version has a lot of emotional heft, which reflect well with the story they are telling on stage. His singing was so good, as well. As for Eunkwang, his high notes in the final chorus and ending made me go wow and I shared similar reaction to the other participants of the show. It was a solid performance from the group, with a strong showing of skills from each of the members.
For the concept of the performance, it appears BTOB’s stage is influenced by La La Land. Minhyuk, who is only a staff member on the production, is in love with Miyeon (from (G)I-DLE), who has been enlisted to play the actress in this stage. While the feeling is mutual, I think Minhyuk believes that Miyeon has moved on from him and no longer wants to be with him. Changsub plays the actor in this performance and I loved how his character added a bit of comedic relief to the stage based on the way he looks. Peniel is the director, who is extremely passionate, while Eunkwang is a singer in the production. Fast-forwarding through the stage, Minhyuk makes his thoughts apparent, while Miyeon assures him that she still loves him. They make up and hug (for a moment there, they looked like they were going to kiss) to end the performance. A happy ending for the main characters.
As for the performance aspect, I thought the performance was quite pleasant. Nothing that amazing in terms of choreography, but it was still worth watching. BTOB allowed their vocals and rapping to be the main star, once again emphasising that different dynamic the group was bringing along to the competition from the very start. I liked how the ending came together to be a big song and dance. It is a bit cliché, but it was a nice way to end the performance and bring everything together.
Answer: Ode To Joy – ATEEZ Original Song/Artist: Answer – ATEEZ
Out of all the stages we saw in this episode, I have to admit that ATEEZ was the most epic and powerful. The energy they brought to the stage in just the music alone for this version of Answer blew me away. They also really knew how to amplify Answer and upgrade it a whole new level. The logical answer to this was a rock instrumentation, given that we all had the feeling that Answer was the perfect vessel for this sound. The post-chorus hook was definitely the original’s best bit and I was grateful that while also intensifying it, they retained the appeal of this section. What was really interesting about this version of Answer was despite the thrilling momentum of the rock sound, they cut it completely to make way for a bit of classical opera. La Poem was featured to deliver this opera. It was a brief interlude before an intense drumming to bring back and rock influences with the opera together. It was the best bit of the performance. Like all the performances of ATEEZ we have seen thus far, Jongho brings in a really cool high note. Not to put pressure on him, however, but I felt it should have been followed up with another high note as the music felt somewhat empty afterwards. I think that would have been this performance’s ‘icing on the cake’ if it had happened. Hongjoong’s rap sequence while blindfolded was the next iconic part of this performance. This performance of Answer hit the mark and showed us that there was no limits in creating this version of this song.
I think the concept was the weakest point of the performance. I wasn’t entirely sure what was going on. My best guess, based from the start, is that the white-masked dancers captured one of the members, so ATEEZ and the hat-wearing counterparts went to rescue him from these white-masked bandits. Fighting ensues, but the rescue was successful and the enemies were defeated. I really like how the opera singers were unveiled on stage.
The epicness carried over into their performance. It was super intense, especially in the rock instrumented sequences. I also like the choreographed fight scene in the final moments. I did think it could have been a bit more convincing. I also wished the performance did end on bland feel. We had all this amazing energy preceding it, just to see the member walk up the steps and stare back all serious into the camera.
Move – SF9 Original Song/Artist: Move – Taemin (SHINee)
The most surprising stage of the round was SF9’s take on Move. It is sexy sounding song and I feel that SF9 really encapsulated this, whilst also creating a sound of their own in this performance. Chani’s deep voice begins the performance with a brief yet sharp instrumental piece. Dawon and Jaeyoon then brings sultry vocals to the mix, before we are taken to the chorus which is lead by Yoo Taeyang and Inseong. The slow but sensual pace of Taemin’s original version of Move features here. The rappers (Hwiyoung, Youngbin and Zuho) of the group start bringing more upbeat and metrosexual vibes in their sections through the instrumentation and delivery, whilst also maintaining the sensual atmosphere that the other members had created. After Zuho’s part (which was also my favourite), an electronic based instrumental interlude gave the performance/version some intensity that can only be passed through a dance break, before we are provided an upbeat version of the Move‘s chorus that fits into what SF9’s version has built towards. I really enjoyed SF9’s take on such an iconic KPOP song, so much that I have returned to listen and rewatch the stage so many times after the show’s broadcast.
For the concept of this performance, I believe the setting is a factory that produced robots that wore white and very generic. But the SF9 members were incorrectly made, wearing black and were completely different to the robots the factory originally manufacturing. I also like how the settings were bland and monotone. But with SF9 present, colour started to come through. It was gradual, but made for a really great stage. I really like the rain of coloured confetti during the final dance sequence, and the rain room they had created off the stage to further highlight the group’s sexiness. This was a really unique performance and one that shows off a different charm of the members.
We all know Move for its sexy moves, but I feel that SF9 took it further with their outfits and sensual moves on those steps. It was definitely a breathtaking performance to watch. Chani’s entrance was so smooth. I would have liked to see more references to Taemin’s original choreography, but I think they did fantastic with creating their own, especially to match the upbeat moments of the final chorus. And when they are not dancing, the members are strutting their stuff on the stage as you could see during Hwiyoung and Zuho’s parts.
Monster (Stormborn) – The Boyz Original Song/Artist: Monster – EXO
The final performance was The Boyz’s take on EXO’s Monster. While the melodies for the vocals parts remained the same between version, the instrumentals for The Boyz’s version was remixed to enable the 11-member male group to perform the song to the calibre of the Kingdom’s stage. And while I do like the performance, I am not a major fan of the shrilly-like synth they had in the chorus. It wasn’t off-putting, but it just didn’t sit right for me. But everything else in their version was good. I really like the rapping, which gave the song a more edgy and powerful touch (which I felt was needed – more on this in a bit). The EDM used for the dance break really showed performance flair and their ability to intensify an pre-existing intense track. I really like the guitar and the melodic drumming (at the end of the instrumental piece) they used in the dance break, which gave the instrumental break an interesting centre-piece. I think if I were to nitpick at one thing, it would be the intensification. I felt the producers of this version could have taken it a step further and made the music bolder and more defined. This would have brought it up to the same energy levels as other performances in this round and would have made The Boyz sound and look more powerful on stage.
Once again, the performance references an episode from Games Of Throne. Once again, I am not entirely sure what Game of Thrones reference I am seeing in the performance (as I have yet to see it). It is probably an obvious reference, like the massive serpent that they brought to life. But even not knowing the Games of Throne reference, I have to commend The Boyz for another performance that can still be appreciated by itself. Like how amazing was the second dance break of the performance, with the members dancing in front of that projected imagery, which is followed by the massive serpent on stage. Definitely a memorable performance.
The choreography also had a memorable feel. Even while I think the performance could have been intensified on the music front, you could tell the members put their all into the choreography to ensure that they make up for that additional intensity. Each dance break we saw in this performance saw the members go above and beyond, showcasing their performance abilities (without the dearly missed stunts) that stole our attention back during the Road To Kingdom days.
And the winner for this round is…
This was a really hard episode to rank because each stage was amazing in their own right. If I had the ability to, I would have given each stage the top rank. But as there are six groups, I had to rank them from 1st to 6th (hey, I don’t make the rules :P), based on what I saw. This is shown on the right hand side of the table below.
As the show have yet to finalise the official rankings of the round (as global voting and YouTube views were still being determined), the show has only released the rankings per the expert (left hand side of the table) and the self-evaluation (middle columns).
Do you agree with my ranking, the participants’ ranking of the performances or the expert panel’s ranking of the performances? Let me know in the comments below.
Ranking
Kingdom: Legendary War Ranking from Expert Panel
Ranking
Kingdom: Legendary War Ranking from Self-Evaluation
KPOPREVIEWED 