Month: December 2021

[Review] Bittersweet – Wonwoo & Mingyu (SEVENTEEN) ft. Lee Hi

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Bittersweet is nominated for Best R&B Song, while SEVENTEEN is nominated for Best Male Group and a range of other categories. Support SEVENTEEN in all their nominated categories by clicking to vote today.

As mentioned previously, I will be reviewing songs or releases from artists from categories in which I had not reviewed before this year throughout the remainder of 2021. Today’s reviews will all be focused on the ones that I have yet to review from the Best R&B Song category. First up is Bittersweet, which was a collaboration single between SEVENTEEN members Wonwoo, Mingyu, and soloist Lee Hi. This single was released back at the end of May 2021.

Bittersweet is a very mature R&B song. While we have heard all the artists in this song in some sort of mature light before, I find Bittersweet to really emphasise this and this was a very major drawing point in my opinion. You could also gather the emotions and the literal bittersweet tone behind their each of their voices, which I found to also be another strong aspect of the song. While they are two of SEVENTEEN’s rappers, both Wonwoo and Mingyu changed up their delivery/style and opted for vocals and I thought this was well executed. Wonwoo’s husky and deep tone and Mingyu’s raspier voice works really well with one another in Bittersweet. There was the tiniest smidge of rapping, however, when Mingyu switch between vocals and rapping for a brief second in the song’s first pre-chorus. I remember Lee Hi’s vocals being unrecognisable when Bittersweet was first released. I guess I am really used to hearing low tones and huskier tones from the soloist, not something as smooth and higher tone like what we got in this song. I am not entirely sure if that is a good or bad thing after all this time, but it was interesting. Both the higher tone and smoothness contrasted with the SEVENTEEN members’ vocals and I felt her vocals helped tied the song together. For the melodies, they were quite nice. Not too memorable, but just enough to get this song over the line in that regard. Regarding the instrumentation, Bittersweet was quite a straightforward R&B release, with a subdued instrumental that mainly features acoustic guitars all throughout. While this isn’t a mind-blowing or innovative combination, the simplicity and straightforwardness as definitely appreciated.

The song was all about the switch between friendship and love. In the music video, we see the friendship between the three characters played by Wonwoo, Mingyu and the female actress. But throughout the video, we see glimpse of the male characters staring at their female friend, seemingly contemplating their feelings for her. But never do we see them make the move, probably in fear of what would happen to their friendship trio if the feelings were reciprocated for one friend and not the other. At the end, it seems like the male counterparts of the friendship choose friendship over their feelings, keeping their bond. Though the ending is ambiguous, as it would make better sense for all three of them to skip into the distant in the rain if that was the case. Instead, we are shown only Wonwoo and Mingyu, so maybe the music video is trying to suggest that the pair were in love all along? Who knows! Apart from the two possible stories, I like the moody atmosphere of the music video, which went for the traditional R&B colours of brown and golden tone.

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

[Review] Beautiful – NCT 2021

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NCT’s subunits, NCT 127 and NCT DREAM, are nominated in a number of categories for the 2021 KPOPREVIEWED Awards. Support NCT 127 and NCT Dream by clicking here to vote for them today!

A year on from their epic Resonance single and promotions, NCT has regrouped as a full group (sans Lucas and WinWin) for their 2021 promotions. Leading their latest album, Universe, is the single Beautiful (the focus of this review) and the NCT U track, Universe (Let’s Play Ball). Previously, we have seen majoirty of the members of NCT active this year, including NCT Dream promotions with Hot Sauce and Hello Future, NCT 127 promotions with Sticker and Favorite (Vampire) and WayV with Kick Back.

Beautiful lives up to its title. My first impression of the song when I heard it upon release was that it was beautiful, uplifting and inspiring. Beautiful takes on the form of a pop ballad, a very different sound to what the units of NCT usually put out. It isn’t the first time we heard a pop release from NCT’s subunits, but Beautiful hands off as refreshing vibe to me, which is thanks to the vocally driven nature and the notable absence of electronic synths. Instead, the instrumentation of Beautiful opts for a collection of pop strings, drums and piano. It isn’t anything mind-blowing, but it definitely works in tandem with the vocals and the messaging. The whole idea of singing as one reiterates their bond as a whole group, who for the most part appear very separated throughout the year unless it is a NCT full-group promotion. It also aids Beautiful‘s message, which ‘expresses positive energy with a warm message to those having a hard time that they are all special in their own ways’ (from Soompi), as it felt like there were 21 people already behind/supporting me as I listened to the song. The vocals in the verses were also nice, but they did not have the same level of impact for obvious reasons. The rapping was concentrated into just the bridge and felt toned down enough and had the right level of energy for the song. Taeil’s high note also comes in just at the right time, as if it was the ‘icing of the cake’ for this song. I wished the official audio retained that whistle sound following the rapping bridge. I really like the stilling presence it had in the song, and definitely brought up the aesthetic. But apart from that, Beautiful was a stunning song that was well-thought out and sounded amazing.

The music video was shot in a way that felt relatable. We didn’t get any crazy flashing sets or expensive props or outfits in this music video. Instead, the members were all dressed casually and we saw them in everyday settings or jobs. Jaehyun was a college student, Chenle was an office worker, Renjun and Jisung were café workers, some of the members were baseball players (a nice and subtle nod to the Universe (Let’s Play Ball) music video), and Ten was hanging out on the roof of a building. Practically a broad range their audience. I liked how the music video showed the all the members dancing together (along with the dancers) for the chorus, which really emphasise that idea of being in unison with one another like the song had done. I did wish we saw choreography solo shots for all the members throughout the video, like in the first part of the final chorus. As cheesy as that might like, I liked the idea of it. I also like the ‘reset’ for the choreography formation that they did in the final chorus.

The choreography looks quite nice. It looked artistic, and wasn’t anything too much for the pop ballad. It doesn’t feel too constricted and had a nice breezy vibe, which also fitted the song.

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

[Double Review] Say Yes + Missing U – IZ

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IZ is nominated for Best Band in the 2021 KPOPREVIEWED Awards. Support IZ by clicking here to vote for them!

The last artist within the Best Band category that I hadn’t reviewed at all this year yet is IZ. However, this isn’t the first time I have reviewed them, as I had reviewed their Final Kiss and Eden comebacks back in 2019. 2021 saw two comebacks from them, Say Yes (released early March) and Missing U (released mid April), both of which will be reviewed today as part of this double review. I had plans to do one more review for another nominee’s recent release, but due to time constraints, but I will wrapping up the category today and moving onto the next category instead.

Say Yes has one of the most satisfying builds of the year. The rock ballad starts off as a rather simple ballad, with a piano background (played on the keyboard), some other classical elements (i.e. strings) and touching vocals at the start. It was heartfelt and an emotionally heavy sequence. And then the song manages to pull in all this energy for a buildup out of nowhere (though it was expected), and the rock side of the ballad is dropped on us. It reminded me of other rock ballads that were done right, and Say Yes can be added to that list. As part of this build, Say Yes is taken to the chorus, which was nicely executed and had good melodies. The drums and electric guitar remains as part of the second verse and chorus, combining with the piano/strings from the start. The bridge was all English and stripped away the rock elements, but did not return to the likes of how Say Yes started. The piano and strings here was slightly more amped up, allowing the song to effortlessly reincorporate back the rock elements for the final chorus to lead out the song. Throughout all of this, Say Yes manages to put forward emotional vocals. I wished the vocals went a bit further in terms of this, something more gut-wrenching and powerful would have been ideal. What we got from the main vocalist was perfectly fine, but I feel a step further wouldn’t be too bad. Overall, Say Yes was a nicely done rock ballad, with a bit of nostalgia and well-execution adding to its appeal.

What stands out for me in Missing U was the melody of the song. The singing at the start was extremely pleasant, sticking right out at me. The melodies we get throughout the rest of Missing U stands out in a similar fashion, bringing out the delicate and soothing aspects of the song’s rock ballad instrumentation in such a warm light. It also gave the song a bit of vibrancy, colour and freshness, suitable for the time in which the song was released (i.e. the start of Summer). I liked how the piano/keyboard melody remains during the electric guitar solo section of the song. It practically was the element in which tied everything together and kept the song neat in my opinion. The vocals carrying these melodies were also helped make the song memorable for me, giving it more an of edge if I were to compare it to a more straight forward rock ballad, like Say Yes. What lifts up Missing U a lot more was the addition of rap during the verses. During these rap sequence, the rock elements of the rock ballad concentrate and the rapping adds a bit of appealing edge to the song. Overall, Missing U was satisfying and refreshing

The music video for Say Yes was pretty simple. It included the shots of the band on a stage performing the track, with a screen showing some sort of water pattern behind them and everything was in black and white. Simple, but it got the right vibes, feelings and emotions across. I like how the lighting was used to focus on just the keyboard and singer during the start and how it was also replicated during the bridge of the song, practically removing the rock contributors of the song from the video, but still having them there to bring back the rock sound when it was needed. As for Missing U, the video starts with a grayscale tone. But once the instruments kick into gear, the colours come through with a sepia tone. I thought this felt appropriate for the song. Missing U is a rock ballad at heart and so bright colours or harsh tones would not have worked. The closeup of each of the members throughout the video also gave the video a bit of a dynamic touch, which I thought was nice. None of the music videos were memorable enough, but they did their job. My preference, if I was forced to choose, was the Missing U video.

Say Yes
Song – 8/10
Music Video – 7.5/10
Overall Rating – 8/10

Missing U
Song – 8.5/10
Music Video – 8/10
Overall Rating – 8.3/10

[Review] Fine – W24

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W24 is nominated for Best Band in the 2021 KPOPREVIEWED Awards. Support W24 by clicking here to vote today!

As mentioned in my previous review, I will be using today and tomorrow to focus on the nominees of the Best Band category, who I have not reviewed yet this year. This review focuses on W24, a four-member band (consisting of Kim Yun-soo, Kim Jong-gil, Cheong Ho-won and Park Aaron) under JARMY Entertainment that debuted back in 2018 and has been active promoting since. 2021 saw the band release two songs, Breath and Once Upon a Time and most recently My Universe. But I won’t be reviewing those. Instead, I will reviewing Fine, a single released by the band back in September of this year.

The reason why I am reviewing Fine over their main releases from this year is the dramatic drums that not just open up the song, but has a presence throughout the song. It was bold and they stole my attention from the get-go, and I have been listening to the song ever since. Unfortunately, it was one of the reviews that I had intended to write around the time of its release, but I ended up shelving it so that I could review other releases. But I now have a proper excuse to sit down and revisit this ballad. For the most part, Fine was pretty typical. Removing the dramatic drums, the ballad starts off like any other. Soft and delicate. Maybe dry and plain, as well, as you don’t really see much of a change of momentum. As the song progresses, Fine develops more into a rock ballad. Still typical-sounding if I was being honest, but the rock influences make Fine more satisfying to listen to. When you factor in the dramatic drums again, the rock ballad becomes a lot more heavier and even more fulfilling. Not only did they add boldness to the ballad, but they added the momentum that took the song from ‘dry and plain’ to ‘captivating and stilling’. I found the ending to be interesting. The ending of Fine switches out the electric guitar which has been there since the start for an acoustic guitar, leaving us with the delicate and fragile side of the song. As for the vocals, I thought they were really good and captured the emotions of the ballad. They followed the trajectory of the music, unloading during the song’s more heavier moments and highlighting the delicateness during the song’s softer moments. That high note that we get from the main vocalist was on point and definitely was another highlight to Fine. Overall, Fine was ‘a fine song’. It reeled me and it got me to stay. It has even gotten me to pick up some other W24 as well, so I am interested to hear more from the group in the future.

There was no music video for Fine was released. Instead, we got a live clip of the band performing, which was perfectly fine. The band performed with some sort of flower festival or garden behind them, and while there was visitors walking behind them. The latter was mildly distracting, but the field of flowers worked well with the song. Flowers are delicate and so was the song. I wished they wore something a bit more appropriate for the song though. That is my issue with shorts. They have their merits in other situations, but they look informal here and I felt this went against the song.

Song – 9/10
Music Video – 7.5/10
Overall Rating – 8.4/10

[Double Review] I Got U + irrelevant answer – LUCY

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LUCY is nominated for Best Band in the 2021 KPOPREVIEWED Awards. Support LUCY by clicking here to vote for them!

As mentioned last week, I will covering releases that formed part of the 2021 KPOPREVIEWED Awards nominations. Last week, I focused on the Best Rap or Hip-Hop Song category. Today and tomorrow, I will be focusing on the Best Band category. A number of the nominations for Best Band, I have never reviewed before, so this would be a great opportunity to focus on these acts! First up is LUCY, who is a four-member band formed on the TV show Superband. They made their debut in 2020 with Flowering and have been actively promoting ever since. In 2021, they released two title tracks, I Got U in June and irrelevant answer in August. I am also aware that they just returned with Rolling Rolling, but I will not be reviewing that until next year.

I Got U is featured on their June album release, GATCHA. I Got U is one of those songs that you get so stuck into, that by the time it wraps up, you either felt the song went by too quickly or it was too short. I Got U falls into more pleasant territory, than anything else. But there was a lot in there that I found unique or enjoyed. I liked the filtered chant that opened up I Got U, reeling me in with an already unique melody and hook. I found the verses to be quite subdued, with minimalistic band instrumentation and very unique vocals in the higher tone range. That filtered chant returns as the song’s chorus (though it could be passed as a pre-chorus) and with the uniqueness mentioned before continuing on (but with the main vocalist being more upfront). Then, the band kicks up the energy and beat with an amped up instrumental piece. Its fun and definitely colourful. What really stood out in this segment was the violin. Bands don’t usually incorporate violins into their music, focusing more on the typical guitar, keyboard/piano and drums. So LUCY definitely have sent them apart from the rest of the competition with the presence of violin in the song, They skipped the instrumental piece after the second chorus, opting for subdued vocals (from the drummer, might I add!, and the main vocalist with a piercing high note), before returning back to the chorus (which once again could act more as a pre-chorus) and then the return of the instrumental piece that followed the first chorus. I also like the merge of the instrumental piece and the filtered vocals, closing out I Got U in a well-summarised but also fun fashion!

Compared to I Got U, irrelevant answer (their August comeback track) is a lot of heavier in terms of its sound, potentially more aggressive due to the non-stop nature of the song and its much faster tempo. It is a completely different vibe and feel. As I haven’t paid attention to LUCY as much in the past, this ‘different vibe’ demonstrates to me the ability to be versatile, which is always a positive takeaway. I like how the opening had a bit of everyone. A nice re-introduction to the group, in case three months away from LUCY makes it hard to remember them. I quite liked the instrumental of irrelevant answer. The fast tempo and the fact that it barely stops definitely satisfies me. It reminds me of when bands just continue playing non-stop to hype up the crowd. As it went on, the energy became more relentless but in a subtle manner. It is a bit different to what I am used when I apply the word ‘relentless’, but that is what makes the song unique. Unfortunately, I felt the vocals, melodies and hooks were a bit ordinary as well. Nothing was that memorable on these fronts, and I felt disappointed by that. Overall, I still liked the irrelevant answer as a whole, but there was definitely more in which LUCY could have done to take the song to the next level..

The music video for I Got U could have been more fun in my opinion. To me, the music video emphasizes the idea that they are indie artists and that is absolutely fine. They looked playful in the grassy fields, and bowling alleys are much fun (and I always find that their presence in music videos always feel so aesthetic) But I guess I wished that everything was more at ease and casual. I watch the music video with this cramped feeling for some reason, and feel it could have been more freeing. It might be that dullness from the filter, I am not too sure. As for the music video for irrelevant answer, it was more so a video capture of their jam session. They were definitely feeling it and looked like they were enjoying the three minutes in which they play to their heart’s content. I liked this concept and it is also something we don’t get enough of with other bands in KPOP.

I Got U
Song – 8.5/10
Music Video – 7/10
Overall Rating – 7.9/10

irrelevant answer
Song – 8/10
Music Video – 8/10
Overall Rating – 8/10

[Review] G999 – Moonbyul (Mamamoo) ft. Mirani

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Mamamoo is nominated for Best Vocals for Where We Are Now in the 2021 KPOPREVIEWED Awards. Support Mamamoo by clicking here to vote now!

Moonbyul, Mamamoo’s resident rapper, is gearing up for a solo comeback in 2022. But while that is the formal comeback timeframe, Moonbyul will be teasing her return with a few pre-release singles. The first is G999, which dropped earlier today. It features Mirani, who is an independent South Korean rapper who debuted last year. This is the first solo release from Moonbyul since her solo debut with Eclipse at the start of last year.

G999 tackles retro hip-hop, with a newtro background and old school vibes that takes you back to the 90s. G999 comes off as fun and vibrant, which is pretty typical for the influences in this day and age. However, the typicalness in this song is not an issue, as I find myself grooving along to G999 since the very first listen. I also find the song to be quite light despite being heavy on those retro synths. The lightness helps make it sound pleasant, but also aids in the fun side of the song as well. I like how it doesn’t mess with the sound, staying consistently retro hip-hop 90s throughout. As they are rappers, both Moonbyul and Mirani fits in very well into the track. Their rap sequences definitely had nice flow and their delivery was pretty good. Nothing mind-blowing at all, but that doesn’t upset G999. Moonbyul also throws in vocals for the chorus and she sounds really good. I am glad that she has found her confidence to sing, as it pays off each time she does! The lacking element of G999 are the hooks. I would have liked to have heard something more punchy and memorable. That would have made G999 even more powerful and impactful. Melody-wise, I think that pleasant description I used comes back to me. Overall, G999 is a pretty nice break from the heavy synths of today’s electronic music or the classical instrumentation that comes in ballads and Christmas songs typical of this time of the year, and you thank that to the G999’s retro instrumentation and well-executed vocals/raps.

As expected, the video also takes a page out of 90s hio-hop era with video that would fit right into that era. The camera shots, lighting, post-production and even their white outfits are all a callback to that era. I like the splash of colour they added to the video via the random paint on the plastic curtains and lime colour lighting as well. My only gripe about the music video is how empty it felt. While the pair look like they are enjoying their time, I wished there was more people in the background to make the video a bit more exciting. Maybe COVID-19 prevented them from getting background people in, but I feel that would have made this video better.

Song – 8.5/10
Music Video – 8/10
Overall Rating – 8.3/10

[Album Review] Peaches (2nd Mini Album) – Kai (EXO)

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Kai is nominated for Best New Male Soloist and Mmmh is nominated for Best Male Choreography – Solo in the 2021 KPOPREVIEWED Awards. His group, EXO, and some of his fellow members are also nominated in a number of categories. Support Kai and EXO by clicking here to vote today!

Next up on the album review front is Kai’s latest mini-album, Peaches, which was released on November 30, exactly a year from his solo debut with Mmmh and Kai (the debut mini-album). The new mini-album is lead by the title track Peaches, and also features another five new tracks from Kai. You might notice that this is a newer release, compared to the albums in which I have recently reviewed (which were released a few months back). I have decided to fast track a few newer albums this month, so that I am not pushing too many of the ‘current’ albums out many months later, which might be the case due to the Christmas break. So without further ado, here is my album review for Peaches. (PS. Don’t worry, I am still writing up reviews for albums released a while back that I haven’t been able to review just yet!).

Peaches Album Cover

1. Peaches (Title Track) – Click here to read the full review for Peaches. (7/10)

2. Vanilla – Vanilla is a very aesthetic song. Its minimalistic nature was very intriguing and you might pass the song off as a bare song. But I recommend you give Vanilla a detailed listen as it is a very charming song. I found the song to be quite peaceful and sensual at the same time. The latter obviously being something that is right up Kai’s wheelhouse. Peaceful doesn’t seem to be something I associate with Kai, and so Vanilla comes off as a pleasant surprise for me. Delving into the song’s elements, Vanilla is quite interesting, given that the atmospheric instrumentation was actually percussion. But it was extremely subtle, but brought enough texture to the song to prevent it going into the ‘boring’ pile. The same can be said with the autotuned vocals, which was quite soft and so you barely noticed a disruption of Vanilla’s flow. The rest of his vocals follow the same softness, but also showcased some of Kai’s skills, and Vanilla’s simply repetitive hook was quite catchy. (8/10)

3. Domino – Prepare for a change in direction when you check out Domino. The peacefulness is out and is replaced with heavy bass and beat that would fit easily into a club setting. This is the style that I would associate more with Kai. I really like his deep tone during the chorus, and it proves to be a very memorable element of Domino. However, I do think Domino is very consistent throughout, and I wished the song changed it up a bit towards the end or introduced something to the song to cut the consistency. I can see myself getting tired of the song if it is played on a loop or I replay it too many times. (7.5/10)

4. Come In – Come In kicks up the album a notch in terms of its volume. Everything in Come In is a lot louder and vibrant, compared to the song that preceded it. I like the pulsing beat, the bass and the textural synths used in this song. It all comes together to create quite a dynamic background. The chorus, in particular, definitely captures that dynamism really well. While Kai’s vocals were more typical in this song, I still found its pairing with Come In’s instrumentation to be captivating and a worthwhile listen. (8/10)

5. To Be Honest – The album’s most upbeat track comes in the form of To Be Honest. It instantly became a highlight for me as it made me dance along (in my chair) the first time I heard it. And while such feelings tend to rub off over time, that urge to dance has remained during subsequent listens. To Be Honest is a pretty straight forward song, with nothing special in the pop instrumentation or Kai’s vocals. But being straight forward isn’t necessarily a bad thing al the time, and I feel that To Be Honest proves that this time around. (9/10)

6. Blue – The album tones it back down for its final song. Blue is a R&B song, and once again, is pretty straight forward. I really like his vocals in this track, simply because it was extremely satisfying to hear him with such melodies and ad-libs. The instrumentation was pretty much typical for a R&B song, but I did note that I liked its breezy exterior. Overall, a decent ender to the album that I think sums up the album well. (7/10)

Overall Album Rating – 7.8/10

Peaches Teaser Image

[Album Review] ONLY LOVERS LEFT (3rd Mini Album) – WOODZ

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WOODZ is nominated for Best Male Soloist and Rising Star in the 2021 KPOPREVIEWED Awards. Support WOODZ by clicking here to vote for WOODZ!

The next album on the reviewing block for today is WOODZ’s third mini-album, ONLY LOVERS LEFT, which was released in early October 2021. The album features two title tracks, WAITING and Kiss of Fire (which I have not reviewed yet as there is no music video for it). And in addition to those two tracks, there are another four tracks on this mini-album. As a quick summary of this album review, ONLY LOVERS LEFT is another high caliber album from WOODZ and definitely follows the likes of his previous album releases. Have a listen to the track below and see if you think the same!

ONLY LOVERS LEFT Album Cover

1. Multiply – Starting off ONLY LOVERS LEFT is a rather pleasant song in the form of Multiply. The instrumentation for this track is pretty typical with its lo-fi beats and acoustic guitar (which provided the song with a relatively brighter and summery feel) and this typicalness did drain my attention. However, the pre-chorus featured a brief addition of classical instrumentation, which helped enhance the background. But I didn’t think it was enough to totally compensate that typical energy. Overall, I would say Multiply is a nice starter to the mini-album. (7.5/10)

2. Thinkin Bout You – Thinkin Bout You is more vibrant and upbeat than the previous song, but continues that consistent pleasantness. Because of the enhanced vibrancy and upbeatness, I am more drawn to Thinkin Bout You, which finds it influences in both the pop and EDM genres. I like the punchy hooks, driving up the memorability of the song. I also really enjoyed his vocals throughout the song. In addition to his already strong vocals, he presents with a range of delivery methods including breathy vocals and falsettos that helps makes this song complete. (9/10)

3. Sour Candy – We enter retro territory with Sour Candy. While this isn’t anything new, I really like how WOODZ showcases himself in this song and how concentrated the 70s influences got in the song. You could tell from listening to Sour Candy that he was totally in the mindset of the retro influences, and that he was having a ball recording this song. That all translated to fun energy that made Sour Candy so much more appealing to listen to. We are also treated to some rapping from the soloist in this song, which came at the right time and added additional fun energy to the song. It was hard to turn away from this song, and so it is my pick as a hidden gem on this mini-album. (10/10)

4. Kiss of Fire (Title Track) – Kiss of Fire is a title track, but it never got the music video or promotional treatment like WAITING did. It did get a live clip, but that made it no different to Chaser, which was a side track. Anyhow, Kiss of Fire is another song that showcases WOODZ in a spectacular fashion and I can see why Kiss of Fire was selected as a title track. His vocals are on full display and the melodies/hooks of Kiss of Fire are quite memorable. The rapping was also a nice addition to the song. But what really sells me the song is the groovy touch of the instrumental, especially in the chorus, which makes this song so sleek. (9/10)

5. Chaser – Chaser was a blast to have on repeat! What I really liked about Chaser is how WOODZ went all out in the song. While this sounds like he went to the extreme with Chaser, this was not he case. He simply just put his all into the song. Chaser takes on a rock instrumental background, but there is a groovy touch within it that reminds me of some of the King of Pop’s (Michael Jackson) earlier hits. I don’t have much else to say about Chaser, but it was definitely a highlight on this album. (10/10)

6. WAITING (Title Track) – Click here to read the full review for WAITING. (8.5/10)

Overall Album Rating – 9/10

ONLY LOVERS LEFT Teaser Image

[Weekly KPOP Chart] 2nd Week of December 2021

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Here are the charts for the 2nd Week of December 2021. On time, might I add. This week’s post will also be short like the Weekly KPOP Charts for the 1st Week of December 2021, as I didn’t have much opportunity to listen to old tracks or non-Korean tracks this week since I was so busy. I only managed to find free time yesterday, and the MAMA awards took up the entire night. So obviously, I have to focus on writing reviews for the rest of today! Anyhow, keep on reading for the charts!

New Releases of the Week

In addition to Xidinary Heroes’ debut single Happy Death Day, Mino’s TANG!♡, ATEEZ’s revamped version of The Real, NCT U’s Universe (Let’s Play Ball) and FT ISLAND’s Unthinkable, there are other new releases from the week, including:

  • Everyday Christmas – Davichi
  • Way – Onew (SHINee) & Punch
  • Candles – The Boyz
  • Rolling Rolling – LUCY
  • ANI – Ravi (VIXX) ft. Jeon Soyeon ((G)I-DLE)
  • This Is The Day – VOISPER
  • Christmas is You – LUNARSOLAR
  • Oh – Woosung (The Rose) ft. Ashley (Ladies Code)
  • CWS – Woosung (The Rose) ft. BM (KARD)
  • Suddenly – Niel (TEEN TOP), Changjo (TEEN TOP), Hwanhee (UP10TION)
  • Merry Fantasy – PinkFantasy
  • Need U – Super Junior D&E
  • Love Taste – THE MAN BLK
  • Do The Dance – Lee Hyori
  • Solo Christmas – Ailee & Wheein (Mamamoo)

The Charts

With all of ONF title track topping my charts this year so far, it comes as no surprise that Goosebumps, their latest addition to their discography, has also joined the ranks by topping the Weekly KPOP Charts for the 2nd Week of December 2021. Congratulations to ONF! For more of the charts, keep on scrolling.

2nd Week of December 20215th Dec – 11th Dec 2021
Pos.TitleArtistStatus
1GoosebumpsONF(▲ 5)
2ELEVENIVE(▲ 7)
3SiestaWeki Meki(▲ 2)
4Happy Death DayXdinary Heroes(NEW)
5TANG!♡Mino (WINNER)(NEW)
6Universe (Let’s Play Ball)NCT U(NEW)
7PirateEVERGLOW(▲ 4)
8TraumaSF9(▲ 4)
9Christmas EveLStray Kids(▼ 8)
10FrostTXT(▲ 59)
11Fire SaturdaySECRET NUMBER(▲ 58)
12Killing MeCHUNG HA(▼ 10)
13LUNAONEUS(▼ 9)
14SeriousPark Ji Hoon(▲ 55)
15The Real (Heung Version)ATEEZ(NEW)
16TurbulenceATEEZ(▼ 3)
17ElectrifiedHa Sung Woon(▲ 52)
18VIVACELIGHTSUM(▲ 27) (Final Week)
19Rock With YouSEVENTEEN(▲ 23)
20SCIENTISTTWICE(▲ 4)
21Red Light, Green LightT1419(▲ 41)
22GHOSTDREAMNOTE(▲ 29)
23Favorite (Vampire)NCT 127(▲ 27)
24PeachesKai (EXO)(▼ 21)
25California LoveDonghae (Super Junior)  ft. Jeno (NCT)(▲ 44) (Final Week)
26vertigoDRIPPIN(▲ 14)
27Winter FallsStray Kids(▼ 20)
28ControlGHOST9(▼ 12)
29TIKI TAKAT-ARA(▼ 15)
30RACEBang Yong Guk(▼ 2)

Songs leaving the charts

The following songs have wrapped up their nine-week run on the charts and will no longer appear on the charts in the new week:

[Review] Unthinkable – FT ISLAND

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Support your favourite artists, songs and performances in the 2021 KPOPREVIEWED Awards by clicking here to vote today!

It has been over two years since we least heard from FT ISLAND through their Korean promotions of Quit and Zapping, their 7th mini-album since debut. Since their last comeback, Choi Jong Hoon left the group following the Burning Sun Scandal and Son Seung Hyun left the group to pursue his acting career. Lee Hong Gi, Lee Jae Jin and Choi Min Hwan (who also became a dad) remains as part of FT ISLAND and enlisted into the military throughout 2019 and were released earlier in the year. The band has since reformed, and on Friday released their 8th mini-album, Lock Up, which is lead by the single Unthinkable.

As soon as I started listening to Unthinkable, I knew it was up there with the rest of FT ISLAND rock ballad hits. It is a short song, spanning for just about three minutes. While I would have liked Unthinkable to be longer, that doesn’t stop the nostalgia! The song starts off as a simple ballad, with piano and Hong Gi’s raspy vocals. The piano brought on a suspenseful vibe. Not one that is dramatic, but rather you could tell from a mile away that the song was going to buildup. Hong Gi’s vocals gave off that sense of familiarity and nostalgia that I mentioned before, but was also captivating. He gets even more captivating once the chorus hits and this vocals become more powerful, with the piano experiencing an uptick in its momentum as well. Up until now, we have only heard piano. From the second verse onwards, the band instrumentation comes into play with the piano before Unthinkable settles for a rock ballad sound in the second chorus and beyond. And with that trajectory, Lee Hong Gi’s vocals also build with the music. I really enjoyed the emotions he puts behind this vocals as well, which further captivates and definitely gives the song its ‘icing on the cake’. The song wraps up with just the piano and the same melody that started off the song, bringing it full circle. As mentioned earlier, I would have liked the song to be longer. There was definitely room to make the song even more powerful, heartfelt and breach its current boundaries. But the three minutes or so we did get from Unthinkable was also quite sufficient enough, especially if you are into rock ballads, a casual listener of FT ISLAND who has stuck around or are Primadonna (FT ISLAND’s fanclub).

To aid in the emotional appeal of the song, the music video brings forth an emotional story about friends and lovers. It isn’t clear who was in the car, but it was revealed at the end of the video that there was a fatal car accident. There are two directions that I think the story could be told. The first theory I have is that all four people in the video (Lee Hong Gi, Lee Jae Jin, Choi Min Hwan and the female actress) were in the car. The car crashed and Lee Hong Gi survives. He stumbles home, which was shot in a manner to make it look cold and empty, and this signifies that his friends and lover had died in the car crash. He is visited by the members and the female character, though these are only memories. He is shocked at first at their presence, but ends up smiling at these memories. However details in the last moments of the music video poses a second theory, which is that Lee Hong Gi’s character dies in the car crash alone and the other three people are not aware. Lee Hong Gi’s walks home and has final memories of his lover and friends that bring some warmth into the cold afterlife. The reason why this theory came about because there was only one seatbelt engaged in the car, which meant there was still only one person in the car (i.e. the driver, who was most likely Lee Hong Gi). I think the second theory is the most plausible, but the first theory felt more obvious at first. Regardless of whichever story I go with, the music video was definitely a heartfelt one.

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

[Review] Universe (Let’s Play Ball) – NCT U

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NCT DREAM and NCT 127 is nominated for Best Subunit, while NCT Dream’s Hello Future is nominated for Best Pop Song in the 2021 KPOPREVIEWED Awards. Support either NCT DREAM or NCT 127 in the Best Subunit category, and Hello Future in the Best Pop Song category by clicking here to vote!

NCT is back as a full group (aside from two members, Lucas and WinWin) with the new album, Universe. The new album is not out yet (its formal release date is 14 December 2021), however, the first lead single from the album has already dropped. It is titled Universe (Let’s Play Ball) and features NCT members Doyoung, Jungwoo, Mark, Xiaojun, Jeno, Haechan, Jaemin, YangYang and Shotaro. This full group comeback comes a year after the NCT 2020 promotions, which saw the group return with 5 title tracks, including Resonance.

Universe is a very intense track. So intense to the point that it felt very ‘in-your-face’ type of intense. There is nothing wrong with that however. If nailed, like Universe did, then it can be a fantastic track. And that’s the impression I get from Universe. It isn’t 100% perfect, however. I will return to that in just a second. The song starts off with the song’s shouty hook. Personally, I don’t mind the ‘Let’s Play Ball‘ hook. Admittedly, it does feel a bit childish and I didn’t know if it went with the intensity of Universe. But subsequent listens to the song have helped justified it. The hook repeats on a loop through some iterations of intense instrumentation, a ‘What You Got‘ loop (courtesy of Jaemin) and some vocals (courtesy of Doyoung). While I like overlapping in songs, I felt that Universe went an extra unnecessary step when the hook overlapped with Doyoung’s vocals. It felt a bit much when it got to that point and was hard to focus on Doyoung’s vocals. I wished they held back on that additional iteration. That was the only part of Universe that I did not enjoy. Other than. the song gets a big tick from me. Universes showcases interesting vocal and powerful rapping throughout the song. There is a lot going on in this department, but I was not disappointed with the variety! The chorus melody was actually pretty solid and had a smoothness with counteracted with the the rougher textures brought through by the synths. In addition to the synths, there was some pretty good elements that made up the instrumentation, such as the synthesizer guitars and I also felt a bit of a rock influence at point through the presence of actual electric guitars. The overlapping returned at one point in the second verse and at the end of Universe and sounded fine, simply because they didn’t overlap with any vocals. Overall, there was one minor hiccup to Universe, but otherwise a great song that showcases a lot!

Part of the music video takes on a baseball game, which makes sense given the main hook being ‘Let’s Play Ball‘. The casual wear elsewhere in the video, like in the outdoor scenes and some of the closeups, felt fitting enough as well. However, I am not entirely sure of the direction of the choreography scenes in which the members were wearing suits and wearing those full face masks. They look good though, and I presume they have a reason for being in this video. But it just didn’t feel obvious. Over than that, a pretty typical music video.

What impresses me with the choreography for Universe is the speed at which the moves were performed at. There as a lot of fast moments in the choreography that made the performance looked pretty cool and much more impactful.

Song – 9/10
Music Video – 7/10
Performance – 8.5/10
Overall Rating – 8.3/10

[Review] The Real (Heung Version) – ATEEZ

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ATEEZ is nominated for Best Stage Presence, while ATEEZ’s sixth mini-album, ZERO: FEVER Part 2, is nominated for Best Album in the 2021 KPOPREVIEWED Awards. Jongho is also nominated for Best Vocals. Support ATEEZ, ZERO: FEVER Part 2, Jongho, your other favourite artists, songs and performances by clicking here to vote.

As mentioned yesterday, I have been a bit busy especially in the last few days to review. But I am not busy at the moment, and so I will be reviewing the releases from the last few days. One of these releases is ATEEZ’s latest (?) title track, The Real, which is featured on the group’s 8th mini-album, Zero: Fever Epilogue. Actually, this isn’t a new song per se. The Real is ATEEZ’s final song on Kingdom: Legendary War, but has been revamped to be the new lead track for this album. This follows the release of Turbulence last week and their two comebacks from earlier in the year, Fireworks (I’m The One) and Deja Vu.

At the end of my previous review of The Real, I did mention that I would like to hear ATEEZ explore this unrelentless hype style. However, I had in mind that the group would do this through a different and original song, rather than the original. As mentioned already, The Real (Heung Version) has been been revamped to be the title track for this new album. I do have to say that the revamp was not extensive, though. If that is what you are after, then I prepare to be slightly disappointing, as I would say just under 90% of the new version is the same as the old version. In the The Real (Heung Version), there was more traditional instrumentation added, a slightly altered introduction, a more hype-inducing buildup for the pre-chorus and an extended final chorus at the end, which features an instrumental break that contains a prominent touch of traditional folk instrumental. Otherwise, the same delivery from the members, the exact same order and the same abrasive synths as per the original version of the song remained the same. I did wish that they went a bit further with the revamp like with the delivery (i.e. both rapping and vocals) and more pronounced changes, rather than subtle changes. That would have been a more mind-blowing experience. But while the changes described aren’t major, I did think that they did a good job of adding flair and continuing both momentum and unrelentless exudation of energy of the song (the latter being a massive selling point of the original version for me). Did I like the changes? Yes. But I think my original rating of 8.5 for the song component of the original version of The Real still stands with the Heung version.

In the case you were wonder the score for The Real (from the Kingdom: Legendary War post) on the blog is 7.9/10, which factors in the stage performance. The 8.5/10 song component of the release was never made public before.

I am not too sure what is going on in the video. It seems like the members are all of different factions and rivalry (based on that dance battle we get on the streets), but they come together to summon Yeosang back (who appears to be much more confident and arrogant (in a good way)). Something happened to Yeosang’s character at the end of INCEPTION and Deja Vu (and he is presumably the masked figure at the end of Fireworks (I’m The One) music videos), which were the main videos that made up the Fever series, hence why he needed to be summon back. The THANXX, Eternal Sunshine and Turbulence music videos might also factor in somehow, but I can’t think of how from the top of my head. Happy to hear any theories that you might have! After full reuniting, ATEEZ celebrates with one big street party! Aside from my haphazardly theorised theory on the music video, I thought it was a fun video that definitely draws from that side of the song.

Unsure if the performance has changed given the revamp, but the dance moves I saw in the music video were previously captured on stage at the Kingdom: Legendary War final stage. It seems like the moves in the music video a bit more oomph to them, and it looks much better than the stage version. I can’t fully make a judgement here, but it seems to head in the right direction.

Song – 8.5/10
Music Video – 8/10
Performance – 8/10
Overall Rating – 8.3/10

[Weekly KPOP Chart] 1st Week of December 2021

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Massive apologies for the delay in posting last week’s wrap up of the week via the Weekly KPOP Chart. Work has been busy this week, and I had some other stuff on. But as of tomorrow (as I need some sleep), I am back to reviewing new releases and getting on top of the Christmas load of reviews I intend to schedule over my Christmas break. As this is a late post and I am really sleepy, it will be a quick one!

A reminder that the 2021 KPOPREVIEWED Awards is currently open for public voting. So make sure you vote so you can get a say in regarding which artist and what song/performance was the Best of the Best. Click here to vote.

New releases this week

Last week, I spent a fair bit of time reviewing CHUNG HA’s Killing Me, Stray Kids’ Christmas EveL and Winter Falls, Kai’s Peaches, EVERGLOW’s Pirate, IVE’s debut single ELEVEN, ATEEZ’s Turbulence and ONF’s Goosebumps. But in addition to those songs that I reviewed, we also the following new releases:

  • Boyfriend – cignature
  • Red Light, Green Light – T1419
  • Remember – Zeth

The Charts

Congratulations to Stray Kids for topping the Weekly KPOP Charts for the 1st Week of December with one of their latest singles, Christmas EveL. For more of the charts, scroll down below.

1st Week of December 202128th Nov – 4th Dec 2021
Pos.TitleArtistStatus
1Christmas EveLStray Kids(NEW)
2Killing MeCHUNG HA(NEW)
3PeachesKai (EXO)(NEW)
4LUNAONEUS(▼ 3)
5SiestaWeki Mkei(▲ 11)
6GoosebumpsONF(NEW)
7Winter FallsStray Kids(NEW)
8MAVERICKTHE BOYZ(▼ 3)
9ELEVENIVE(NEW)
10Rush HourMONSTA X(▼ 8)
11PirateEVERGLOW(NEW)
12TraumaSF9(▼ 5)
13TurbulenceATEEZ(NEW)
14TIKI TAKAT-ARA(▼ 4)
15Love CutCN BLUE(▲ 44)
16ControlGHOST9(▼ 8)
17VibinYoungjae (GOT7)(▼ 4)
18DDARAGolden Child(▲ 48)
19Do 4 MeEPEX(▲ 27)
20New VisionColde ft. Kim Soyeon ((G)I-DLE)(▲ 4)
21FRESHICHILLIN’(▼ 1)
22Savageaespa(▼ 4)
23Good NightHUTA (Lee Minhyuk – BTOB)(▲ 31)
24SCIENTISTTWICE(▼ 12)
25Don’t Teach MeAilee(▲ 41)
26GAIACRAXY(▲ 21)
27RING X RINGBilllie(▼ 5)
28RACEBang Yong Guk(▲ 38)
29Right NowGaho(▲ 37)
30Tales of the UnusualPinkFantasy(▲ 11)

Songs leaving the charts this week

After nine weeks elgibility on the Weekly KPOP Charts, the following songs have been removed and will not appear on this week’s Weekly KPOP Charts and onwards:

[Review] TANG!♡ – Mino (WINNER)

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Support your favourite artists, songs and performances in the 2021 KPOPREVIEWED Awards by clicking here to vote now.

Mino is back to round out the year with TANG!♡. The song is featured on his third solo studio album, which is titled To Infinity. Things have appeared to be fairly quiet for Mino, who we last saw during his Run Away and Take (his second studio album) promotions a year ago. He did hold a solo concert back in October, in which he performed TANG!♡ for the first time.

For me, Mino’s releases comes and goes. I don’t remember much of Run Away (nor his other solo songs) a year on since its release and have to remind myself by re-listening to the song and reviewing its review in order to compare releases. Now that I have done that, I can say that I prefer the likes of TANG!♡ over Run Away. However, that doesn’t mean I think TANG!♡ is the perfect song. There are flaws and there is still a fair way to go to reach that level. Of course, there are a few elements that stood out for me, namely the instrumentation and Mino’s rapping in the second verse. The instrumental has this slight reggae-like rhythm to its percussion, which was interesting. There was also a certain colour to the song that I would describe as playful and fun, even though I would say the beat was ‘paced’. But for the most part, the body of the instrumental was pretty much hip-hop. I also did like the addition of the electric guitars in the background, which also helped change up the song a bit by inserting a moody vibe to the song. Mino’s rapid rapping in the second verse also amazed me. It wowed me there, and was by far the most positively memorable aspect of the song in my opinion. The rest of his rapping in TANG!♡ was also quite good, and worked well with the pace of the instrumentation. Unfortunately, there was one thing that I didn’t like as much, and thought that it was pretty undercooked. The repetitive ‘Tang Tang Tang‘ chorus was not my cup of tea. It didn’t feel fulfilling, and I was itching for more. I guess it plays towards that fun nature of the song, but I wished it did more. Overall, TANG!♡ isn’t a bad song. But I wished the main centerpiece was a bit more teased out.

As for the music video, it was pretty good. TANG!♡ concept was a virtual reality one. At the start of the video, Mino is pretty much your standard bachelor who plays TANG, which is a love game. The game puts Mino into a few scenarios, where I assume he needs to win the female computer character over. In the first scenario, he is a cowboy who is dressed coolly to look the part. He throws out a pick up line, shows off money and dog and buys her dinner. But she leaves and gets distracted, which means he lost that round. In the second scenario, he shows off his money again by being a materialistic person, buying and wearing high end stuff. He also buys a whole heap of presents for the female character. But his dog gets in the way, and stuffs that rounds up! In the final round, he prepares a romantic proposal like situation, in which he gifts the female character a bouquet of roses and a massive teddy bear. But he is reminded that this game is fake, and she disappears in a glitchy manner. In the end, he opts for some real life interaction, where he sends a text message to a real like female to meet at the bar to discuss something. I thought the video was fun, and like usual, I enjoyed the post-production applied to the video.

Song – 7/10
Music Video – 9/10
Overall Rating – 7.8/10

[Review] God Damn – I.M (MONSTA X)

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I.M is nominated for Best Rapper, while God Damn is nominated for Best Rap or Hip-Hop Song in the 2021 KPOPREVIEWED Awards. MONSTA X is also nominated for Best Stage Presence and Best Concept for GAMBLER. Support I.M, God Damn and MONSTA X by clicking here to vote today.

We return to the ongoing transmission of reviews for songs nominated under Best Rap or Hip-Hop Song category. Today’s review is the final one for the category, and is focused on I.M’s GOD DAMN, which was released way back in February of this year. It formed part of his first formal solo album release, Duality. You might recognise the song, as it has been on my ‘Coming Soon’ page for a very long time. And today, I am finally getting around to it. Since the release of GOD DAMN, I.M has participated in MONSTA X’s GAMBLER and Rush Hour.

Out of all the nominees for the Best Rap or Hip-Hop Song category, I.M’s release is the most sensual. It is a slow song for those who are tuning into GOD DAMN for the first time, and that might be a turn off for some. I completely understand that. But I guess multiple listens (and nine months later), GOD DAMN becomes a lot more appealing. For me, the slowness of the track emphasis that sensual energy, and allows I.M to use a huskier tone and a more drawn out approach with his vocals. All of this helped make GOD DAMN as appealing as it is. We usually get something powerful and fierce from I.M in his MONSTA X works, so this change in sound intrigued me to the point in which I enjoyed it. My favourite and what I felt to be the most memorable aspect of the song has to be the sequence between 2:08 and 2:12, where it seemed like he was murmuring the lyrics. It stood out at me, and stayed with me ever since it was first released. I also like the pulsing and trap instrumentation to a degree. It was plain enough to become a blank canvas, so I.M could do all of the above with the song. But there was also enough trap elements in the instrumentation to ‘fill up’ the background so that it isn’t a sparse and empty. I did think was a bit too consistent, and wished that the instrumental intensified. It didn’t need to be anything hardcore. But rather a subtle yet noticeable intensification to just change up the song a bit would have made the song end on a much stronger note. Overall, GOD DAMN was a deliberate sensual number that changed up what I personally know from the artist.

The lyrics of GOD DAMN are about lying to oneself about being happy, and the video depicts this is a logical manner. The video starts off with flashbacks of I.M and his lover, before we enter the reality where she has left him and he pretends to be happy. But in reality, he is alone throughout the video despite the crowd around him. He uses the mask (I assume to depict him getting high) and drinking alcohol as a mask to cover up his feelings of loss and heartbreak, but it seems like they made such feelings more pronounced and obvious without him knowing. I really like the moody and dark atmosphere of the club and of the overall video, complimenting both the song and concept for this release. I.M is also a great actor throughout the video, doing a good job of portraying the emotions mentioned, and also acting as drunk and high.

Song – 8/10
Music Video – 9/10
Overall Rating – 8.4/10

[Review] Happy Death Day – Xdinary Heroes

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Support your favourite artists, songs and performances in the 2021 KPOPREVIEWED Awards by clicking here to vote today!

I take a break from the reviews for Best Rap or Hip Hop Song category to focus on a new debut! Xdinary Heroes mark the start of their careers today with the release of Happy Death Day. This new band is made up of six members (Gunil, Jungsu, Gaon, O.de, Jun Han, and Jooyeon) and they join the growing roster of groups at JYP Entertainment – the home of 2PM, DAY6, TWICE, Stray Kids and ITZY.

The best way that I can think of to describe Happy Death Day is that it is wild. The song delves pretty heavily into the punk genre, and hits hard during the chorus (which the song begins with). It is a blast of energy that I did not expect, but I thought was great! It captures your attention from the get go, which is a promising start to any one’s career. It also helps that the ‘Tra La La La’ hook, and pretty much the rest of the chorus, was super catchy. What also makes the song standout a bit more is its unique sound. The punk genre has been touched on by some groups in the past, but I don’t think any group or band has gone as hard as Xdinary Heroeos have in Happy Death Day. This definitely sets the group apart from the bands that preceded it and that they may rival (provided they keep this individualistic character in their songs). The members also do a great job with their vocals. They really brought in a lot of character, especially in the choruses, that make the Happy Death Day so much more approachable, individualistic and colourful (in the punk way). I liked how barely of the vocals felt straight forward, especially with those groans and the rap-speak style. It definitely makes the song more memorable and interesting. That being said, the more straight forward vocal sequences such as the pre-choruses and the first half of the bridge were also very good. Overall, Happy Death Day embraces boldness and being different, which sets it apart from the rest of the competition. If they continue to do this, then they for sure will be a force to be reckoned with.

How twisted is this music video? The premise of this music video is a child’s birthday party, where the members are invited to be the entertainment for the party – a clown band. But that image doesn’t fit the song. So the members rip off their clown accessories and proceed to rock out. But what lead them to this? They were sent to bring back the attention of the guests, by pointing out that while the kid was celebrating its birthday, the party guests were all disinterested in the whole event, even being on their phones during the most important part of the party – the blowing out of the candles (most important because you get cake right after). But the message the video was trying to get at is that the party could have been a birthday celebration or a ‘Happy Death Day’ celebration, marking the kid’s one step closer to its death, and the guests would not even notice. I did say it was a twisted video, but well thought out if I was being honest. Elsewhere, the members perform on the roof of a virtual world and the underground basement of a building. The ending seems to suggest a continuation, so I guess we will be seeing more of the virtual world in the future.

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