Month: December 2021

[Review] TAKE OVER – Do Han Se (VICTON)

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Do Hanse is nominated for Best Rapper, while Take Over is nominated for Best Rap or Hip-Hop Song in the 2021 KPOPREVIEWED Awards. Support Do Hanse and Take Over by clicking here to vote now.

The second track I am covering from the Best Rap or Hip-Hop song category of the 2021 KPOPREVIEWED Awards belongs to Do Han Se, who is a member from VICTON. News of solo work for Do Han Se was confirmed back in 2020, but he didn’t make his solo debut with TAKE OVER, and his first mini-album, Blaze, until the end of September of this year. Most recently, we saw Do Han Se as part of the latest VICTON release, which was Sweet Travel, a commemorative single celebrating their fifth anniversary as a group.

Two things standout of TAKE OVER for me. Firstly, the instrumental. The clanging instrumentation was just so prominent and exuded a very hypnotic effect, reeling me in. It intrigued and also felt very unique. It was by far the most memorable aspect of the instrumentation. However it was only one part of the instrumental. I also found the bridge to be very interesting, diverting into soothing and atmospheric territory with an elegant piece of music that also felt modern and aesthetic. Definitely a strong contrast to the heavy clangs of the instrumental that featured so prominently. But it somehow works and I find TAKE OVER to be quite cohesive, even though there was clear distinction between each segment of the song. The second element that stands out for me is Do Han Se himself, who added to the hypnotic effect that I already mentioned. There was something with his delivery that kept me captivated. It might have been his charisma, his fast pace in the verses, or the fact that he alone made the song so intense. It could also be the fact that at no point in the song did Do Han Se felt like he was ‘in your face’ about TAKE OVER, which is what I tend to hip-hop songs are like. Regardless, it was hard for me to tear my ears away from the moment I started to appreciate TAKE OVER in all its glory. It also didn’t help that the song’s main hook, Do Han Se’s throaty Take Take Take repetition literally takes over (pun so intended) my head. Overall, TAKE OVER impresses me for being different and mysterious.

His image and concept for this release is so different and unexpected, miles away from the Do Han Se that I remember from VICTON’s releases. The imagery is also so bold and impactful, TAKE OVER‘s music video leaves an impression. I liked how the music video didn’t go with sets, rather a big screen that was showing various effects. It was a minimal approach, but also helped complicate the video at the same time. I also thought the various camera shots, such as the up close shots and the curved camera shots looked quite cool. The video also featured drag queens, which is a fantastic idea. However, I wished their dancing was a bit more dynamic during the second verse to fit well with the song.

Further to the image of this release, I really liked that Do Han Se was not afraid to join forces with the female dancers. It definitely added to the uniqueness of this comeback. The routine was full of attitude and fierce energy. Usually, male and female in KPOP have slightly different routines that blend with one another to create a cohesive performance, or they dance as partners. But here, and on some other rare occasions, everyone share the same routine.

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

[Review] 13IVI – BM (KARD)

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BM’s 13IVI is nominated for Best Rap or Hip-Hop Song in the 2021 KPOPREVIEWED Awards. Support 13IVI, your favourite artists, songs and performances by clicking here to vote today.

Today is the start of a very big task. There are a number of songs that I had nominated in the 2021 KPOPREVIEWED Awards that I had yet to review. My aim is to review those nominated tracks without reviews by the end of the year. They won’t come all at once, but will be spread out during the remainder of the month. Today and tomorrow, you will see the reviews for songs that were nominated in the Best Rap or Hip-Hop category. First up, it is BM’s first solo Korean single, 13IVI, which is the lead track from his solo debut single-album, The First Statement. I missed the release when it first came out, and I didn’t really pick up on 13IVI until its final weeks on the Weekly KPOP Charts that I post each Sunday. Note that this isn’t his solo debut single. That was Broken Me, which preceded 13IVI by a month and is an all-English song (which I also missed).

I had no idea what I had been missing out on in the weeks between the official release of the song and discovering 13IVI. 13IVI is a bold, edgy and intense hip-hop track that basically launches you right into chorus (more on that in a bit). Its instrumental was made up of abrasive synths, metallic percussion and heavy beats – all typical ingredients that seem necessary to formulate a very tough and powerful background piece that undoubtedly compliments what we know of BM (if you follow KARD’s work). As a result, 13IVI comes off as an explosive and thrilling track that was relentless and adrenaline pumping. BM follows up the instrumentation, delivering a powerful rap routine that does an amazing job of showcasing his raspy and deep voice. He was fierce and definitely kicked the song up a notch. This, in combination with the instrumentation, did wonders to make the 13IVI repetitive hook so catchy and intense. Earlier, I mentioned how the song launches you right into the chorus, which gets you into the mood for the high octane track from the very start, and I like how the energy continues through the song. I would have enjoyed a three minute long track of this powerful energy, making it fit for a workout playlist. But there was also a period of relief, where BM tones down the energy a bit. But you just know that the song will definitely return to how it started based on the synthetic humming in the background that continues the momentum in a subtle manner. Overall, 13IVI is essentially what I had expected when I think of potential solo tracks for the leader of KARD.

In the music video for 13IVI, BM is a criminal who has been evading authorities for some time. He is captured, tortured, interrogated and locked up behind bars. But his fellow criminal friends break in, kills the police officer who interrogates/tortures BM for answers, before escaping. I liked how BM’s story goes from rock bottom to literally top of the world, where BM and his dancers/criminal peers end up dancing on the helipad of a city building. Aside from storyline, the music video was aggressive and fierce, just like the song was. I wished the video a bit more of a wow factor to, such as taking advantage of that night scene on top of the helipad.

The choreography was good. Once again, bold and fierce comes to mind, but I think any of the descriptors I mentioned above can be applied to the performance. It works well with BM’s hip-hop style, but doesn’t offer anything new or wows me in anyway.

Song – 8/10
Music Video – 7/10
Performance – 7/10
Overall Rating – 7.5/10

[Album Review] MO’ COMPLETE (2nd Studio Album) – AB6IX

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

Another September album is up for review, almost three months after its release! The album in question is AB6IX’s MO’ COMPLETE, which is the group’s second studio-length album since debut. It was released on 27 September 2021, features the title track CHERRY along with nine other new songs, and wraps up the MO’ COMPLETE series from earlier this year. This is also the group’s third comeback of the year, following the release of Stay Young (featured on SALUTE: A New Hope) and CLOSE (featured on MO’ COMPLETE: HAVE A DREAM).

MO’ COMPLETE Album Cover

1. SHOWDOWN – Opening the album and SHOWDOWN is a crowd, something that I feel is sorely missed over the past two years. Continuing that high was the abrasive and heavy electronic synths and beats in the instrumental, which definitely packs a punch. And that translates into intense energy from both the instrumentation and the members, who definitely do an amazing job of creating hype energy. SHOWDOWN definitely is a strong start to the album. (8/10)

2. LEVEL UP – Funkiness is the backbone to LEVEL UP, which is another fantastic song with great energy and a fun appeal. The chorus to LEVEL UP was definitely the highlight of the song, concentrating all the energy into a one stop shop moment for the song. It was also very catchy. I can’t help but dance to this song. Woojin’s section in the second verse also caught my ears. It was extremely vibrant and different to what I am used to. My only gripe about the song is that pedestrian light sound that you get in the verse. I did not like its presence and found it annoying. But overall, LEVEL UP is a recommended track! (9/10)

3. CHERRY (Title Track) – Click here for the full review of CHERRY. (8/10)

4. DOWN FOR YOU – DOWN FOR YOU jumps onto the Latin-pop trend. For the most part, the Latin-pop trend as pretty much died down with the occasion release. DOWN FOR YOU definitely brought on a mature feel and vibe for the group, as evident by the energy exuded from the song, sultry instrumentation and the heavier nature of the vocals and raps. While I found the instrumentation to be quite bold and ‘loud’, I liked that the members stood out above it.  Balance is key, and I think AB6IX nailed it in this song. I also liked the buildup during the bridge of the song. It was definitely satisfying. Another strong number from the group. (9/10)

5. DO YOU REMEMBER (그해 여름) – DO YOU REMEMBER tones down the energy a bit and heads in a R&B direction with the combination of piano and tropical instrumentation. The instrumentation gives off a traditional style, but it also brought a lot of nostalgia to me. The melodies of DO YOU REMEMBER also adds to the nostalgia. Elsewhere, the aesthetics that come off the track is so stunning, and the vocals had so much emotion behind them, and I loved the contrast between the whispery style of the first half of the chorus vs. the bolder and louder exclamation of the second half of the chorus. The rapping was also well executed and added the right amount of heft to DO YOU REMEMBER. Overall, DO YOU REMEMBER comes off as one of the best tracks on this album. (10/10)

6. STAY WITH ME (사라지지 마) – STAY WITH ME was a vibe and an experience. I really enjoyed the atmospheric tone of the instrumentation in the verses, while the chorus had a very pleasant groove to it (which compliments the rest of the instrumentation). The rapping and vocals were so well done. I really liked the delicate tone they had opted for the vocals, and the slower speed at which the raps were delivered, which all contributed to a heartfelt sound that was so inviting and appealing. Also adding to the appeal of the song was the harmonization between vocalist and rapper during the chorus, which I found to be very unique. Overall, another standout track on this album. (10/10)

7. BELIEVE (믿어) – BELIEVE brings the group back to their house roots. I was reminded of their debut track when I heard the intro to BELIEVE. But as the song progresses, a lot more is packed into the instrumentation creating a very hefty instrumental piece for the chorus. But this seems to be the star attraction of the song, with the melodies and hooks not being as strong as per the other tracks. They are still good, but not great. I wished there was stronger focus on these aspects to make BELIEVE better, as there was some potential behind the trajectory of the instrumental. (7/10)

8. OFF THE RECORD – The playfulness of OFF THE RECORD stands out. It feels like a neat follow up to the title track, with a similar playfulness shared between the two. I did like the melodies and the harmonization with the backing vocals in the chorus. But for me, the overall style isn’t my cup of tea. It is a bit sweeter than how I like it, and so I found a hard time getting into OFF THE RECORD. (6/10)

9. SIMPLE LOVER – SIMPLE LOVER tackles deep house, and further brings the group back to their house roots. I liked how substantial the track felt, and dynamic it turned out to be, even though it seemed to also be a bit typical at certain points. I like the vocals in this song, especially the ad-libs we get at the start. The chorus also had a nice grooviness to it, which I liked. Woojin’s rap sequence in the second verse seemed to be infiltrated with pings and glitches, which I thought was pretty interesting. (8/10)

10. 3’’ – 3’’ ends the album with some good vocal work and rapping. But I thought the instrumental was pretty boring. There is a positivity tone to it, which was nice. But the instrumental didn’t offer anything new or interesting for me to dwell on. And so, the album ends on a disappointing note, which is quite unfortunate. (5/10)

Overall Album Rating – 8/10

MO’ COMPLETE Teaser Image

[Review] Goosebumps – ONF

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ONF is nominated for a range of categories in the 2021 KPOPREVIEWED Awards, including Best Male Group, Best Music Video, Rising Star, Best Pop Song and Best Male Choreography (Group). Vote for ONF in these categories, and support your other favourite artists, songs and performances by clicking here.

Rounding out the past week was ONF, who returned with Goosebumps on Friday, the title of both the title track and their sixth mini-album. This release also rounds out a big year for the group, who has been actively promoting with releases such as Beautiful Beautiful, Ugly Dance and Popping. This will also be the group’s last release for a while, following the announcement that all the members (aside from U) will be enlisting into the military at the same time later this month. This is a big deal, as this showcase their group’s bond and will shorten their hiatus to the minimum (a first for a group facing military enlistment), allowing the group to hopefully relaunch back into promotions in about two years time. But until then, here is my thoughts on ONF’s Goosebumps (the title track).

Goosebumps is one interesting song. The best way I can describe to you is that is quite erratic. There is just so much going on in Goosebumps, with the song taking unexpected turns throughout. But yet, the song somehow is shaped together to become cohesive and whole. I find that to be remarkable and impressive. As a whole, Goosebumps, described as an alternative funk-based dance track with a powerful bass riff, was thrilling and fun, yet intriguing and fascinating all at the same time. The song kicks off with polished vocals from MK, and a funky instrumentation filled with bass and squealing synths. Wyatt and U’s rap-sing sequence follows over the same instrumentation, and was definitely memorable. We then are thrown into smooth territory with Hyojin’s soaring vocals, before launching into crunchy synths that make up the backing of the chorus. Personally, I felt like this was the weakest part of the song. I loved the monotonous ‘Goosebumps‘ repetition that kicks off each line of the chorus, but I felt the vocals that follow after were hidden away by the background, making it a bit hard to understand. I admit there is charm, but it isn’t as strong as the rest of the song. Wyatt returns with some cool vocals (which utilizes his deep tone well), before we are thrown back into an extended version of that smooth pre-chorus from the with MK, U and E-tion. The chorus returns, with the exact same instrumentation, but that deep and monotonous ‘Goosebumps‘ repetition at the start of each line is omitted. Instead, it is replaced by Hyojin and MK’s vocals, which was clearer and more audible over the instrumentation. I liked this version of the chorus. The members all come together for the bridge of the song, singing together a colourful and playful sounding sequence that is ultimately lead to the high-pitch autotuned repetitive ‘Lights On‘ peak. Personally, I found this to be a bit much, but it is getting better each time I replay Goosebumps. The best part comes after the peak, with everyone returning once again for a fun and funky chanty style rap sequence. I freaking enjoyed that part, and is pick for my highlight of the Goosebumps, before launching back into the second version of the chorus to close out the song, amped up by the instrumentation to be quite intense. Overall, Goosebumps is a fun song that seems all over the place at first, but it is actually pulled together nicely once you give it a go.

Per usual, I have no clue on what is happening in this music video. It seems like the members are in a different virtual world escaping those robots from Beautiful Beautiful and Ugly Dance, as they were closing in on the members. But it appears this secondary world is glitchy, based on the members appearing and disappearing, and the background keeps on changing. But this world is also dangerous, with computerised dragons, tentacles, action-packed scenes, a whole lot of guns and bullets. Like the song, it is pretty erratic. But I am sure there is a storyline somewhere that ties the three music videos together. As for the quality of the video, he people who made it has wowed me again, with amazing and detailed graphics. No wonder why ONF’s music videos have been a standout this year.

The choreography for Goosebumps is top notch! I wasn’t sure what direction they were going to go in with this performance, but it embraced the funkiness of the song, felt like it was fun and also quite intense. That whole ‘Lights On‘ sequence left me shocked, while the rap sequence that follows was definitely energy packed! Probably one of the best routines this year!

Song – 9/10
Music Video – 8.5/10
Performance – 10/10
Overall Rating – 9.1/10

[Review] Turbulence – 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.

Returning on Friday was ATEEZ, who unveiled a surprise music video for a pre-release single that will be featured on their upcoming eighth mini-album, Zero: Fever Epilogue, which is to be released next Friday (10 December). The pre-release single is titled Turbulence.

Turbulence is a ballad that is heartfelt and beautiful. It might be a departure from what they usually put out (i.e. intense tracks), but this is the work of a pre-release single (i.e. a single to be featured on an album, but is released ahead of the album for a range of purposes. including giving us insight into the album, or to hype up the album release). I am not particularly sure how to classify Turbulence, though I feel like the release offers a new side of the group and hence the song would fall into the latter category of hyping up next week’s release, promising us great things from the group. Anyhow, I find that ATEEZ does an amazing job, showing us a more emotional and sentimental side of themselves. This comes through via a number of avenues. Turbulence‘s instrumentation has an atmospheric vibe that you would find common with ballads. But to give it some extra sentimental energy and also some oomph, Turbulence’s backing also features some classical violins and electric guitars, which helps emphasise that heartfelt tone I already mentioned. The vocal work in Turbulence is no surprise, particularly since the group has the likes of Jongho (who is also nominated for Best Vocals in the 2021 KPOPREVIEWED Awards), and he (in particular) stands out in this song with his high notes. But the other vocalists of ATEEZ also manage to hold their ground, and showcase their vocals capabilities as well. It also helped to soothing, yet vibrant melodies. The rappers of the group also do an amazing job fitting in. Usually I am not a fan of rapping in ballads (with some clear exceptions), but I think ATEEZ’s rappers do a really good job of capturing the emotion of the song and presenting their parts to us in a more subdued manner. They also help cut the overall smoothness of the song, which I think was clever in this song, as ballads can be boring if they are linear. Overall, Turbulence is a strong teaser of what is to come, and I am excited for their upcoming release next week.

The music video for Turbulence has elements seems to have elements that I recognised from their other music videos that formed part of the Zero: Fever series. The school desks reminded me of Inception, while the school bus we see San sitting in reminds me of Thanxx‘s music video. The train on the bridge reminds me of the train in the background of Fireworks. The scenery on top of the roof was also seen in the Deja Vu music video, while the train is also reference in the Eternal Sunshine music video. I think paper planes were previously referenced somewhere as well, as I have a vague memory of it. This is probably just me grasping at straws, but I don’t think these elements are there coincidently. But aside from that, I see a typical music video for a heartfelt and emotional song. The dark lighting is interesting, I guess it makes sense, given the darkness is what they felt at first (lonely, as depicted by the music video). But with one’s hope and such, they are able to see the path forward (i.e. the lights that light up at the end of the video).

Song – 9/10
Music Video – 7/10
Overall Rating – 8.2/10

[Review] ELEVEN – IVE

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

Making their debut earlier in the week is IVE, who kicks off their careers with the single ELEVEN. IVE is a six-member female group under Starship Entertainment, the home to acts such as MONSTA X, WJSN, CRAVITY, Jeong Sewoon and many others. The lineup of IVE consist of  Yujin, Gaeul, Rei, Wonyoung, Liz, and Leeseo. Some fans might recognise Yujin and Wonyoung, as they were formerly part of IZ*ONE before IZ*ONE disbanded in April this year.

Even though it has been out for a couple of days now, I find ELEVEN to be an alright song. It is good in some senses, but I felt like it could have been better. The good thing about ELEVEN is that I can tell it will be a grower for me, and probably within a few weeks time, my opinions of ELEVEN might be much more positive than today. But until then, here are my thoughts on ELEVEN as it stands. The tribal-like percussion in the instrumental was very refreshing. I know we have heard it recently in another song, but I find its profoundness and prominence in ELEVEN to be exciting and appealing. For me, the verses were plain and monotonous. I wished there was a bit more flair to this part of the song, especially given the rest of the song. The vocals were decent here (I liked that the nasally tone the second vocalist in the song brought to the first verse), but they just didn’t have too much going on to really interest me. And I feel that this particular comment can also be applied to the entire song. Anyhow, what does make the song interesting those pre-chorus slowdowns. While we do get those from time to time to help make the chorus more explosive, ELEVEN‘s application of this technique is a lot more extreme, as you could really fill that the song was winding down. The rap-speak tone also helps out here. The pairing adds a unique touch to the song, which plays well with my comment of attracting attention. But with such a set up, I felt the chorus was a bit underwhelming. It was not as explosive as it could have been, and the melodies/hooks in the chorus were not as memorable. The only memorable part of the chorus was the ‘1,2,3,4,5,6,7, you make me feel like eleven‘ ending to the chorus, and even that was a bit soft. The rest of the song repeats the setup of the first verse and chorus, both for the second and final section of the song (with a bit of an extension at the end of the song). While this does sound like it would have been repetitive, I didn’t mind it as much. Overall, ELEVEN seems like a strong debut song, even though the song could have been better in some regards.

I know views are not everything. But they are particularly vital for groups starting out, as they are a good way to gauge attraction. If IVE’s debut views are anything to go by (at the time of writing, they have garnered over 28.5 million views within four days), they definitely have a lot of potential. They are doing even better than some of the top groups who have very recently released new music! Aside from views, I really like the mature vibe of the music video, which compliments the song. The sets looks great and elegant, while the matureness flows into some of their outfits (i.e. those white suits and blue gloves are definitely a memorable image from the video). The cinematography also helps make the music video look amazing. Definitely a strong music video!

Like the music video, the choreography for ELEVEN definitely a strong routine. The hip-shaking during the song’s main hook was definitely an unforgettable moment for me. The group’s charisma also needs to be mentioned, as they felt like they have been performing for many years than what they already have under their belt. I liked the contrast that the aggression brings to the performance, with Yujin being the standout member thanks to her aggressive facial expressions. It was subtle, but it definitely made the performance a whole lot captivating.

Song – 7.5/10
Music Video – 8/10
Performance – 9/10
Overall Rating – 7.8/10

[Review] PIRATE – EVERGLOW

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EVERGLOW’s FIRST is nominated for Best Music Video in the 2021 KPOPREVIEWED Awards. Support FIRST, your other artists, songs and performances by clicking here to vote today!

Also returning earlier in the week was EVERGLOW, who dropped Pirate and their third mini-album, Return Of The Girl, on Wednesday. This is the group’s second comeback of the year, following the likes of FIRST from May of this year. Today, I am finally getting around to reviewing the new track.

At the end of my song section of my review for FIRST, I noted that their May song did not overtake LA DI DA as my favourite EVERGLOW release. Well, it seems it took EVERGLOW an extra six months to put out a song that nudges LA DI DA out of its position as my new favourite EVERGLOW release. Pirate starts off swinging with some rapping. It was short and quick segment, but it definitely sets up Pirate and promises great things. We are then treated to the chorus, featuring the song’s main and catchy “I’m a pirate” repetitive hook and a beat that you find synonymous with the club. its placement is a bit sudden, but it works. There is something familiar about this hook/instrumental combination, but I just cannot place it. No matter what, it definitely lives up to the promise that the start alluded to and blasts me dynamic and intense energy that I cannot look away from. Following that, we are treated to a two part pre-chorus. The first half features a stripped instrumental, and crisp pop-influenced vocals that really pulls your attention. The second half features a return to the electrifying instrumentation with the same pop influenced vocals, before we are thrown back into Pirate’s catchy chorus. The bridge comes after the third chorus, throwing in what I think is a bit of dubstep before relaunching into a concentrated form of the song’s energy and intensity, merging the likes of the pre-chorus and chorus together to complete the song. It was as if the entire song was put on octane for the entirety of the final sequence. I have to say that like all their previous songs, EVERGLOW has shines throughout the ‘noise’, as some might describe the instrumentation of Pirate. This is definitely a highlight of their songs, and it just makes everything within Pirate so much stronger. Overall, Pirate is that thrilling song that gets the adrenaline pumping and is definitely bold and impressive release for the group. I personally could not find anything within it to fault it.

EVERGLOW becomes space pirates for this music video, donning very fashionable outfits throughout their solo shots that definitely give off a futuristic vibe. They definitely look amazing! The see-through eye patch was pretty cool, as well. The music video was set on a planet which landscape reminds me of the choreography scenes from their DUN DUN music video, and also a space ship. The glitchy effects and the lighting during some parts of the video lift up the dynamics of the music video, allowing it to fit in really well with the song.

Choreography-wise, it looked better in the music video than on stage. I presume this is because on stage, they had to soften the movements a bit so that the members can deliver the performance live. And I think the way the music video was shot, the dance moves came off as more impactful. However, this doesn’t mean the choreography was bad in any way. It still has that confident feel, and the chorus looks sexy and teasing.

Song – 10/10
Music Video – 9/10
Performance – 8.5/10
Overall Rating – 9.4/10

[Review] Peaches – Kai (EXO)

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Both Kai and D.O are nominated for Best New Male Soloist, and Mmmh is nominated for Best Male Choreography (Solo). EXO is nominated for Best Return to Industry, while fellow member Baekhyun nominated in a bunch of other categories. Support either Kai or D.O, Mmmh, Baekhyun and the rest of EXO in the 2021 KPOPREVIEWED Awards by clicking here.

Exactly a year since his solo debut with Mmmh, Kai returned with Peaches on the Tuesday that had just passed, the title of both his latest lead single and second mini-album. Since his solo debut, we haven’t seen too much of Kai aside from the return of EXO with Don’t Fight The Feeling earlier this year after a period of two years, and a few television variety shows.

The one aspect that really jumps out at me from Peaches is how aesthetically pretty the song is. If there is anything to get out of this song, it is simply that. This comes about in Peaches thanks to two main elements, the instrumentals and vocals. Firstly, the instrumental of this R&B track takes on this lo-fi type of backbone, with percussive elements added on top. Both the lo-fi and percussive elements were light on. Together, they created a pretty airy, spacious but alluring instrumental for the song. Secondly, Kai’s singing was light on (as well) and soft, fitting for this style of R&B. Peaches is very much vocal orient, and seems to be more straightforward, compared to the likes of Mmmh where Kai was a lot more sensual and teasing with his vocals. But while it sounds like Peaches is all good, I also think the pretty aesthetics was also Peaches downfall. To me, the song focused too much on on being aesthetic and light that it pretty much neglected everything else. Sure, Peaches may be calming and soothing, but I want more from the song. For example, the hooks and melodies in Peaches was nowhere near ‘memorable territory’, and I feel this is the reason to why I am not being pulled back into the song (compared other releases that are dominating the airwaves). Another aspect of the song that I am not entirely sure of is his singing. I mentioned that it is lightweight above and fitting for the song’s style, but I did not mention whether I enjoyed it. Unfortunately, I find that there is this monotone nature to his vocals as well, and that it dries out the song for me. There is just nothing to it. And because of this, I personally think would listen to Peaches a couple more times in the near future, but I don’t find myself compelled to remembering its existence.

When you think of the colour of Peaches, you think of their pinkish yellow cream tone. And I think this entire video was shot with that in mind. They tried to change it by introducing baby blues and light greys, but everything just comes off as ‘peachy colour’ for this video. It is good in the sense that it relates back to the title, but also not so good in the sense that it dulls the video. Aside from colours, Kai looks amazing throughout this video. His outfits seem to be influenced by different time periods and cultures. It isn’t the sexy concept that we remember from Mmmh, but it is within that direction nonetheless.

The pretty aesthetics also extend to the choreography component of this comeback. You can definitely get that sense during the start of the choreography and during the slower moments of the routine. What I liked about the choreography was that there was a balance between slow and sharp. It definitely works well with the lo-fi backing and the more upbeat percussive elements. As a result, the choreography comes off as refined and elegant, which is a side I like to see more from Kai. Also, there is still that sensual energy coming off the choreography, but it is not in your face this time around.

Song – 7/10
Music Video – 7.5/10
Performance – 9/10
Overall Rating – 7.6/10

[Review] Winter Falls – Stray Kids

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Stray Kids is nominated for Best Male Group, while Thunderous is nominated for Best Male Choreography (Group), Best Electronic Song and Best Music Video, and Changbin and Seungmin are nominated for other categories. Support Stray Kids, their members and Thunderous by clicking here.

As mentioned in my most recent review (i.e. Christmas EveL), Stray Kids have returned with a double title track comeback. In this post, I will focus on Winter Falls, the second title track of the comeback, as the music video for this dropped the day after Christmas EveL. This new release follows the group’s second studio album comeback, NOEASY and Thunderous‘, and their Japanese comeback, Scars.

Winter Falls is very different track to Christmas EveL. Whilst the other title track is a hip-hop themed Christmas track, Winter Falls is a lot more traditional with its approach. I must note that this particular track isn’t Christmas themed (there was no holiday references in this song), but rather just a Winter ballad-like single about holding onto past love. Winter Falls manages to still deliver a punch though, as the song technically doesn’t conform to the typicalness of a ballad. I really like how the acoustic touches in the instrumental, and the upbeatness the pop influences add to the song. However, the punch comes from the melodies that the group delivers, complimenting the emotional weight of the lyrics and the sentimental tone of the song. The ‘Winter Falls‘ and the subsequent ‘Fall‘ (and its echo) we get in the chorus was very memorable. It also helps that the melodies were very warm and inviting in this song, further adding to the appeal of the track. Bringing those melodies to life are the vocals. I mentioned in the review for Christmas EveL that I am not a fan of the hip-hop direction that vocalists follow as they don’t do the vocalist justice. Well, Winter Falls definitely compensates for that. And if I had to name a member who shined, it definitely had to be Seungmin who was effortlessly stunning throughout Winter Falls. They still managed to throw in rapping into the song, and expertly weave it into without it being too disruptive to the song’s melody, though the shouty line in the first chorus could have been omitted. I particularly like the rapped lines that is between the ‘La La La‘s at the end of the song. It helped create a nice outro that wrapped with the song well. Overall, Winter Falls is a very strong track with a stunning showcase of vocals and melody that I cannot put down.

Like the song, the music video takes an emotional approach. You can tell so from just the colours of the video, which were predominately grey. Definitely not exactly a white Christmas in this video. The members appear to be in this limbo, holding onto the memories of their past relationship. They are in the phone booth calling their past lovers, and their facial expressions show that their mind are heavy in such thoughts. The video ends with the phone booth on fire, which I assume represents that they are moving on. We don’t see who lights it up or how it came to its burning fate. But it tells us that they won’t be able call their former lover anymore. Lee Know also drops the necklace he was holding onto for most of the video, further fueling the change for the members. I don’t mind the video, and thought their acting portrayed the emotions well.

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

[Review] Christmas EveL – Stray Kids

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Stray Kids is nominated for Best Male Group, while Thunderous is nominated for Best Male Choreography (Group), Best Electronic Song and Best Music Video, and Changbin and Seungmin are nominated for other categories. Support Stray Kids, their members and Thunderous by clicking here.

Stray Kids is the first group to begin the annual Christmas season in KPOP, with the release of two title tracks from the seasonal celebrations. The first of the two, Christmas EveL, will be reviewed in this post, while the second track, Winter Falls, in the next post. This new release comes after the group’s second studio album comeback, NOEASY and Thunderous‘, and their Japanese comeback, Scars.

Christmas EveL was quite an unexpected song. Sure, it is a pretty much an odd ball when you think about – a Christmas themed hip-hop track. But I am quite certain that this isn’t the first time that a Christmas song had been crossed with hip-hop. It just seems to be the case in KPOP. And while the song did take a few listens for me to really get into it, Christmas EveL now comes off as fun and lighthearted track for the holiday season. These might not be words I would usually use for a pretty traditional hip-hop influenced track, but as I always say, there are exceptions. And I am sure that this is the original intention of the song. Since it is also Christmas themed, the cliché Christmas bells make an appearance throughout the song. I liked how they were tweaked for the chorus as well, to match with the overall hip-hop sound. I also like the references and tweaks to classic carols in this song, such as Jack Frost reference in the first pre-chorus, Jingle Bells in the chorus and Feliz Nevidad anthem chant at the end of the song. Its definitely added to the fun side of the song. Since it is a hip-hop based song, the rappers of the group definitely stand out and show off their skills in this song. Han, Changbin and Hyunjin do an amazing job with their rap parts, keeping the flow and maintaining the hip-hop vibe on top of the Christmas influences. Felix and Chan have the most memorable sequences of the song (i.e. the ‘Feliz Nevidad’ anthem ender), which I don’t mind replaying Christmas EveL for. The vocalists have a few good moments, but they seem to follow the hip-hop influence and I don’t think vocals are usually well presented in this manner. But overall, while Christmas EveL might come off weird, it surprisingly works well and successfully marks the start of the Christmas season.

What a fun video, which was expected based on the direction of the song. It was cringy at times, but still a well produced video. From the start of the video, we are told that Santa had lost his voice due to the Sound Monster that Stray Kids was battling in the teasers of Thunderous. And this presents a problematic issue with the current circumstances which the world is in and just weeks out of Christmas. So, Santa enlists the help of the Stray Kids members to hand out the presents to all the good kids in the world. And also from the start, the group has been busy doing so – groaning when Chan asks if they are ready for another trip. Interesting to see that Santa did not offer the help of any elves or reindeers, so the members had to collect their own toys from the store, self-wrap the presents and hand them out themselves. They have a truck that helps them hand out the presents though. They crash though, which leads to them being discovered by the little girl, who essentially schools them on what present to give to her (I hope that was the case, and she wasn’t schooling them on what type of presents of hand out, or else they would need to do the whole world again). They then proceed to have a full on party with the girl, before completing their mission. At the end of the video, though, Chan is sent another text message and the members all groan at the sight. Possibly another Christmas present run, or maybe there is something else that the members need to attend to.

[Update]There seems to be no stages for Christmas EveL and no news that promotions will be undertaken, so the likelihood of choreography for this track is dwindling. As a result, I will omit this section of the review and will keep the final rating based on song and music video.

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