Month: May 2022

[Review] Drive – Miyeon ((G)I-DLE)

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Miyeon, one of (G)I-DLE’s main vocalists, made her solo debut last week with the single, Drive, and the mini-album, MY. She is the third member of (G)I-DLE to release solo music, following fellow members Soyeon and Yuqi. Miyeon’s solo debut also comes after (G)I-DLE’s latest comeback, TOMBOY, which dropped in March of this year.

Drive is a breezy pop track that I have taken a liking towards after checking it out for the first time earlier this week. The pop instrumentation takes a relatively straightforward approach, never adopting anything that complicates the song or distracts from Drive‘s main focus (i.e. Miyeon’s vocals, which I will speak more about in a brief moment). And I appreciate that a lot. The song opens up with atmospheric synths and guitar work that brought a refreshing vibe to Drive. When we get to the chorus, there is a hefty beat that kicks Drive up a notch. Similarly, I enjoyed how the synths amped up in intensity and added a lot of colour to the single, particularly that squeaky synth. Now, onto Miyeon’s vocals, which I touched on before. Drive nails at showcasing Miyeon and pushing her into the spotlight. The song’s instrumental adds definition to her vocals, allowing it to become more prominent. But her vocals were best during the bridge, when we were able to hear more of her vocals without much backing to it. I was impressed and thought she sounded heavenly. In terms of memorability, the melodies and hooks were nicely light, though I wished they had more bite to it. Overall, I would say that Drive is a successful solo debut and I am excited to here more from Miyeon’s solo work in the future.

The music video for Drive is a very pretty one. It highlights Miyeon’s visuals extremely well and the outfits we find her in are simple yet stunning to look at. I also like the refreshing nature of the outdoor scenes, which add a great visual element to the video. Unfortunately, however, there isn’t much else in the video from what I can see.

Like the music video, the choreography was a pretty element in this comeback. However, I am on the fence to whether it was necessary. Part of me did feel the routine complimented the upbeat nature neatly. But part of me also feels like the routine didn’t add much value to the comeback as it feels quite standard. I guess the routine was on the standard side to allow Miyeon to perform live, which I do appreciated and enjoyed about the performance.

Song – 9/10
Music Video – 7/10
Performance – 6/10
Overall Rating – 7.8/10

[Weekly KPOP Chart] 1st Week of May 2022

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Another week, another Weekly KPOP Chart post for the past week. I am going to breeze past this introduction this week, as I have some personal errands to run today, and I also want to knock out some song reviews later today. So without any further delays, here are the Weekly KPOP Charts for the 1st Week of May 2022.

New releases of the Week

In addition to the reviews I wrote for LE SSERAFIM’s FEARLESS, iKON’s BUT YOU and WOODZ’s I HATE YOU, here are the other new releases of the week:

  • Get Ya! – JUNNY ft. ph-1
  • Far Away – BOYHOOD (Nam Dohyun)
  • WEOL – from20
  • Invitation – MeloMoance
  • Hiding Words – Ryeowook (Super Junior)
  • POWER OF LOVE – ALICE
  • SHUT DOWN – CLASS:y
  • Celeb – Psy
  • Now – Psy ft. Hwasa (Mamamoo)

Throwback Corner

This week’s throwback song is WJSN’s As You Wish. It just popped up on my reccomendations and started off my WJSN binge earlier this week.

Non-Korean Release of the Week

The highest ranking non-Korean song this week is SEVENTEEN’s Darl+ing, which placed in the 13th position for this past week. Darl+ing is the group’s first official English single, and will be featured as part of the group’s upcoming fourth studio album, Face The Sun.

The Charts

Congratulations to iKON for topping the Weekly KPOP Chart for the 1st Week of May 2022 with their latest single, BUT YOU. For more of the charts, keep on reading.

1st Week of May 20221st May – 7th May 2022
Pos.SongArtistStatus
1BUT YOUiKON(NEW)
2FEARLESSLE SSERAFIM(NEW)
3I HATE YOUWOODZ(NEW)
4LOVEMONSTA X(▼ 3)
5C.I.T.T (Cheese In The Trap)Moonbyul (MAMAMOO)(▼ 2)
6CupidDKZ(▲ 4)
7Take You DownYugyeom (GOT7) ft. Coogie(▲ 71)
8UndercoverVERIVERY(▼ 1)
9EVERYBODYYOUNITE ft. DJ Juice(▲ 65)
10SaviorKim Sung Kyu (Infinite)(▲ 19)
11VOYAGERKIHYUN (MONSTA X)(▲ 6)
12Real LoveOh My Girl(▲ 53)
13Darl+ingSEVENTEEN(▲ 57)
14MANIACStray Kids(▼ 6)
15Too BadWEi(▲ 33)
16Make Your DreamHaebin(▲ 62)
17Glitch ModeNCT DREAM(▲ 41)
18Walking Through The MoonLee Sujeong(▲ 22)
19X-RayGHOST9(▼ 7)
20DriveMiyeon ((G)I-DLE)(▲ 58)
21Event HorizonYounha(▲ 10)
22Make It RightJUNGMO(▲ 52)
23Love in BloomILY:1(▼ 4)
24MAISONDreamcatcher(▼ 19)
25That ThatPsy ft. Suga (BTS)(▲ 43)
26LOVE DIVEIVE(▼ 24)
27ESPERKwon Eun Bi(▼ 14)
28TOMBOY(G)I-DLE(▼ 17)
29ZOOMJESSI(▼ 11)
30Still LifeBIG BANG(▲ 48)

Songs leaving the charts

The following songs have wrapped up their nine week run in the charts system, and will no longer be on the charts starting next week:

[Album Review] INVU (3rd Studio Album) – Taeyeon (SNSD)

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The album review for this weekend fits in with my focus on solo artists. Taeyeon (from SNSD) needs no introduction, as she is currently one of the most famous solo artists in KPOP at this moment. Since her solo debut back in 2015, Taeyeon has been delivering hit after hit, proving herself to be a momentous artists in the KPOP landscape. In February of this year, she returned with her third studio album, INVU, which features the title track of the same name, two pre-release tracks (Can’t Control Myself and Weekend) and ten other singles on the album.

INVU (the album) is another great release for Taeyeon. And this comes as no surprise to me, as I have already mentioned that she has many hits under her belt. A lot of the songs on INVU steals my attention, and Taeyeon’s vocals are shone in its best light yet. If I had to choose one word to describe the release, it would have to be ‘captivating’. Sure, the album has its strong and weak songs (find out which songs fit in which category below). But as a big picture, INVU does not disappoint.

INVU Album Cover

1. INVU (Title Track) – Click here for the full review for INVU. (7.5/10)

2. Some Nights (그럼 밤) – If you are after a stunning pop ballad, then Some Nights is the song for you. It is hard for me to even write just a few comments about this song whilst listening to it, as I have to drop whatever I am doing to take it all in properly. Taeyeon’s vocals captivates and leaves me in awe, especially when she soars. The instrumental, which takes on a bit of a R&B profile, was heavenly and soothing. And together, they create an emotionally loaded atmosphere that is hard to ignore. (10/10)

3. Can’t Control Myself – Click here to read the full review for Can’t Control Myself. (9/10)

4. Set Myself On Fire – Set Myself On Fire is another song in which Taeyeon’s vocals just steals the show. The balladry instrumental we get acts as a blank canvas, whereas her vocals act like the paint strokes that paint an intense image. The harmonies, ad-libs and high notes she brings to the Set Myself On Fire act as noticeable details in image that adds depth and so much meaning to the song. Another 10/10 song in my opinion. (10/10)

5. Toddler (어른아이) – We enter more upbeat territory after a string of ballads with Toddler. But we aren’t talking anything overly upbeat. I actually find Toddler to be in the middle ground between what I would consider fully ‘upbeat territory’ and the songs that came before it. The funky instrumental does add colour and a much-needed kick to the album, while her vocals and melodies added an aesthetic touch that also makes Toddler a great piece. (8.5/10)

6. Siren – Like many of the other songs on the album, Siren is quite captivating and consistent. What impresses me about Siren is the chorus. It is impactful without being explosive or doing much. The synth backing differentiates it from the rest, and the presence of the barely audible sirens in the background was a nice addition. Taeyeon’s vocals are riveting (as always), and I quite enjoyed the spoken rap-like delivery that subtly changes things up in the second verse. (9/10)

7. Cold as Hell – Cold as Hell is probably the most relatable song on this album at this moment in my life. Winter has started (not formally, but it definitely feels like it), and it is Cold as Hell. Anyhow, back to the song. I like how the instrumental embodies strength and power, opting for an instrumental that features splashes of trap, haunted house music and rock. It was sinister and creepy, but also has that empowerment tone to it. And the EDM drops give it a cool effect. I liked how Taeyeon’s vocals build in this, though I think her vocal delivery could have been more memorable in this song. (8/10)

8. Timeless – I like the upbeat pop energy that Timeless has. It is vibrant and colourful, which is much appreciated following two songs that were on the serious side of the spectrum. The instrumental was more on the ordinary side, however. I liked how Taeyeon’s vocals soared in Timeless, and how simple the melody was. But unfortunately, this wasn’t enough to make Timeless the most memorable or strongest song on this album, but it has its merits. (7/10)

9. Heart (품) – Another track that undoubtedly highlights Taeyeon’s vocals. I just like how her vocals inclines in the chorus, making it a memorable aspect/sequence of the song. This is different to her vocals in the verses which were a lot quieter and more grounded, and so I didn’t get much out of those verses. The instrumental takes on a pop ballad profile, driven by guitar riffs in the verses and constant piano tapping in the chorus. Again, a bit ordinary. But there were some good elements in Heart. (8/10)

10. No Love Again – The beat to No Love Again is quite addictive and definitely foot-tapping worthy. In addition to the beat, the guitar work and Taeyeon’s vocals come off as quite striking. While these elements should have been enough to make No Love Again stick for me, it interestingly did not. I guess it is a matter that the album had better songs, that ended up shoving No Love Again out of the spotlight. (7.5/10)

11. You Better Not – You Better Not is my absolute favourite from this album. The song doesn’t shy from its rock roots, with the constant strumming guitar strongly indicating the direction in which You Better Not goes in. But the chorus still manages to surprise with its textured approach. It adds that head banging potential that I mentioned in my last song review. Also, the way Taeyeon’s deliver the pre-chorus was also a positive sign that I was going to enjoy the song. Taeyeon’s vocals were soft in that part (and for the rest of the song, as well), but was jammed packed into a tight timeframe to appear fast tempo. The falsetto at the end of each line at the start of the chorus was also a really nice touch. (10/10)

12. Weekend – Click here for the full review of Weekend. (7/10)

13. Ending Credits – Taeyeon wraps up the album with a song appropriately titled as Ending Credits. Taeyeon’s tone and the music did a great job with closing out the album, conveying the right level of each to signal the end of the album. The synths brought an ethereal-like atmosphere to the song (though I might argue that they are slightly overpowering), and the actual ending of the song faded out so satisfyingly. It is lovely, overall. (8/10)

Overall Album Rating – 8.4/10

INVU Teaser Image

[Review] I HATE YOU – WOODZ

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Restarting another weekend focused on solo artists is WOODZ, with his newly release single I HATE YOU, which dropped on Wednesday of this week. I HATE YOU leads WOODZ’s fourth mini-album, Colorful Trauma. It is also WOODZ’s first comeback since the release of WAITING and ONLY LOVERS LEFT in October of last year.

I HATE YOU steers WOODZ’s discography into pop rock and punk direction. I quite liked the track, as it is both fun and exciting, which works extremely well with the lyrics of the song. WOODZ expresses that ‘he does not need to sad because of the person he once loved’ (taken from SOOMPI). And the energy that is exuded from I HATE YOU (and just the general direction of the pop rock/punk influence) acts as a great conduit to represent the emotions that WOODZ is feeling in this song. I really like the chorus for its head-bopping potential (though I am sure this could be turned into ‘head-banging potential’ should the song be put on blast) and its overall intensity. The most memorable section of the song has to be the English lines in the bridge (i.e. ‘I hate you, I forget you‘). The sequence stood out when I first listened to the song, and it just stuck with every listen that follows. What also really stood out in I HATE YOU is WOODZ himself. His vocals feel right at home in this song, with his raspy tone put on full display throughout the song. It is an amazing texture to bring to the song and adds a cool dynamic. Also, I liked how he slips in and out of rapping effortlessly. This furthers that already mentioned dynamic, and the rapping just gives I HATE YOU a neat kick. I do think I HATE YOU could have been better had it delivered more in all departments. But as it is, I HATE YOU is another song that just satisfies.

I really like the contemporary art museum concept that WOODZ went with for this comeback. It definitely looked cool, especially with those scenes during the pre-choruses, where he is surrounded by the swinging metronomes or activated alarms. The video opened up with WOODZ in that wacky air protective outfit. This made sense to me as the outfit signifies he is protected by his sad emotions. But at the end of the video, the air filled outfit had popped and this represents that he no longer needs to be sad, just as expressed in the lyrics of the song. The other pieces we saw follow a similar mindset, but also gave off either edgy vibes, stylish vibes, or just plain creepy (i.e. those people covered from head to toe in the ‘I Hate You’ tape). The chorus scenes where his mouth appears to be bloody was a bit much for me, but I guess it does add more to that edgy vibe. Overall, a cool video that leaves a strong impression on you.

I am surprised that there was choreography for this comeback. I was expecting WOODZ to perform this song with a band in the background, just like in the music video. Anyway, WOODZ doesn’t really participate in the choreography other than jumping and that kick at the start of the first chorus. Instead, he puts all his energy into his vocals. But this pays off, as his stage presence and energy (and with the assistance of the dancers) turns this ‘head-bopping’ song into a ‘head-banging’ performance.

Song – 8.5/10
Music Video – 9/10
Performance – 9/10
Overall Rating – 8.8/10

[Review] BUT YOU – iKON

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iKON returned earlier this week with their long awaited comeback, BUT YOU. It is the title track off the group’s fourth mini-album, FLASHBACK, which also dropped on the same day. This is the first comeback made by the group following their Why Why Why comeback last year and their participation on the show Kingdom: Legendary War (also last year).

To me, BUT YOU comes off as a mild synth pop that has a ‘just right’ feel to it. There are also 80s retro influences in the instrumental. Sure, retro influences and synth-pop is very much the norm nowadays within the industry, but iKON’s take on the trend with BUT YOU is extremely satisfying. However, the instrumental only only makes up half the reasoning to the ‘just right’ or ‘extremely satisfying’ descriptions. The other half of the reasoning to why I gave BUT YOU such descriptions is the melodic glide that it has throughout both verses and choruses. It just gives off a really smooth and polished atmosphere that moves along so nicely. It is also the most memorable aspect of the song, for me. Put the two halves of the reasoning together, and you have another winning combination. To make the melodies work as well as it did, the vocals had to be spot on, and iKON definitely nailed this department of the song. Rapping (in general) and Bobby himself takes a bit of a back seat in BUT YOU. I did like his rapping sequence, especially for its rhythm (as I felt it worked well with the melodic glide I mentioned before), but I wished he broke the barriers a bit and delivered a more striking, bold and/or impactful sequence. This would have definitely made him standout more. I also wished the final chorus was a bit explosive, just to give something more to the end of BUT YOU. I think there was opportunity following the climax to really bring it home, but BUT YOU missed that opportunity. Apart from those minor issues, BUT YOU is a satisfying single that I will be revisiting.

The start to this music video has to be one of the most stunning and aesthetics introductions I have seen this year. It may also be one of the most stunning introductions I have ever seen. I am a sucker for simplicity, and I felt the dark background, lights moving up and down along each member and the sparkling glitter falling down was just so aesthetically pleasing to watch. It was also just perfectly fitting for the atmospheric introduction to the song. The rest of the video has this bittersweet type of feel to it. The members appear to have moved on by going clubbing and getting back out there. But in reality, they still harbour feelings for their ex-lover who has moved on from them. The only scene that I have to be critical about is Bobby’s solo scene on the back of that truck. I just don’t get it. I might be missing something, but I saw no relevance.

They started the choreography by doing a slight twist without moving their feet. I felt that was pretty cool and had the same aesthetic as the start of the music video. I thought the hype sequence that they followed up with was a bit odd. It just didn’t feel right for the stage performance as there wasn’t really anyone to reciprocate it (but that might just be due to the lack of audience). But aside from that, I am liking the smooth ‘You‘ movements with the two hands/arms, and their dancing with the female dancers throughout the routine.

Song – 9/10
Music Video – 8.5/10
Performance – 8/10
Overall Rating – 8.7/10

[Review] FEARLESS – LE SSERAFIM

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And now we skip back to the present day to review a new release for a brand new group. Source Music (the former home of GFriend and a HYBE Labels subsidiary) has been working on a new female group for a while now, and today they finally unveiled the new group. Named LE SSERAFIM (an anagram for I’M FEARLESS), the group consist of six members. Two members are former IZ*ONE members, Sakura and Chaewon, while the third member is Yunjin, who eliminated from Produce 48 and placed 26th on the show. The final three members include Kazuha, Kim Garam and Hong Eunchae. They debuted today with the FEARLESS, the title of both their single and mini-album.

FEARLESS opts for a subdued funky pop sound. It is an interesting direction for a debut track, and it is one that actually pays off. FEARLESS has to be one of the most unique debut tracks that I can remember, simply because FEARLESS is anything but subdued. The track is bold and memorable in its own way, setting it apart from competition of trending tracks and other newly released songs. I really liked the pairing that subdued funky pop instrumental I already mentioned and the somewhat hush-hushed whisper-like vocals that the group started off with. It creates a sleek atmosphere that aids with the message of confidence included as part of the lyrics. I like how this same pairing is replicated in the chorus, though they did throw in some catchy hooks (such as the ‘What you, What you lookin’ at?‘ and similar repetitive lines) and amped up the funky influences in the instrumental to create a winning centre piece. I did skip over the pre-chorus, which I felt needed some of its own attention. I liked how they offset FEARLESS‘s overall subdued nature with a bit of oomph in the pre-chorus instrumentation and explosiveness via the vocals. It gave FEARLESS some meat to its bone. To me, the weakest moment comes during the second verse with the autotune. I get that it is an attempt to add some texture to FEARLESS, but it didn’t work as intended for me at least (whiny is how I would describe the autotune). But apart from that, I am digging FEARLESS and its bold execution. A great introduction to LE SSEARFIM, as well.

What a music video! It definitely carries over the sentiment as ‘a great introduction’ to the group. The visuals of members and quality of the video were definitely amazingly flawless. There was some great chemistry between the camera and the members throughout the video, which works wonderfully with that confidence that I mentioned in the song component of this review. I quite enjoyed the big crown set, especially as the pyrotechnic waterfall came down, and the dance studio shots (it is as if the group was aware that people were looking at them!). The CGI was also well used in this video. The use of black, white and silver was also a nice way to bolden the video’s visuals, creating a somewhat sterile environment that allowed other colours to pop (i.e. light blue in the studio set, the golden pyrotechnic shower at the end, the pink in the car scenes etc.). I do wonder what the final words at the end of the video mean – ‘Do you think I am fragile’ – possibly a hint towards their next release?

I agree with the commentary that music video version of the choreography felt a bit much when it featured some inappropriate choreography for minors (the ‘Swalla’ move), to which some of the members are. So I am glad that it was switched out the move for the stage performances. It definitely shows me that finally some companies have some awareness, though was it necessary to have to begin with. But other than that, I liked the choreography and the charisma that it brought along.

Song – 9/10
Music Video – 10/10
Performance – 9/10
Overall Rating – 9.3/10

[Review] Savior – Kim Sung Kyu (Infinite)

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Time to jump back to last week, with the next review focusing on Kim Sung Kyu’s solo comeback, Savior. Savior is the title track off Kim Sung Kyu’s fourth mini-album which shares the same name. This is Kim Sung Kyu’s first release following last year’s departure from Woolim Entertainment, him signing on with Double H TNE, and the release of HUSH and Won’t Forget You. He is also due to continue his domestic tour of South Korea, which began earlier this month in Seoul.

To me, Savior is a throwback to Kim Sung Kyu’s past solo work. If you were to put his past solo releases side by side with this latest one, this one would blend right in. And I quite like the idea of that. While I am a strong advocate for artists to change their music style once in a while, Kim Sung Kyu is one of those acts that I am happy to stay within the rock realm, simply because he will explore different areas of the genre each time he releases new music. This time around, Savior is a mid-tempo pop rock sound that has stunning potential. I find the pop rock instrumental to just extremely satisfying. The mix of ethereal synths alongside the rock gives Savior that potential I mentioned. I also find that Savior doesn’t overwhelm nor overpower, which is why I like Kim Sung Kyu’s music so much. He knows how to make his vocals standout, and he ensures the rock backing (no matter what style he is diving into) assists with this. I do think the instrumental can go slightly bolder in some parts, just to give Savior some oomph, but what we got is another case of ‘good enough’. As I have touched on already, Kim Sung Kyu’s vocals are amazing throughout the song. There is a warm and comforting feeling to his vocals. This might just be the nostalgia speaking, but I find this tone to work well with the lyrics of the song. I also like the power he adds to his vocals during the chorus, which helps makes the piece more riveting. The ‘Ooh Wa Ah Ah~‘ was quite catchy. I also really like the heavenly touch the falsetto gives Savior at the very end. Overall, Savior is a great single to return to the industry with for Kim Sung Kyu, and I am definitely looking forward to more work from the soloist into the future (and a potential Infinite reunion, please!).

I quite liked the artistic yet simple nature of the music video. It doesn’t overcomplicate or clash with the song, which is just perfect. It is all shot in a studio, but the scenes all look much more than just a studio. To me, each scene (whether it was the boat scene or with the band) went beyond the boundaries of the studio, and this made it looks effortlessly stunning to watch. In particular, I feel like the video touched on that ethereal description I had for the synths in the song. Whoever produced and/or directed this video did an amazing job. I do have to say some of Kim Sung Kyu outfits though looked a bit awkward. But apart from that, its a great video.

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

[Weekly KPOP Chart] 4th Week of April 2022

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Hello again! We have reached the end of April already! Time is definitely flying by this year. While this is usually daunting, it was made enjoyable with all the releases that came out this week. Usually, I am able to sneak a listen in for all new releases, but there was so much to keep up with (plus, I have pre-occupied with some personal stuff earlier in the week). I will definitely be listening to the releases that I haven’t had a chance to yet as part of the upcoming week. But (as usual), we must get through the Weekly KPOP Chart post for the week that just past before heading into the new week!

New releases of the Week

In addition to the reviews I wrote for MONSTA X’s LOVE, VERIVERY’s Undercover, Moonbyul’s C.I.T.T and Yoon Ji Sung’s BLOOM, here are the other new releases of the week:

  • DECRESCENDO – Changjo (TEEN TOP)
  • highway love – POLAR (Choi Junhyuk) ft. NASON
  • Walking Through The Moon – Lee Sujeong
  • Play Hide & Seek – ICHILLIN’
  • Futt – Busters
  • CREATURE – E’LAST
  • Drive – Miyeon ((G)I-DLE)
  • Business – Soyou ft. BE’O
  • Some 2 – Soyou ft. Jung Yonghwa (CNBLUE)
  • Sober – DKB
  • Self Trip – MINSEO
  • Thoughts of You – Jay Park ft. pH-1 & BENZO
  • Milky Way – COSMO
  • Ready to Ride – Kang Daniel
  • Type & Delete – Kim Kyu Jong (SS501) & Lee In Jun (DGNA/The Boss) ft. Dalzi
  • That That – Psy ft. SUGA (BTS)

Throwback Corner

This week’s throwback song belongs to IVE, the current power rookie that is dominating the charts in Korea with their latest single, LOVE DIVE. As LOVE DIVE is currently on the charts, it is ineligible for the Throwback Corner. But their debut single ELEVEN, which I have been listening to side by side to LOVE DIVE, is.

Non-Korean Release of the Week

The highest ranking non-Korean song this week is, ITZY’s Voltage, which placed in the 26th position for this past week. Voltage is ITZY’s first original Japanese single, which officially dropped in early April. I will definitely cover it in a future International Song Review post.

The Charts

Congratulations to MONSTA X for topping the Weekly KPOP Chart for the 4th Week of April 2022 with their latest single, LOVE. For more of the charts, keep on reading.

4th Week of April 202224th Apr – 30th Apr 2022
Pos.SongArtistStatus
1LOVEMONSTA X(NEW)
2LOVE DIVEIVE(▲ 7)
3C.I.T.T (Cheese In The Trap)Moonbyul (MAMAMOO)(NEW)
4BLOOMYoon Ji Sung(NEW)
5MAISONDream Catcher(▲ 17)
6DAYDREAMHIGHLIGHT(▲ 62)
7UndercoverVERIVERY(NEW)
8MANIACSTRAY KIDS(▼ 6)
9memeMPURPLE KISS(▲ 30)
10CupidDKZ(▼ 9)
11TOMBOY(G)I-DLE(▲ 50)
12X-RayGHOST9(▼ 9)
13ESPERKwon Eun Bi(▲ 5)
14HONEYSolar (MAMAMOO)(▲ 24)
15Oh Sorry YaSunmi(▼ 7)
16D-DayWheein (MAMAMOO)(▲ 57)
17VOYAGERKIHYUN (MONSTA X)(▼ 6)
18ZOOMJessi(▲ 13)
19Love In BloomILY:1(▲ 44)
20JAWSBAE173(▼ 10)
21Bad NewsTEMPEST(▲ 52)
22Thank YouBrave Girls(▲ 11)
23YesterdayCHOA(▲ 35)
24Callin’Super Junior(▲ 49)
25FREEZESTRAY KIDS(▲ 48)
26VoltageITZY(▲ 17)
27MotherHeize(▲ 46)
28Crossing In The LineBOUN(▲ 45)
29SaviorKim Sung Kyu (Infinite)(▼ 23)
30Feel My RhythmRed Velvet(▲ 12)

Songs leaving the charts

The following songs have wrapped up their nine week run in the charts system, and will no longer be on the charts starting next week: