Through my review of ROSÉ and Bruno Mars’ APT. collaboration last week, I mentioned the BLACKPINK members have been making solo comebacks this year and that I would return to cover them on the blog. It is time to pick up JENNIE’s solo comeback with Mantra, which I have been revisiting a lot in the past week.
Mantra was released almost three weeks ago, and I didn’t care much when it was first released. This may be because I didn’t catch wind of JENNIE’s solo comeback until after Mantra dropped, and I was busy figuring out how I missed that piece of news. But almost three weeks later, Mantra had grown on me thanks to its repetitiveness. The way Mantra‘s chorus was set up and its spoken delivery was quite earwormy and catchy, making it memorable and addictive. It also helped that the chorus was a big chunk of the song, re-emphasising and laying the chorus thickly on the listener. There was no escaping the chorus. As for the rest of Mantra, things were not as memorable. While we get two verses and a pre-chorus in Mantra, you simply don’t remember much from these parts. They felt very brief, and Mantra‘s short length doesn’t allow JENNIE to revisit or explore these segments further. Some of it had intriguing delivery, which I find myself torn about. It was interesting in one sense but not great in another. Overall, Mantra‘s chorus was definitely the focal and standout point of the song, and I have been revisiting it more recently to enjoy it.
I hope the video’s opening pays homage to that classic scene from Rush Hour, where Soo Young is singing in the backseat of the chauffeur’s car before she is kidnapped. I love it! Personally, that is the most memorable part of the video for me. But aside from that opening, the music video also showcases JENNIE in a sexy summer way. Of all the looks in the video, I like all but the blonde bob (the one she dons while in the kiddy pool). The video is also has a lot of choreography scenes.
I really liked the energy she brought to the performance. It was sexy and fun. The former speaks to JENNIE’s appeal, while the latter indicates the track’s upbeatness and dynamism. There was a certain point in her career when she was accused of being a lazy performer, but everything in this routine points to the contrary.
Song – 7/10 Music Video – 8/10 Performance – 9/10 Overall Rating – 7.7/10
On the album review front, IVE is next up in the hot seat with their second mini album, IVE SWITCH, released in April 2024. Led by the singles HEYA and Accendio, this mini-album features six songs. IVE SWITCH is quite a strong release for the girl group and is a definite improvement from their last era (Baddie) and mini-album (I’VE MINE, which I never got around to reviewing). More thoughts on this particular mini-album down below!
2. Accendio(Title Track) – Accendio has grown immensely on me since I reviewed it. I have probably listened to the song more times than HEYA and have decided to bump the rating for Accendio to be on par with HEYA. Click here for the full review for Accendio. (9/10)
3. Blue Heart –To me, Blue Heart is the synth-centric cousin of the Accendio. There is something magical about the song, particularly in the charming chorus. The instrumental features fast-paced synth work, giving the song propulsion and a chic exterior. The vocals were nice, and something is captivating about the autotune over the spoken vocals in the choruses that just feels right in this song. The pre-choruses feel effortlessly blissful. There is a lot to like in Blue Heart, so it ranks high in this album. (9/10)
4. Ice Queen – As for Ice Queen, this is the more haunting relative of Accendio. It has all the maturity and mysteriousness that Accendio is characterised by. A difference is the hip-hop influence that the chorus features, which works well. On top of that, I enjoyed the bubbly synth work that adds that mysterious touch to the song and the “Woo Ah Woo” follow-ups in the song. If I wanted anything further, I think Ice Queen would have benefited from some sharpness. But another strong song from the group! (9/10)
5. Wow – Following on from the string of 9/10 songs, Wow does feel more standard than the rest. But that doesn’t mean Wow is not a good song. The pop song features extremely pleasant vocals and a textural chorus that I enjoyed. (8/10)
6. Reset – Reset confirms that this album had no bad songs. I really liked the use of Afrobeats in this track. I was lowkey having a mini dance whilst listening to the song and writing this part of the review. I enjoyed this subtle feel of the song, which makes Reset so good. The vocals were cute and the hooks were catchy. (9/10)
ILLIT is shaping up to be an interesting group. Their debut single,Magnetic, made them widely known in the industry earlier this year, so it comes as no surprise that their expectant comeback single would rival or even surpass their Magnetic beginnings. But Cherish (My Love) was released earlier this weekand has not been able to reach the same heights that Magnetic did. Only time will tell if it does. But for now, it doesn’t look hopeful for ILLIT.
Two things stand out in Cherish (My Love) for me. The first is the “Che-che-che-cherish” hook. It takes that repetitive refrain from their debut track and makes it relevant to the new song. It is simple and straightforward, and the members’ soft delivery of the hook is cute and easy on the ears. The second thing that stood out is… well… nothing else. Aside from the main hook I mentioned above, I don’t remember much else from Cherish (My Love), which speaks volumes to me. The imbalance between the hook and the rest of the song is quite prominent, and this distracted me the first time I listened to Cherish (My Love), and subsequent listens to the song. With Magnetic, the instrumental was buoyant and upbeat. In Cherish (My Love), the instrumental stagnates and doesn’t develop into much. Cherish (My Love) needed much more in the instrumental to make it more memorable. Whilst lovely, the rest of the members’ vocals just don’t have a memorable element to them. I can say the exact same thing about Cherish (My Love)‘s melodies. Unfortunately, Cherish (My Love) doesn’t do it for me. I much prefer Magnetic, which does pop into my head from time to time.
The Korean term for ‘wisdom tooth’ is quite similar to the Korean term for ‘love’. It is so similar that Koreans link love to when your wisdom teeth start to grow. As such, the members are obsessed with their teeth and wish for them to grow to experience love. That makes so much sense and gives context to the cute teeth-themed video. I am glad some people on the Internet have clarified what the music video is about. Otherwise, this part of the review would probably contain some comments on the weird obsession of the members’ teeth, and given the controversy between HYBE and MHJ, this probably would not have boded well for the group.
The performance of Cherish (My Love) is very charming, and I enjoyed it. I am not sure if the “Che-Che-Cherish” move would surpass the likes of Magnetic‘s key dance move, but I think it has the potential to do so!
Song – 7/10 Music Video – 8/10 Performance – 9/10 Overall Rating – 8.4/10
Welcome back to another Weekly KPOP Chart post! It’s another quick one, as I am posting a little later than usual today, so let’s get right to it!
What else am I listening to?
Replacing the ‘Throwback Song’ segment of the weekly KPOP chart posts is a ‘What else am I listening to?‘ segment in the world of KPOP. It is the same thing, but framed in a way that should eliminate the idea that a more recent song (say released in the last year) is a ‘throwback song’. This week’s song is ZE:A’s Breathe.
Non-Korean Song of the Week
As this blog focuses primarily on KPOP songs, I want to draw attention to a particular song that isn’t in Korean in this part of the Weekly KPOP Chart post. That song will be the top-ranking non-Korean song on each Weekly KPOP Chart post. The highest-ranking non-Korean song is, once again, ROSÉ (BLACKPINK) & Bruno Mars’APT., which ranks in the 3rd position this week.
The Charts
aespa’s Whiplash ranks in the top spot on the 4th Week of October 2024’s Weekly KPOP Charts. Congratulations to aespa!
I jump from the start to the end of the week to cover JIN’s solo comeback. JIN is the first BTS member to complete his military enlistment. Soon after being discharged from the military, he is back on the music scene with a pre-release, I’ll Be There, for his upcoming solo album, Happy. This is JIN’s first solo release since The Astronaut in 2022.
I’ll Be There is a song with a hopeful and uplifting message for those alone. Combined with JIN’s vocals and the upbeat band instrumental, this pre-release will surely appeal to many people. While he isn’t BTS’ go-to vocalist, I liked the oomph JIN puts behind his vocals. It gives I’ll Be There so much body and robustness. I also thought the slight huskiness of his vocals worked exceptionally well in this song, establishing a personal and individual sound we don’t get from JIN in BTS releases. The melodies and hooks were catchy, helping keep I’ll Be There buoyant in several ways. As for the instrumental, I’ll Be There‘s pop-rock venture is cheerful and puts a smile on my face. I also observe that it is percussive-heavy, bringing upbeat and great energy. Usually, the guitar or keyboard work gets the limelight in these types of songs. But the percussion (via the drums) definitely speaks louder in I’ll Be There. That said, I’ll Be There could have used more guitar, particularly in the final chorus. We get a guitar showing briefly, but I would have loved to hear more. But overall, I’ll Be There is an excellent return for JIN.
I quite like the premise of the music video, where JIN brings people together with his music. After all, he is sending a message of strength to those alone. JIN also looks like he enjoyed performing in front of a growing audience, which makes sense, given he didn’t have much opportunity to do this over the last two years. Towards the end, JIN is shown to be alone, embracing that side of the message whilst he performs the song and giving those at the subject of I’ll Be There‘s message further representation in the video.
Song – 8/10 Music Video – 8/10 Overall Rating – 8/10
With each comeback, aespa is growing further in popularity. They completely smashed with the pre-release single for their last comeback, Supernova, and followed up similarly with Armageddon. Now, the group is back to do all that again and go even further with their fifth mini-album and title track of the same name, Whiplash.
There are two sides to Whiplash—the exciting and the mild. For me, the exciting side of the song comes through the instrumentation. The catwalk strut energy from the electropop instrumentation (very on-brand for the group) in Whiplash is very prominent and something I cannot get out of my head. There were opportunities for Whiplash to be sharper, but the heavy bass makes up for it. As for the mild side, that was because of the members’ delivery. However, I don’t blame aespa for that. The serious tone from that catwalk strutting energy identified as great earlier probably stifles the material the members could bring forth. It constricts their ability to Whiplash feel robust and dynamic. Instead, that type of energy takes more of a back seat – it is still there, but it isn’t the driving force of Whiplash. As such, I don’t find their spoken delivery of Whiplash‘s title and chorus compelling. However, I am not calling it bad. This delivery does have its moments, particularly since it gives Whiplash a sophisticated and elegant feel. When the members get a chance to deliver some melodic lines, these parts add to that sleek feel. But when you compare their delivery in Whiplash to their delivery in Supernova or even Drama from the end of last year, Whiplash feels a lot drier and more effort to get through.
I have to say that the YouTube algorithm has been really pushing Whiplash since it dropped. However, I am not upset by this, as this music video was a spectacle. The members looked like models, embracing that side of the song. The video had a futuristic vibe that I found very cool, particularly with the camera elements in the beginning and the outdoor scenes. The choreography shots were simple but shot in a manner through camera work and angles that felt unique and different from all other music videos. Even the simple and empty backgrounds and text flashes felt sophisticated and artistic. To top it all off, the editing made what felt like a simple video into a complex masterpiece. Whiplash‘s video is definitely one to watch.
aespa combines their usual performance style with some sexiness to capitalise the music’s catwalk strut energy. And I am all for it. But I think the performance lacks that key defining dance move that I could associate with Whiplash. Nothing screams out strongly enough to be that move, which is disappointing given all of aespa’s title tracks in the last 12 months had a defining move for their given eras.
Song – 7.5/10 Music Video – 10/10 Performance – 8/10 Overall Rating – 8.4/10
Another album review today (standard transmission of song reviews will resume tomorrow and into the weekend). This time, it is for DOYOUNG’s debut solo album, titled 청춘의 포말 or YOUTH. This was released in April and features 10 songs, including the title track Little Light. DOYOUNG is the 3rd member to have an official solo release in NCT, following TAEYONG and MARK.
YOUTH is a remarkable album that shows us a few styles of music, all intersecting with one another through DOYOUNG’s heavenly and stunning vocals. There are literally no bad songs on this album, making it one of the highest-ranked albums of the year thus far. A definite recommend to anyone who is looking for a new artist to delve into.
청춘의 포말 (YOUTH) Album Cover
1. Beginning (새봄의 노래) – Beginning (not an exact reference to the song) the album is a stunner. Beginning (the song) is a beautiful track that starts soft and delicate. As it progresses, it builds into a powerful track that captivates you. The piano is the song’s best part, with the recurring riff being so lovely. DOYOUNG vocals follow the same trajectory as the instrumental and add to that captivation, making it hard to skip this opening song. (10/10)
3. From Little Wave (나의 바다에게) – Rock infuses into the album through From Little Wave. From the start, I liked how DOYOUNG controlled From Little Wave, turning what arguably sounded like strong rock elements into a soft song with his vocals. However, as the song progresses, the rock takes over. But it doesn’t overwhelm DOYOUNG’s vocals, which remain the song’s focal point. Another great song with a strong trajectory. (9/10)
4. Time Machine(ft. TAEYEON (SNSD) & MARK (NCT)) – Of all the tracks on the album aside from the title track, there was a lot of anticipation of Time Machine. After all, it features DOYOUNG, TAEYEON and MARK – all big names from SM Entertainment. I love how dreamy the track was, with beautiful acoustics as part of its mid-tempo instrumentation. All three members sound amazing, but it was best at the end with their harmonies and DOYOUNG and TAEYEON’s ad-libs. (9/10)
5. Serenade (내가 됐으면 해) – Another dreamy vocal track from DOYOUNG. This one taps into R&B and has this jazzy vibe to it. I love how soothing his vocals are on this track at times and how warm the track sounds. However, this song is on more of the typical side than the others on the album. But it still liked how Serenade sounds nonetheless. (8/10)
6. Rewind (끝에서 다시) – Rewind is the type of ballad you must close your eyes to and just let DOYOUNG take you away. I don’t think there is any other plausible way to appreciate the song. The best way I can describe Rewind is using a painting analogy – the piano-only instrumental would serve as a blank and smooth canvas that makes paint easy. In contrast, DOYOUNG vocals (which were so raw and emotive) would serve as the brush strokes that make up the painting on the canvas. Rewind was truly a beautiful listen. (10/10)
7. Warmth (온기) – Ironically, I get chills listening to Warmth, from DOYOUNG’s vocals which are breathtaking in Warmth. He is a lot breathier in the song, making his vocals feel silky and smooth. I also enjoyed how his vocals build in the song. The classical instrumental is really beautiful itself. Another amazing ballad to earn a 10/10. (10/10)
8. Lost In California – Lost in California plays with dynamics, which makes it an interesting song. Lost In California goes almost grungy in the choruses, but the verses are much softer. The bridge takes a balladry turn. DOYOUNG perfected the transitions between each, ensuring the song stays cohesive despite each section being distinct. The launch between verse and chorus was impactful, while he tapers the end of the grungier choruses with a wispy, memorable tone. I also love how he delivers the “Dream in” and the “Leave here” in the outro. (10/10)
9. Rest (쉼표) – Rest is quite likeable thanks to its pop melodies and the overall energy exuded from the song. The band instrumental is quite refreshing and upbeat, while the electric guitars help give the song some zing. I find it a bit standard compared to the string of songs preceding it, but still a good listen. (8/10)
10. Dallas Love Field – Closing out YOUTH is Dallas Love Field, which delves into the pop rock subgenre. I liked how passionate and vibrant DOYOUNG’s vocals were throughout Dallas Love Field. At times, I thought DOYOUNG slipped into a dreamy demeanour, which was an intriguing direction for an upbeat pop-rock track like Dallas Love Field. I loved it when the backing vocals came into play, and DOYOUNG moved into ad-libs territory. I just wished he finished the song by easing out and not being abrupt as it was. But it’s a wonderful end to the album nonetheless. (9/10)
A couple of weeks ago, I finally reviewed the lead single (Is It Love?) off MOON BYUL’s repackaged version of her first studio album, Starlit of Muse, which was retitled to become Starlit of Twinkle. This makes way for an album review for MOON BYUL’s first studio album (which was led by TOUCHIN&MOVIN’) and its repackaged album. As it has been a very long time coming (I mean, the original album was released back in February this year), and there are many more albums to review, let’s get right to it!
Starlit of Muse Album CoverStarlit of Twinkle Album Cover
Starlit of Muse Tracks
1. Intro :WWUD (What Would You Do?) – The album starts with a heavy dose of hip-hop in this intro track. WWUD comprises a hefty beat, an abundance of synths, and MOON BYUL autotuned rapping. I can feel the cohesiveness and the statement being made in WWUD. But personally, this style of hip-hop isn’t my cup of tea. (6/10)
2. Think About(Pre-release Track) – For some reason, I always thought that Think About is a softer track of some kind. This makes no sense, given that I have heard the album before. Think About is a fun yet simple track with some great catchy hooks. I just love the pop vibe of the song, and MOON BYUL did a great job of showcasing that playful side of the song. (8/10)
4. Like a Fool – MOON BYUL taps into R&B for Like a Fool. She sounds very dreamy throughout the song. The instrumental is extremely paced and atmospheric. We also get a saxophone solo in the track that gives an elegant feel. However, I do feel like the song lacks in comparison to the other songs on the album. But overall, it’s a good track. (7/10)
5. Attention Seeker – MOON BYUL goes down the punk rock direction with Attention Seeker. The instrumental is quite bold and dynamic, which makes it stand out in the pack, which is the rest of the album. I found myself nodding along to the song (and, at times, when the track hits the right spots, head-banging along to the song) as it progressed. The energy MOON BYUL puts behind her delivery adds to that dynamism. An easy favourite on the album. (10/10)
6. NOLTO (feat. Hanhae) – The laidback hip-hop vibes come into play for NOLTO. MOON BYUL vocals are airy in this one. Alongside the instrumentation, both create some good rhythm also in this one. Hanhae (who used to be part of the Phantom hip-hop group) gives NOLTO a velvety note, particularly in the his second part. However, this style isn’t my cup of tea, so I haven’t returned to it much since its release. (7/10)
7. After Sunset (그런 밤) – Beginning the latter half of Starlit of Muse is the ballad After Sunset. MOON BYUL sounds heavenly in this song, and the melodies give the song that swaying effect I love in other ballads. On the instrumental front, I enjoyed how the piano in the verses was quite captivating and that some oomph came into it during the chorus. Another great song overall. (9/10)
8. TIMELINE – TIMELINE revisits a Latin influence that reminds me of MAMAMOO’s Egotistic. But it does so with moombahton beats and a much softer touch, an intriguing combination that sounds nice and elegant. While I have praised and spoken highly of MOON BYUL’s vocals in other songs, her high note in TIMELINE takes the cake. (9/10)
9. DARK ROMANCE – As the name alludes, DARK ROMANCE sees MOON BYUL go for darker energy, which does take me back to her solo debut days withEclipse. DARK ROMANCE is a dance track, with the instrumental tapping into that darker vibe. As the song progressed, I wished it was sharper in a few areas, from the beat to the synth work in the instrumental and even MOON BYUL herself. (8/10)
10. GOLD – GOLD brings a pop vibe and a smile. It is a pleasant track, with both instrumentation and vocals maintaining a mid-tempo pace. A much better track than the other GOLD track in KPOP out at the moment. I really liked the hefty beats that make the background sound quite atmospheric. (8/10)
11. Memories (feat. ONEWE) – MOON BYUL collaborates with her label mates ONEWE in Memories, and does so in spectacular style. She brought the vocals, while ONEWE brought the anime-style instrumentation and backing vocals. This anime style always brings forward propulsion that makes such influenced tracks exciting and appealing, and pairing it with MOON BYUL vocals was a great move. (9/10)
12. Without (겁이나) – The final song on the Starlit of Muse album is Without, another ballad. This one features the standard piano, drums, and strings-based instrumental, as well as stunning and emotional vocals from MOON BYUL. I especially like the touch of electric guitar at the end of the choruses, which adds something more to the ballad. (8/10)
Starlit of Twinkle Tracks
1. Backpack – Moving onto the Starlit of Twinkle tracks, first up is Backpack. It starts off as a mellow and soft track, but I liked how the chorus kicks Backpack up a notch in terms of instrumentation and vocals from MOON BYUL. It remains relatively mellow especially with the consistent guitar riffs, but it has some punch so the track isn’t just consistent through and through. (8/10)
3. Dear (어떤 하루에 어떤 시간 속에) – Dear is another ballad in this era of MOON BYUL’s career. The swaying effect of the melodies is profound and easy on the ears. Her vocals are delicate and heartfelt in Dear. The instrumental was a nice accompaniment but standard at best for ballads. But still, it’s a nice listen that makes Starlit of Twinkle quite consistent. (8/10)
4. TOUCHIN&MOVIN (English Version) – Refer to my review for TOUCHIN&MOVIN above.
Overall Starlit of Muse Album Rating – 8.2/10 Overall Starlit of Twinkle Album Rating – 8/10
Overall Album Rating (combined) – 8.1/10
Teaser image for Starlit of Muse & TOUCHIN&MOVIN’Tease image for Starlit of Twinkle & Is It Love?
In 2023, BLACKPINK renewed their contracts with YG Entertainment for group-based activities while taking their solo activities elsewhere. Over this year, the BLACKPINK members have been busy working on solo projects (including song releases). We have heard song releases from LISA and JENNIE, which I have not reviewed yet but will do so in the coming weeks—watch the blog for those reviews. But for now, ROSÉ’s collaboration with Bruno Mars, APT., sneaks in to be the first song I will review from the BLACKPINK members’ solo careers post YG Entertainment.
It should take you less than a listen to feel the fun nature behind APT.. A few signs will help you make this realization. The chant that begins the song and the super catchy and fun “Apteu, Apteu” are familiar drinking games in Korea and have been heard on many Korean variety shows. The chant features giggles from ROSÉ and friends (a clear indication of how fun it should be), and APT.‘s main refrain is addictively catchy. Even the energy that ROSÉ and Bruno Mars exude during the song is playful and whimsical, contributing to that fun sound. And since APT. dropped on Friday, I have been playing it repeatedly because it is so catchy. But while the exterior is entertaining, I also have good things to say about the music of APT. itself. I love the song’s simplicity, with the straightforward pop-punk instrumentation reminding me very much of Arvil Lavinge in the early ’00s. I have also come across people saying it reminds them of Hey Mickey (which is so true), another song from the early ’00s that brings further nostalgia. ROSÉ and Bruno Mars sound amazing when they aren’t repeating “Apteu, Apteu“; the pre-choruses are a testament to that. While a little cringy, I also enjoyed ROSÉ’s bridge in the song. Altogether, APT. is a fun song that is easy to get into but hard to forget.
The music video also contributes to the song’s fun nature. ROSÉ and Bruno Mars are having so much fun playing around and dancing with each other. I can see everyone else (me included) joining in with them to just let loose and have some fun after a long day. Simplicity is also an appealing factor in this video. ROSÉ and Bruno Mars donned black leather motorcyclist jackets and had fun in a pink room. Nothing complicated about this video, which helps make APT. more enjoyable and appealing. Even the visual effects added to the video don’t feel crazy and just channel the same energy that ROSÉ and Bruno Mars bring out in the video.
Song – 9/10 Music Video – 9/10 Overall Rating – 9/10
We haven’t heard CNBLUE’s name for a while. Their last comeback was in 2021 with Love Cut. Earlier this week, CNBLUE made their first comeback in 3 years with their 10th mini-album X and the title track, A Sleepless Night.
A Sleepless Night is a straightforward mid-tempo rock track, and I appreciate its purity. However, it falls short of three minutes, as with many songs in KPOP nowadays. Nothing wrong with this trend (though I did not expect CNBLUE to conform to it), but a recurring complaint I have made this year is that certain songs needed more to feel substantial. That isn’t the case with A SleeplessNight‘s length. The mid-tempo nature of the music keeps it paced, making it feel longer than it is. Vocally, YONGHWA sounds good. It is definitely nice to hear him (and the rest of the band on the instruments) after a long while. A definite trip down memory lane for me. But while the straightforward rock and nostalgic vocals help make A Sleepless Night appealing to me, I think it could have used something to be more defining of itself to attract more and new listeners to this incredible band. After all, it would be great to see them resurge with their classic hits like I’m A Loner, Love, Cinderella, and a personal favourite of mine, Between Us. An argument can definitely be made about A Sleepless Night sounding generic, and I potentially could have passed on A Sleepless Night if I had listened to it in passing without knowing who it was by.
Like the song, the music video for A Sleepless Night is also straightforward. For the most part, the members are trapped in a small room. This depicts the hold that the lingering memories and longing for their past love have on them. In the room is an unkept bed, which highlights their inability to sleep due to these feelings and longing (i.e., a sleepless night). There is probably more to the broken glass, but it expresses their frustration to me. When the group are together, they perform the song. I like the scenes where the trio is performing in a triangle formation, facing each other whilst the camera is spinning around them. It is simple, and the black-and-white filter carries through the video’s tone to the group scenes.
Song – 8/10 Music Video – 8/10 Overall Rating – 8/10
Welcome back to another Weekly KPOP Chart post! Another quick one today, so let’s get right to it!
What else am I listening to?
Replacing the ‘Throwback Song’ segment of the weekly KPOP chart posts is a ‘What else am I listening to?‘ segment in the world of KPOP. It is the same thing, but framed in a way that should eliminate the idea that a more recent song (say released in the last year) is a ‘throwback song’. This week’s song is LABOUM’s HWI HWI.
Non-Korean Song of the Week
As this blog focuses primarily on KPOP songs, I want to draw attention to a particular song that isn’t in Korean in this part of the Weekly KPOP Chart post. That song will be the top-ranking non-Korean song on each Weekly KPOP Chart post. The highest-ranking non-Korean song for the week is Rosé (BLACKPINK) & Bruno Mars’ APT., which ranks in the 10th position. I know some Korean is in the song, but they are limited to a few recurring lines. The rest of the song is in English, so I considered it to be a non-Korean song.
The Charts
AB6IX’s NVKED ranks in the top spot on the 3rd Week of October 2024’s Weekly KPOP Charts. Congratulations to AB6IX!
Way back in April, Solar from MAMAMOO made her solo comeback with her second mini-album, Colours, and the title track,But I. Ahead of that release, Solar gave us a snippet of Colors, the first song from the mini-album, as a teaser for the comeback. A performance video for Colors later dropped. Finally, after six months, I am reviewing Colors in the lead-up to the album review for Colours.
Colors is totally different from Solar’s title track. That is one of the things I admire about Colors. It sets out to be bold and delivers in significant style. But I tapped into balladry and rock (the former is what you expect from Solar, but the rock influence wasn’t too far of a reach), whereas Colors delved into the house genre. It is a new sound profile for Solar that admittedly took a few listens to grow on me. Even now, it isn’t the song I would actively search for to listen to, but I still appreciate it. Colors is a suitable track for the club setting with its heavy stomping beat. The instrumental is unapologetic in many regards, and Solar (the sole lyricist and composer of the song) ensures the song is kept that way. All of her vocals in Colors are delivered in a very spoken manner. Definitely an interesting choice for a main vocalist. However, amid the spoken delivery was a stretched-out squeal in the first chorus. It took a few listens for me to enjoy it (and the song in general), but it is one aspect of Colors that I now look forward to when I listen to the song. Overall, Colors shows us a different yet fun side of Solar.
For this review, the music video and performance aspect of the review will be merged together, given the only official video for Colors is a performance video. Described as the first KPOP release with voguing from start to end, I find the video embodies the song quite well. It is both bold and fun in many ways. A big part of the video is the ballroom house aspects (from the House of Love to the choreography), which I enjoyed. Solar did a fantastic job herself – it didn’t feel like a first attempt. I liked how the video was also full of colour via the outfits and club set but was not necessarily in-your-face about it. I liked this refinement; it didn’t make the whole release feel too noisy. I could see the video being just that, had there been too much colour or a dynamic light show (some of the reasons I find clubs too overwhelming).
Song – 8/10 Music Video/Performance – 8.5/10 Overall Rating – 8.2/10
ITZY also returned this week with GOLD, the title of their 9th mini-album and latest title track. GOLD is also the first comeback in over a year to feature LIA, who went on hiatus last year due to anxiety. Glad to see LIA back on stage! This comeback follows ITZY’s 8th mini-album, BORN TO BE, and the single UNTOUCHABLE.
GOLD‘s powerfulness stands out to me. The opening kicks us off with an intro that just grabs your attention. It’s not perfect, as I keep thinking the vocals sound a little slurred during this part. But it definitely pulls you in. Moving onto the chorus, the clashing cymbals accompanying the hefty and prolific beat make it robust and hard to miss. It contributes to a bombastic result, and I appreciate that side of GOLD. However, all this power also acts as a double-edged sword. The powerfulness of the chorus and intro dominates GOLD, with the last remnants of the “It’s like gold” hook lingering faintly in the background (and that is only if I really pay attention). The rest of the chorus feels minute in comparison, and the verses are just forgotten. Listening closely, the hip-hop influence in GOLD is adequately maintained, even though the members’ delivery was lacklustre past the intro. The electric guitar strings were an interesting percussive element in GOLD, but the energy of the song’s central piece drowned its presence in both verse and chorus. The instrumental break was empty and stripped everything bold. Overall, I am genuinely perplexed with how GOLD weighs itself down and wish it was more balanced for better enjoyment.
It would help if the lyrics made sense. They probably do in Korean (given it is a Korean song), but the English translation feels like a hodgepodge of words strung together to say something. Based on the music video, I guess the members liken themselves to gold in the lyrics, as well as everyone else. Hence, at the end of the video, gold eggs are found in the place of the members and all the other people in the background. Aside from that interpretation, I did like how the music video embraced that bombastic side of the song. There were explosions, dramatic light shows, and even cracks opening on the ground. The CGI and practical effects were cool, even if the other elements felt random.
GOLD sounds better on stage, at least the one I watched to see the choreography for this comeback. There is a lot of head-banging and swinging arms in this one. But while it sounds like there is a lot of freestyling, the routine is still quite sharp and well-synchronised. I also quite like the configuration of the song’s intro. Also, the members look like they are having fun with this routine, even though it looks exhausting.
Song – 7/10 Music Video – 7/10 Performance – 9/10 Overall Rating – 7.4/10
Over a month ago, MEOVV made their debut with the single MEOW. The five-member female group is the first under THEBLACKLABEL, a label founded by YG Producers Teddy and Kush. Their lineup comprises Sooin, Gawon, Anna, Narin, and Ella. THEBLACKLABEL is also currently home to TAEYANG, JEON SOMI and BLACKPINK’s Rosé (who will be making her long-awaited solo comeback in December).
To be honest, my initial impression of MEOW wasn’t great. A month after its release, I am not yet convinced that MEOVV is the next big thing in KPOP based on MEOW. I recognise some potential behind the group and the song, but neither has won me over nor really put the group on my radar other than that they are attached to one of the Big 4 entertainment companies. Let’s focus on the positives. I have come around to the vocals. When MEOW does give us some melodies, SOOIN and ELLA pull it off well. Something a little more vibrant could have helped MEOW be more appealing (more on this in a second), and I think these vocals, through the melodies, could have been the best conduit for that. I can sense the edginess behind the choruses and the heavy hip-hop influence, and I believe MEOVV could take this to higher levels with the right song. The flute-like instrumental at the end of the song was a great addition and gave the song a little something different to end off the song. The biggest problem with MEOW, for me, is its heaviness. From MEOW‘s main refrain to the serious tone the members exude, it is pretty suffocating. This ultimately served as a barrier for me to get into the song. As mentioned before, the song needed some vibrancy to it. We don’t need much that disrupts the edginess that the group has going for them. But we needed something to balance out MEOW, at least to have it appear in my books.
When I see the music video, I cannot help but think it is a YG video that has been gutted. The quality is there, just like any other YG-produced music video. But many elements that usually make you go wow in a YG video are missing. Instead, MEOW‘s music video attempts to be minimalistic. That can be an aesthetic when done right, but I don’t think it was achieved here. It just feels empty. Instead, the video relies on the members to fill up the space. I like the edgy vibe the members exude through their outfits and demeanour. But it just wasn’t enough. The scenes where the members dance with the Big Foots were a bit fun.
The choreography for MEOVV’s debut was quite powerful and aggressive, making for a compelling case for the group. I did not expect the performance to be as aggressive for some reason, but I guess it makes sense, given the group’s roots and the hip-hop influence on them. That whole dance break at the end of the routine is very worthwhile to watch.
Song – 6.5/10 Music Video – 6.5/10 Performance – 9/10 Overall Rating – 7/10
Kicking off the week was SEVENTEEN, who returns with their 13th mini-album SPILL THE FEELS and the title track LOVE, MONEY & FAME (ft. DJ Khaled). We last heard from SEVENTEEN through their 17 IS RIGHT HERE compilation album, led by the single MAESTRO and supplemented by the unit tracks LALALI (Hip-Hop team), Spell (Performance team) and Cheers To Youth (Vocal team). While the mini-album features JEONGHAN and JUN, both are sitting out of promotions of LOVE, MONEY & FAME and their upcoming world tour due to their military enlistment and acting career in China, respectively.
Pleasant was the first impression I had when I listened to LOVE, MONEY & FAME. And since its release two days ago, that impression has barely shifted. It definitely sounds nice and is an easy listen. The song is more vocal-focused than most of their other title tracks, with only VERNON delivering LOVE, MONEY & FAME‘s lone rap sequence. The melodies are enjoyable. The R&B and hip-hop-styled instrumental feels streamlined and sometimes feels dry. Beyond that, I don’t have much to say about LOVE, MONEY & FAME. This is the first time I have been left with little to say about a SEVENTEEN comeback, which feels disappointing. We all know that SEVENTEEN can do so much more, so LOVE, MONEY & FAME feels underwhelming. As you can tell from the song title, LOVE, MONEY & FAME also features DJ Khaled. It has been a while since I have heard his music. While he did come together with SEVENTEEN to make a pleasant song, his line at the start and end of the song was harsh relative to the rest of LOVE, MONEY & FAME, which truthfully started LOVE, MONEY, & FAME on a not-so-good note for me. I wished it wasn’t as full-on in the final product so that it goes with the rest of the song.
LOVE, MONEY & FAME conveys that love comes first, no matter the other options (like money and fame). The video depicts the members putting love first, no matter the circumstance. It could be a car crash or pile-up, an evacuation on a plane, a daytime robbery, or even bouts of fame as depicted in THE8’s heroic scene, WOOZI’s phone call on an interview show, or by JUN walking away from the glamorous lifestyle. All the members choose love in the end. I quite like the montage at the end of the staircase – it gives off maturity in a way that doesn’t overdo it. The members also look quite good in those scenes.
The choreography was good. I liked how the routine captured the easy-going nature of the song and the R&B and hip-hop influence. It also had a nice bounce. It does feel simpler and more casual than usual, but I think these are inherent characteristics that the routine had to lean into due to the music. But it was still a good performance nonetheless.
Song – 7/10 Music Video – 8/10 Performance – 9/10 Overall Rating – 8.3/10
I have been so busy with work (and recovering from the overwhelming work) that I completely missed the news that AB6IX (amongst other artists) was making a comeback. During the past week, the four-member boy group returned with the single NVKED and their 9th mini-album, BORN LIKE THIS. It follows their GRAB ME and The Future is Ours: Found mini-album and a special mini-album consisting of the latest batch of the group’s solo tracks from their recent world tour.
NVKED is probably the most unexpected song title for a KPOP group. I was surprised to see it on my YouTube subscription page with the group’s name attached. But rather than being nude, NVKED is a song about being confident and open. But there is more to NVKED than the surprising title. I like the music because of how simplistic yet simultaneously fun and upbeat it is. Funky instrumentation sets up the song to be quite entertaining and energetic. Nothing too complicated here, which helps NVKED achieve its straightforward and easygoing vibe, as already mentioned. The members cleanly deliver NVKED with their vocals and rapping. I particularly enjoyed the falsettos in the chorus, which effortlessly adds complexity to the straightforward pop song. The simplicity of the hooks helps make this part of NVKED stand out even further. The vocals in the bridge from all the members were another part of NVKED that I put on repeat. Overall, NVKED is a well-rounded track that is a great listen when you want something more energetic but not something too loud.
Like the song, the video does not feature nudity. Instead, it looks like the members are preparing for a party—choosing an outfit, decorating the place, and then partying it up with alcohol and friends. There really isn’t much else to the video, which does make it a bit bland. They could have done a bit more with the premise of the video, like have the member do something exciting in the lead-up to the party (other than reading the newspaper) or give the party some more flair (rather than have it look so basic).
I really enjoyed this performance. I like how it embraces the funky and upbeat nature of the song and makes the routine look like a blast. Everything felt lively, fun, and more, from the choruses to the ending. Their live vocals throughout the performance are super stable, considering the routine, which highlights their performance abilities.
Song – 8/10 Music Video – 7/10 Performance – 10/10 Overall Rating – 8.1/10
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