Casual reviews of KPOP songs, music videos & dances
Author: kpopreviewed
Hi, my name is Tony and I am the man behind the site, kpopreviewed. Currently an university student who wants to introduce people to KPOP and if you are already into KPOP, different groups and bands.
It is time for another long overdue review for a release that occurred back at the end of May. As you can tell from the title of this post, this review is for TO1’s Son of Beast, which is the title track off their 3rd overall mini-album, Re:Born. If you haven’t heard of TO1 yet, then don’t fret. They were previously known as TOO for their first two comebacks (Magnolia and Count 1,2) last year. But due to a management dispute, the group ended up rebranding to TO1 earlier this year after signing on under WAKE ONE Entertainment and quickly returned with the appropriately named mini-album, Re:Born.
Son of Beast is an edgy sound for the group, more so than their debut single (Magnolia) and their most recent energetic Summer comeback (Count 1,2). But it isn’t a fresh sound for KPOP in a more general sense, with the song taking a page out of what we hear very commonly coming from male groups in the industry. There isn’t anything wrong with that, as we have seen many groups thrive with this typical edgy sound. But given that TO1 had the opportunity to rebrand, I was surprised to hear that Son of Beast didn’t capitalise on this opportunity to showcase some individuality. That being said, I did like the funky influences that were brought to the verses through the use of the bass guitar. I also really liked the rough texture that is brought to the song via the electronic instrumentation in the chorus. In a way, it also felt retro, as I don’t think it settled on the more modern touches of EDM of today. I was hoping for a bit of an instrumental break when we got to the bridge, which would have allowed the song to experiment within itself, bring more intensity and edge to the song, and also give the members a chance to showcase something along the lines of their Road To Kingdom appearance last year. But altogether, the instrumentation for Son of Beast was definitely good, despite it being more typical that what I had hoped. As for their vocals, I think similar comments could be applied. There was a good showcase of vocals, but no member or moment stood out for me. While the hook is related to their vocals in way, I tend to separate it in my reviews, so that it becomes its own element to chat about. I did enjoy the brief and snappy repetition of ‘I’m a Son of a Beast‘. That line practically was keyed into my memory from the first listen, thanks to the textures given to it by the autotuning. I would have liked to hear it in a bolder manner, so that it really zones into the word ‘Beast’ within that line. The rapping by TO1 members in Son of Beast was definitely more memorable, adding that needed intensity and edge to the song that I hoped a dance break could have concentrated. But overall, Son of Beast is a good track, taking the members in a direction that feels right. I just think more could have been done.
The music video for this release is one of those which you watch once and don’t really need to return to it again. It wasn’t that engaging or mind-blowing for me to click the replay button. Aside from the closeup and choreography formula adopted, the members do a bit of body work for some cars. But to me, that doesn’t seem that cool. The only thing that I did like about the music video was the final dance shot, with how the lighting and length of the set. But besides that, it was a ‘meh’ video to me.
As for the other visual aspect of this comeback, the choreography faired a lot better. It actually looked quite cool, especially when the members paired up in the second pre-chorus to bend backwards and the switching of rappers in the final sequence of the song. But like in the song review part of this review, I did want to see a dance break when we got to the bridge. And I feel if the members looked a bit more angsty, then the performance would have been even better!
Song – 7.5/10 Music Video – 5/10 Performance – 8/10 Overall Rating – 6.9/10
It is time for another album review! This particular post is for Kang Daniel’s fourth mini-album, Yellow, which was released exactly two months ago (way back in April!). The album features both the title track, Antidote, and the pre-release track, PARANOIA. In addition to these two tracks, there are three other new songs on the mini-album (which I have a lot of thoughts about – whether it is good or bad, continue reading to find out!). Yellow also wraps up Kang Daniel’s color series, with previous album’s titled after the three colours – Cyan, Magenta and Yellow (this album). It will be interesting to see and hear where Kang Daniel would go from here, especially after a substantial and thought provoking (towards the end) trilogy, like this one. But until then, here is my album review for Yellow!
Yellow Album Cover
1. Digital – Just from the loaded tone of album’s opening track, you can tell that Kang Daniel has brought a lot of deep, dark and emotional thought to the song. And I think Digital sets up the album extremely well, as these deep and dark thoughts are carried throughout the album. Digital talks about the experiences of invisible bullies on the internet, who are super critical of what he does, and spread lies and false rumors about the idol. For the song, I really enjoyed the alternative rock profile the song taps into. I really like the deep notes in the instrumental, which really creates that dark atmosphere in which the song thrives on. His vocals are quite good, and I particularly liked how memorable the ‘So critical, enemies invisible’ line ended up being. The song also tethers on the border of being retro, but never really stepping into that domain. Altogether, Digital reminds me of Blinding Lights, which was one of the best releases from last year. (9/10)
3. Misunderstood (ft. Omega Sapien) – Misunderstood opened up with a very sinister feeling. I felt the instrumental was like a blur. And I mean that in a good way. I think it works extremely well with the lyrics, which are all about pretending to be okay but as a result ends up with Kang Daniel being misunderstood. And I feel that is because of his status within the KPOP industry. He has to be ‘okay’, or else it would be unprofessional (which is completely upsetting, but that that is the reality of his industry). Misunderstood‘s lo-fi atmosphere remained as the common thread throughout the song, but the instrumentation ends up changing as the song progresses. At the start, we get deep thumping that looms in the background. We then get light taps in the first chorus, a tempo pick up for Omega Sapien’s featuring sequence (who worked really well into the song), followed up by what felt like a slow rock vibe to the song, before returning to the likes of the first verse. It is an interesting and impactful mix. (8/10)
5. Save U (ft. Wonstein) – Save U is my pick for best song on this album. Firstly, it is a warm song following all of the darkness that preceded this song. The messages of reassurance that he will be there and that these thoughts would all pass are very emotive and powerful. Secondly, Kang Daniel sounds so amazing in this song. He channels all his emotions and deep thoughts into this song in a manner that doesn’t overwhelm you in any manner. The harmonization throughout the song is so nice as well. Thirdly, I really like the electronic instrumental we get. It works really well and compliments both the message and Kang Daniel. Fourthly, Wonstein was a great addition to the song, adding a different dynamic that makes the song more interesting. I am not a fan of his ‘Save U’ interjections earlier in the song, but I think I can overlook that minor element. But everything else he does balances out this track nicely. (10/10)
Welcome all to the Weekly KPOP Chart for the 2nd Week of June 2021. As you can tell, I am posting this a lot later than usual today, as I was a bit busy earlier today. But now that I have some time before the day ends, I thought I make a start on the Weekly KPOP Chart post and try to get one more album review out today. I am lucky that tomorrow is a public holiday and (hopefully) I will be able to dedicate a bit more time to writing reviews on my day off! In the meanwhile, let’s move along with this post and get it out before the Sunday is over (I have less than two hours, wish me luck)!
Newly released songs of the week
You may have seen reviews for some of this week’s new releases already, including EXO’s long awaited comeback with Don’t Fight The Feeling. Ha Sung Woon, N.Flying, WEi, TWICE, Hoya (former Infinite member), 24K and Hyunseong (member of BF/Boyfriend) also made their comebacks this week. We also saw the debuts of EPEX, LIGHTSUM, Woo Jin Young (D1CE) and Yugyeom (GOT7), while Chungha and Colde collaborated for a new single.
Throwback Corner
This week’s throwback song is Laboum’s re-emerging song, Journey to Atlantis. Originally released back 2016, Journey to Atlantis has recently experienced a resurgence in streams and have been rising steadily on the charts in South Korea. MSG Wannabe Top 8’s cover of the song has also assisted with this resurgence. More recently, Laboum returned to the stage with Journey to Atlantis this week on MBC Show Music Core.
The Charts
Congratulations to Ha Sung Woon’s latest song, the vibrant and upbeat Sneakers, for topping the charts this week. There was some stiff competition this week, given the entire Top 5 was made up of new releases! And they we tailing Ha Sung Woon’s latest release by a close margin! For more of the charts, scroll down below
7th Jun – 13th Jun 2020
Title
Artist
Status
1
Sneakers
Ha Sung Woon
(NEW)
2
Don’t Fight The Feeling
EXO
(NEW)
3
Alcohol-Free
TWICE
(NEW)
4
Moonshot
N.Flying
(NEW)
5
BYE BYE BYE
WEi
(NEW)
6
GAMBLER
MONSTA X
(▼ 2)
7
Ring Ring
Rocket Punch
(▲ 35)
8
GOOD DAY
MVP
(▲ 30)
9
Dun Dun Dance!
Oh My Girl
(▲ 7)
10
0X1=LOVESONG (I Know I Love You)
TXT ft. Seori
(▲ 1)
11
Hurt
Baekhyun (EXO) & Seomoontak
(▲ 14)
12
Oh Mama
Bling Bling
(▲ 51)
13
Finale (Show And Prove)
BTOB
(▼ 10)
14
Not The End
HIGHLIGHT
(▲ 1)
15
Up All Night
GHOST9
(▲ 29)
16
|Believer|
SF9
(▼ 9)
17
Let Me Know
PIXY
(▲ 34)
18
FIRST
EVERGLOW
(▼ 9)
19
Where Are We Now
Mamamoo
(▼ 18)
20
Next Level
aespa
(▲ 11)
21
INSIDE OUT
NU’EST
(▲ 3)
22
WOLFGANG
Stray Kids
(▼ 14)
23
Drunk-Dazed
ENHYPEN
(▲ 3)
24
Hot Sauce
NCT DREAM
(▼ 11)
25
Hello
Joy (Red Velvet)
(▼ 23)
26
Thank You
APINK
(▲ 28)
27
Easy
WJSN The Black
(▲ 5)
28
Bittersweet
Wonwoo X Mingyu (SEVENTEEN)
(▲ 21)
29
water color
Wheein (Mamamoo)
(▲ 34)
30
Last Dance
(G)I-DLE
(▲ 33)
Songs leaving the charts this week
The following songs have been in the chart system for nine weeks and thus will be removed from the charts system ahead of next week:
It has actually been three weeks since the last album review. But it has felt like an eternity. That might be due to the fact I have so many albums that I want to to really sit down and review. I just haven’t found the time to do so. But I am hoping to sit down over the next two days to smash out some and get them scheduled for the rest of the month. Good luck to me! For today, I have decided to review an album released over two months ago! That album is ASTRO’s second studio album, All Yours, which featured the title track ONE. The album was quite a success, going on to winning three awards from the Weekly Music Shows (MTV The Show, MBC Show Champion and MNET MCountDown). And it is long overdue for a review. So before I delay it anymore, let’s move forward with the review!
All Yours Album Cover
1. Dear My Universe– All Yours starts off with Dear My Universe. It is a pop song that kicks ASTRO’s second album off with a pleasant tone. While many albums kick off the album with powerful energy and high intensity, ASTRO opts to ease us into their album instead. I like this tactic, as it holds no surprises for me. The pop instrumentation has this really chilled and soft approach, which makes it an easy listen. This lightness extends to their vocals and rapping, which compliment the instrumentation by not off-balancing the song in anyway. I really like the melodies and the track is quite enjoyable overall. (8.5/10)
2. Butterfly Effect – Butterfly Effect takes the pleasant pop tone of the previous song and amps up the energy with a more upbeat instrumentation. It really like the aesthetic that is present in Butterfly Effect. This aesthetic comes through the contrast between the verses and chorus. We have pretty nice vocals throughout the verses, before the song ramps up to the chorus. It is preceded by a simply spoken ‘Fly’ before the drop kicks in, adding a level of dynamism and depth to the song. I do like how the vocal and rapping both remained light, as like in the previous but at a level that felt appropriate for the upbeatness of Butterfly Effect. (9/10)
4. Someone Else (JinJin, Moonbin, MJ) – The first unit song features the three members listed in the bracket next to the song’s name. Someone Else adds a funky flair to the album, that fits in the album. When the song first started, I expected a hip-hop song for odd reason. But the track ended up tapping into the pop genre. I liked the combination of the soft jazzy style and the intensity brought on by Jin Jin’s rapping that makes up the two halves of the pre-chorus. The chorus also had a really catchy hook, thanks to the melodic repetition of the title. (7.5/10)
5. SNS(Eunwoo, Sanha, Rocky) – The second unit song is made up of the balance of the group (names also listed in the brackets next to the song’s title). SNS brings back the pleasant vibes from the start of the album, with a pop song that leans towards the R&B genre. It also has this mature but feel-good vibe to it, which is an interesting combination to put together. I feel that SNS could have used a superior hook, but instead focuses on melody and that mature profile to sell the song to us. But even without a strong and memorable hook, SNS still has its own charm, coming off as smooth and sleek track at the end of the day. (8/10)
6. All Good– All Good is my pick for best song on the album! I really like the infectious positive energy that the song brings to both the album (and any playlist that you add it to). It also brings a smile to my face and I can’t help but really get into it when it appears on my album. The song’s central part, the chorus, was quite an addictive sequence of the song. I liked the blast of energy it had, along with the super catchy ‘It’s so good, It’s so good’ hook. I also like the layer of the ‘Gonna be alright’ over the top, which added a stunning complexity to the otherwise simple and feel-good track. (10/10)
7. All Stars – All Stars has the difficult task of following the likes of All Good. I think All Stars ended up feeling less energetic and a bit slower paced than the preceding song. However, it did a good job of continuing the positivity and feel-good vibes that are being channeled the album’s songs. There was a nice pleasant showcase of vocals and rapping from the members, and there was a decent hook in the song. I did enjoy the harmonization throughout the song, and the JinJin’s shouty ‘Everything is Okay, Every time is okay, Everyone is okay’ in the second half of the chorus. (7/10)
8. Our Spring (우리의 계절) – Next up on the album is Our Spring, It is the first song on the album that opts for a slower tempo. It is a really soothing song when you think of the vocals. But what I really enjoy is the punch of energy that the song delivery via the instrumentation. It isn’t your typical ballad instrumental as it incorporates electronic synths and drums. The rapping blends the two sides of the song together. You can feel a bit of emotion behind the rappers’ deliveries, but they also have the intensity that is fitting for the instrumentation. It is a good listen, and I highly recommend it. (9.5/10)
9. Stardust – Stardust aligns to the ballad genre, more so than the previous song. This is mainly because of the instrumentation we get. It starts off with a piano as the main core, before slowly bringing in some orchestra influences. The orchestral touch is relatively soft when it does come and goes, but you can tell it is there. The vocals work extremely well against the instrumental. But I just really enjoyed the rapping in Stardust. It is gripping and well-articulated to be appropriate for a ballad. (8/10)
10. Gemini (별비) – The final song on the album is another ballad piece. And ASTRO manages to show themselves off alongside a really dynamic instrumental. It starts off in a similar fashion to the previous song with the piano. But when the orchestral influences come into play, it stays. Hence, I find this instrumental to be quite stunning, creating an amazing background for members. In the previous few songs, I have really been drawn to the rapping. But Gemini also shows off the groups’ delicate yet impressive vocal power, as well as the powerful rapping that fits so well into this ballad setup. (10/10)
Time to start reviewing the releases from this week that I have missed. First up this weekend is WEi, who made their comeback on Wednesday with Bye Bye Bye. The new song is the lead single from WEI’s third mini-album, Identity: Action. This is the group’s second comeback of the year, following February’s All or Nothing comeback.
Bye Bye Bye continues the influx of Summery tracks this week, by pushing WEi into the pop realm. It is a departure from WEi’s previous high octane and intensity driven sound that they had returned with at the start of the year. The minimal use of synths in this song allows us to hear the members in a more melodic and clearer fashion. Bye Bye Bye starts off with rhythmic guitar, before bringing in percussion that adds a bit of bounce into the verse. It isn’t the most innovative instrumental mix. But I quite like its simplicity and upbeatness. For the most part, the track doesn’t stray away from this sound profile and stay quite consistent throughout. There are appropriate changes along the way to allow us to differentiate between certain parts of the song (i.e. like in the chorus, we get a bit more percussion to amplify the central part of the song), but it isn’t a significant or wild change that breaks up or redirect the flow of the song into something different. You might think I am going to say it is boring, as a result of the consistency (which is something I do tend to bring up). But instead, I think Bye Bye Bye benefits from this. Throughout the verses and choruses, there was this strong stylish and refreshing vibe to the music thanks to the guitar work that is constantly in the background. To help prevent the song from falling into the bad side of consistency, the rappers really gave the song a much needed kick that felt suitable for the song. It was all done over similar or the same instrumentation as the rest of the song. Bye Bye Bye also has catchy hooks, such as the repetition of the song’s title, which helps make the new song even more memorable. If I were to be critical, I felt that the song could have been more vibrant during the chorus, especially in the final one. I think some vibrancy would have really lifted the song up to a whole new level and allow Bye Bye Bye to end off in a more spectacular note. But overall, Bye Bye Bye was a pleasant listen that really feels just right for the Summer season.
While the song missed that tinge of vibrancy, the music video that accompanies the release of Bye Bye Bye was very vibrant, in the sense it had a lot of colour. I really like how the music video looks really stylish, and isn’t necessarily an explosion or mess of various colours. It all felt well balanced and bright. The song is all about letting go of your worries. And the members do this in a literal sense, by performing a disappearing act to another country. The newspaper and milk carton had pictures of the group and captions/headings that labelled them missing. I wonder what worries they had to make such a decision to say ‘Bye Bye Bye‘ like that.
For the performance aspect of the performance, I thought Bye Bye Bye had a good routine. As expected there was a lot of waving throughout the performance. What I also really like was the footwork when it came to the chorus. It looks cool and felt very suitable for the refreshing guitar work in the song’s central part.
Song – 8.5/10 Music Video – 8/10 Performance – 8/10 Overall Rating – 8.3/10
Two days ago, one of Korea’s leading female groups made their comeback! The group in question is TWICE, who has returned for the first time in Korea since the release of I Can’t Stop Me in October of last year. They also released the single Cry For Me at the start of the year (but I haven’t reviewed this track as there is no accompanying music video). The group also recently released the Japanese single Kura Kura (which I have reviewed). The comeback this time is lead by the title track Alcohol-Free, which was released as a pre-release single ahead of their tenth mini-album, Taste of Love, which officially dropped earlier today.
Even before listening to the song, I have my reservations about the new song. Alcohol-Free is an awkward title for a song, and I feel this is because of the common perceptions of the term ‘Alcohol-Free’. To label something as ‘Alcohol-Free’ is a bit of a kill joy. (But those drinks do have their benefits in society). True to the common perception of the term, I find the song to be equally lackluster as those drinks. TWICE usually have these bold pop tracks that are super catchy and are quite memorable. But Alcohol-Free opts for a chilled track that delves into hip-hop and bossa nova genres. I acknowledge their attempt to change style and sound, but I don’t think this TWICE material. Well, their usual material, to be more exact now. Alcohol-Free, as whole, feels like an extension of elevator music, plain and boring. I did like the use of bossa nova to add that Summery feel. I particularly like the bossa nova element that started up the second verse, adding a bit of a fun vibe to the song. But I also found the song feel like it was stuck in a neutral gear from start to end, never building to anything substantial. I think that is the elevator music side of the song speaking, quite profoundly. But when you listen to the song more closely, you do hear some promising elements. The melody was pleasant to listen to. It did lack memorability and catchy hooks, as you usually would associate with TWICE’s music. But it was still likeable. Similar comments can be applied to the vocal work. I do, however, find their vocals fizzle out as they approach the end of each line, which isn’t really the best effect. The rapping in the bridge was a bit more promising, adding some oomph to the song. But it wasn’t enough to be the saviour element to boost the song to anywhere near the top of my personal list of TWICE’s best title track. But like the rapping, it wasn’t substantial enough to make an impact on my perceptions of the song as a whole piece. Overall, Alcohol-Free isn’t my cup of tea.
To fit the Summery vibes of the song, I felt the music video was appropriate for the music. Shot on the waterfront by the beach is pretty fitting (though I assume the waterfront was a set, and the beach imagery was applied post production). But nonetheless, it all made sense. I also really like other set, the one with the platform, massive cocktail glass and lighting that brings a silver tone to the set, which gave off a modern feel. I also guess, fitting for the title of the song, there are a lot of drinks throughout the video, which I presume to be alcohol free. The term alcohol-free in this song is actually used to describe their drunk feeling towards falling in love. They aren’t drunk from drinking, but rather the feeling of love. And I feel that the members show that well using facial expression throughout the video. They don’t look drunk, but rather blissful and happy at that feeling they are describing in the song.
For me, I felt the performance was quite refreshing, once again suiting the Summery vibes of the song. It also suited the mature direction in which the group had opted for in their more recent comebacks. I do think the performance could have been more energetic, but that is more of a song issue than a choreography issue. I do like their side-ways movements in the second verse, with that being the most memorable part of the choreography for me.
Song – 6/10 Music Video – 8/10 Performance – 7/10 Overall Rating – 6.8/10
Finally getting around to writing a review for Rocket Punch’s Ring Ring. The female group from Woolim Entertainment made their comeback on May 17 (a while back now) with a new single album which shares the same name as the title track. This is Rocket Punch’s first comeback since the release of Juicy back in August 2020. A week after the release of their new song, Rocket Punch was confirmed to be making their Japanese debut, so there is a chance you will be seeing Rocket Punch back on this blog with a review of their debut single (provided that it isn’t a Japanese version of their Korean title tracks). But until then, here are my thoughts for Ring Ring.
Ring Ring taps into the retro trend. But while we have heard numerous songs of this style in just this the first half of 2021, I have to admit that Ring Ring actually comes off as quite wholesome and likeable. And this alone is a huge improvement from their previous comeback, which I did not enjoy to say the least. Ring Ring features 80s retro metallic synths as the main instrumentation of the song, creating a fun and energetic sound that is synonymous with the retro genre. Ring Ring is particularly good when the song is turned up. While any song would sound better at a higher volume, the higher pitch at which the instrumentation and vocals are at within Ring Ring really need that oomph to stand out and hence benefits at the high volume. The group’s processed and high pitched vocals actually compliment the retro synths in a good way. While I do feel that their vocals were a tinge too cutesy, I do like how they felt bold at the same time, which is a definite plus when it came to the chorus allowing them to be heard on top of the instrumentation. To me, the weakest part of the song is the rap sequence we get in the second verse. It has a trap-centric approach to the instrumentation which felt generic and didn’t really feel retro, given everything surrounding it was retro based. The rap sequence in the bridge was much better and provided a really strong rebuild, launching us into the final chorus. The best part of the song has to be the pre-chorus. Everything in pre-choruses was very ear-catching and well-defined. It was also a really go lead into the chorus, connecting the chorus with the verse in a really cool fashion. Overall, Ring Ring is definitely their best title track yet. Hopefully, Rocket Punch (and their company) can continue the this trajectory.
I really like the sets. They felt very 80s, matching up with the synths and instrumentation of the song. I particularly really liked the massive gas station set. I know, it is just a gas station. But in this music video, it was really cool and tall. In the video, the members wait around for a phone call. Based on the lyrics (Ring Ring is about choosing between two potential love interests, boldly expressing that the subject of the song will go to whoever rings her phone first – taken from Soompi), the members are awaiting a phone call from one of two partners. There is a lot of ringing of all sorts which the members seem to mistaken for the phone. But in the end, the member answered a ringing phone (which came out of a fridge). I am glad that the video didn’t slip into an overly cutesy concept, keeping me onboard for its three and a half minute run.
The choreography did tap into the cutesy side of things. But I won’t hold it against them. It actually worked well with the song and showed off their youthful charms on stage. I particularly like their moves during the song’s main hook. Don’t know why, but it felt very retro and hence suitable for this song.
Song – 8/10 Music Video – 8/10 Performance – 8/10 Overall Rating – 8/10
Also making his comeback yesterday is Ha Sung Woon with Sneakers, the title of both the lead single and mini-album. This is Ha Sung Woon’s first comeback in 2021, with his last being Forbidden Island and Mirage from November of last year. This is also his first comeback since the confirmed disbandment of HOTSHOT. It is always disappointing to hear the disbandment of a group, but at least fans could have some closure with the confirmation of the disbandment, especially since it has been almost three years since we last heard from the group (their last comeback was without Ha Sung Woon and titled I Hate You). But sad news aside, we are hear to listen to Sneakers today!
Sneakers had a slow yet pleasant start. I guess the intention of this is to start the song from point zero, as there was a patient buildup in the instrumentation as we progress through the first verse. The pleasantry of this part is the melody, which brings out Ha Sung Woon’s soft vocals really nicely. What came next is pretty unexpected. I don’t think anyone suspected the burst of vibrant energy and super upbeat nature that was Sneakers‘ chorus. Firstly, it is the highlight of the song for me. The chorus is always the central part of a song, and so it should standout. And that is exactly what we get in Sneakers. Secondly, the vibrant energy (thanks to the influx of percussion) is just so catchy and memorable. I also really like the bounce to the song, which is so cool. Same goes for all the melodies we get throughout this section of the song. And thirdly, the chorus brought a smile to my face. And I guess that is thanks to the same vibrant energy (and may also be due to the music video, but I will get to that soon). Once the first chorus, the second verse doesn’t revert back to the slow pace of the first verse entirely. Instead, it keeps the beat going for a bit, which is great, The slowness does return as part of the pre-chorus, though I think this helps make the second chorus feel even more explosive. We get a brief stripping of the instrumentation for the bridge, before a quick buildup to the final chorus. Ha Sungwoon’s vocals in this part sounds so good and I really like how clear it is. Ha Sungwoon shows off more of this vocals in the final chorus, with high notes and ad-libs. Overall, I really enjoyed Sneakers, as it is vibrant and a super fun track that makes me smile.
I feel the music video is very relatable, especially due to the past year. A lot of us were in lockdown for the most part of 2020, staying away from strangers and the world in hopes not to contract the COVID-19 virus. And Ha Sungwoon portrays that in this music video. However, I think Ha Sungwoon is isolating for other reasons other than a pandemic. He is in bunker and he basically locked himself in there. He also has a lot of supplies that looks like it might last him a while. While he was reaching for a new water bottle, he knocked over a box that contains some sneakers. Memories of times where he was hanging outside start flooding back and he even reminisces about those time. In the end, he decides to leave the bunker to re-experience those memories and it appears to be the best decision he has ever made, enjoying the fresh air and sunlight that he sees for the first time. I guess it helps that your bunker is in a prime location like how his one was. Though scenes of him enjoying the sun and air, along with his memories of those times, brought a smile to my face. It all looked very genuine, and his enjoyment is easily transferred to you.
A really energetic performance accompanies the release of Sneakers. While this is expected, I really think Ha Sungwoon and the dancers went above and beyond, incorporating jumps that are high and take up a lot of your energy. I do think there is opportunity for more footwork throughout the performance, to really show off the sneakers. This is on the basis (and I hope) there are some awesome sneakers worn during the promotional period.
Song – 9/10 Music Video – 9/10 Performance – 9/10 Overall Rating – 9/10
One of the comebacks kicking off this week is N.Flying’s return to the stage with Moonshot. The new song is featured on the group’s first ever studio-length album, which is titled Man on the Moon. N.Flying is one of those groups who have waited forever for a Korean studio album. The band has been around since 2015, so that makes the wait over six years. That is definitely some time to release a lengthy album. The good news is that since their debut, there have been many mini-album and singles released, such as their most recent comeback Oh Really last year. I can’t wait to check out the album. But in the meanwhile, let’s have a closer listen to Moonshot.
What I like about Moonshot is the heft of the chorus. There is so much energy channeled into this alternative rock track that is comes off as bold and well-defined. And similar comments can be extended into the verses. The guitars in the verses were quite bold yet paced with the beat, standing out over the drums (which was kept on board to be the minimal beat of the song). And as the verse progressed along, we get a bit more guitar work, though it all revolving around the beat of the song. Seunghyub’s vocals here were really good, assisting with the minimalistic effect. But apparently that isn’t minimal enough, with the pre-chorus stripping the background to be even barer. But I like that technique, as it really made Moonshot‘s chorus explode out and have that high level of impact. We are also blasted with powerful vocals from both Seunghyub and Hwesung, which compliments that explosion from the instruments that I just mentioned. The chorus also features the line ‘If you want to change, be not afraid‘, which is quite catchy after multiple repeats. The second verse has a similar set up with a minimalist vibe for Hwesung’s solo part, this time the guitar work being a electric guitar riff. Seunghyub returns briefly as a vocalist before coming in as a rapper. His rap sequence was actually cool, and I like his delivery which showcased a tinge of hip-hop. In the bridge of the song, we get a brief stripped back sequence before slowly rising back to the final chorus. There is a bit of a suspenseful delay to the reintroduction to the beat, allowing Hwesung’s vocals to be showcased once again in a raw fashion before the drums come back in to close out the song with the hefty style that featured in the first and second choruses. Moonshot is a powerful yet simple alternative track that speaks volume in music and meaning.
The meaning of the song can be expressed simply by that one hook line, ‘If you want change, be not afraid”. At the start of the video, we see the members cowering in fear. They seem to want change, but it appears they fear the unknown. Their world is constantly watched, which the members work out based on the cameras you see everywhere, the eye we see in the roof and the TVs they find with all the footage of them throughout the video. The world is also “fake”, with boundaries set up to keep them in (I got Truman Show vibes when Hwesung and Seunghyub touched the barrier). I think the moon (wearing the spy gear) is a fake moon and whoever is behind this fake moon is elicting fear on the members. Once the secret has been unveiled, they take their desire for change to the next level, by attacking to the moon which subsequently blows up revealing the real world. Thus changed had occurred, only because the members stopped being afraid. Overall a good video with a really deep and meaningful message.
Song – 8/10 Music Video – 9/10 Overall Rating – 8.4/10
EXO IS BACK! That is the first time I am saying that since their last ‘full-group’ comeback under the name of EXO with Obsession (both the name of the title track and album) in 2019. The main reason to the almost two year hiatus is because of military enlistment. Even during the Obsession comeback (and even today’s comeback), EXO has a few members currently enlisted in the military. And in 2020, it was announced that EXO would focus more on solo and unit promotions, with the successful debuts of Suho and Kai, and the successful comebacks of Baekhyun (Candy and Bambi), Lay and EXO-SC. But today, we welcome back EXO through the release of a special single, Don’t Fight The Feeling, which features members Xiumin, D.O (both who have returned from the military), Chanyeol, Baekhyun (both who have just enlisted), Lay, Kai and Sehun. This comeback also marks the first time Lay has featured in a comeback since 2018’s Tempo. Suho and Chen are currently on hiatus due to their enlistment (alongside Chanyeol and Baekhyun). Okay, formalities out of the way, let’s have a closer listen to Don’t Fight The Feeling.
Described as a dance song with a ‘cheerful rhythm’, Don’t Fight The Feeling really delivers with its upbeat instrumental and catchy lyrics. If you are looking for the usual serious and mature sound from EXO, this isn’t the song you are looking for. But if you are looking for something upbeat and vibrant as Love Me Right or Power, then Don’t Fight The Feeling is what you be looking for. I really like the no nonsense approach the song has when it came to its instrumentation. From the very start, you could feel what the song’s description was stating. And as the song went on, the synths gave off a funky vibe (which is a very 2020s thing), while the bass gives the song its depth. I do dislike the inclusion of the trap-based background for the rap sequences, with its stripped back nature being a bit too standard for my taste. I felt that these part could have been a bit more enticing with something a little more original. Overall, it is a really cool instrumentation that gives you in the mood for a bit of a groove. The chorus was catchy with the repetition of the song’s title and the overlapping of vocals. This technique really kept the song going and helped key the song’s hook into your mind. Though, I would have liked to hear a more dynamic hook to the song, but what we got in Don’t Fight The Feeling was satisfying nonetheless. When it comes to the vocals and rapping, it is definitely great to hear everyone again. There wasn’t anything as explosive with their delivery however and I didn’t think any member stood out of the pack. That’s fine though, because EXO still gave us a satisfying showing of their vocals. But while that was the case for the overall song, it was definitely nice to hear Xiumin, Lay and D.O, as it has been a while since we have heard from them. As for the rapping, what we got was okay. But it wasn’t really the best showcase of Chanyeol or Sehun’s skills. I think if the producers went with a backdrop that flowed with the rest of the upbeat instrumentation’s momentum, it would have worked more in Chanyeol and Sehun’s favour. Personally, Don’t Fight The Feeling is a really good return for the group and a song I wouldn’t mind casually replaying. It isn’t until I sit down to consider the elements individually, that I find myself slightly disappointed.
Don’t Fight The Feeling‘s music video fits into the new SM cinematic universe, which appears to revolve around KWANGYA (the planet in which aespa’s virtual members live on). As the lyrics, I think that members have to travel through KWANGYA to EXO-Planet, which is EXO’s destination in this video. I think that is a nice tie into the cinematic universe, but also keep EXO’s storyline as its own separate entity. As for the visuals of the music video, I thought it looked quite cool, with the spaceship and air-craft carrier. It was definitely nice to see most of the group on our screens, as well. Lay also made an appearance during his solo part. Though, it is clear he had to film elsewhere (most likely China) and the editor(s) inserted him in later. Everything was all good until we got to the final scene, where the members are all partying up and we see a snippet of the choreography. I am happy they inserted Lay into the choreography shot, bringing EXO together once again. But the green screen usage at the end was pretty poor in my opinion, and I felt like this impacted the quality of the music video in the end. The video just didn’t feel great anymore, thanks to the ending.
The choreography definitely looks cool, and I am glad the green screen didn’t ruin this aspect. It is definitely more lighthearted and not intense as EXO’s usual style, but I attribute the change to the music which calls for a lighter set of moves. I liked the chorus, when they do pivot with their arms stretched out in a diagonal fashion.
Song – 8/10 Music Video – 8.5/10 Performance – 8.5/10 Overall Rating – 8.3/10
Last week, GHOST9 made their second comeback of the year with Up All Night and their fourth mini-album, Now: When We Are In Love. This continues the string of comebacks by the group in a span of less than a year, which (as I had stated in my last review for GHOST9) I am glad for, to help get their name out there. I just hope that the members do get an opportunity to rest and their management doesn’t overwork them (like we have seen happen with other groups in the past). This comeback in particular comes after their February comeback with SEOUL.
Up All Night opts for a lighter and brighter tone, fitting for the Summer season that Korea is currently entering into. All their title tracks thus far have been of of a intense EDM sound, which is very typical for male groups currently. So it is nice to hear GHOST9 switch up their sound for something more pop driven. And as one of the first groups to release song of this fun and bright style, Up All Night has great energy and drive. If the song was released closer to Autumn, I don’t think I would have been as excited for the song as I am now. The song starts off as your standard pop number, pumping in this upbeat energy that is synonymous with having a great time on Summer break. It then leads into a chorus, reminding me of One Direction’s style of pop music back when they were still around. The second half loses that touch slightly to incorporate a bit of rap into the chorus, but it is still as dynamic as the first half. The second verse continue the momentum that has been set for it, continuing the appeal of the song. The bridge of Up All Night slows down a bit, but I feel this just helps the final chorus be just that bit extra impactful (even though I am quite sure it is the same chorus on repeat from earlier). I really enjoyed the rap sequence that formed part of the bridge. It just came in the right time and had all the right vibes for this part of the song. I also really liked the extension to the final chorus, and how they call came together for the final to wrap it up. As for the vocals and rapping, I felt like Up All Night put a really nice display of those elements. Their delivery of both vocals and rapping were fitting for the overall style of the new song, and they were quite clear and crisp to listen to. Up All Night may be a straight forward song in some sense, but I think it was a great showcase of what GHOST9 has to offer outside of EDM.
The chorus blasts you with colour. Most of it wasn’t artificial, however, as the entire video is shot outside. The colours are just vibrant and feel fitting for the Summer season. The invisibility cloak scene and the massive red balls added a cute tone to the video. I do question the flying whale. Not sure what it means exactly, but I have seen it often in KPOP. As for the members, we see them have a bit of fun in the sun and in the shade, bringing forth the energy of the song. Overall, the music video is fitting for the song, so there isn’t much else to ask for.
I really like fun the choreography looked for this comeback. It has this slight bounce to it and I felt some of the moves were just a bit fun infused into the routine (like how they move about in the second half of the chorus). I think there is opportunity in the final chorus for the group to change the routine a bit between performances. It think this would make the performance more enticing to continually check in on.
Song – 9/10 Music Video – 9/10 Performance – 8.5/10 Overall Rating – 8.9/10
One week ago, I said I was going to prioritise one particular song for review as it rose to the top of my personal Weekly KPOP Charts for the 4th Week of May 2021. Unfortunately, I didn’t around to writing that review during the week. But it is still a priority, especially since I am publishing this review before so many other releases that I have promised myself to write reviews for (some of them released weeks before this particular song was released). But just in case for those who missed it (or don’t pay attention to my Weekly KPOP Charts), the song I am talking about is titled Hurt and it is a collaboration between Baekhyun (from EXO) and Seomoon Tak, who is a South Korean rock singer. This collaboration was released on the 10th of May, and has gone since without a review. However, that will change today with the release of the review! Just a few days prior to the release of Hurt, Baekhyun enlisted as a public service worker to fulfil this military enlistment duty.
I didn’t immediately check out the song upon its release. And that turned out to be a regret, because Hurt is soooo (yes, the extra o’s were necessary) good. Hurt is a rock track, showcasing both Baekhyun’s and Seomoon Tak’s vocal powers. The instrumentation has a nostalgic factor (i.e. synthesizer keyboard) for me, bringing me back to music I used to take a liking towards when I was younger. On top of that, the instrumentation is fiery and powerful, acting as the perfect backdrop to help lift those power vocals I just mentioned to be even more so. The song starts off with Seomoon Tak, who I am unfamiliar with. She is a rock singer (as stated earlier) who made her debut back in 1999. She takes the first verse and presents us with her raspy and husky vocals. Based on what you hear, you can tell she has experience in the genre. She sounds amazing throughout her solo parts, teasing us with her vocals with what you know is coming. Baekhyun doesn’t make an appearance in the song until the first chorus, in which he leads. We all know Baekhyun is a capable singer through a lot of his solo work and through EXO’s songs. But I don’t think we have ever heard him like this, showcasing powerful vocals that leave in me in awe. I really like the echoing they do with the song’s title in the chorus, which added so much depth to the song, The pair play switcheroo for the second part of the song, with Baekhyun singing the verse and Seomoon Tak taking helm of the second chorus. That being said, there is some crossover. Baekhyun has some stunning high notes in the second chorus. But I think the ultimate singer has to be Seomoon Tak who blew me away with the heft and intensity she throws behind her vocals in her chorus. But remember, Hurt is no competition between the two singers. They come together in a spectacular fashion for the final chorus, harmonising their power vocals together to create a really satisfying end to the song that just touches your inner soul in all the right places. Overall, the passion and intensity of Hurt, along with the pairing of Baekhyun and Seomoon Tak just makes Hurt unforgettable and highly recommended.
The music video for Hurt is quite simple. The pair perform their songs into microphones in front of a band, who plays the instrumentation of the song. The lighting makes the video’s ambience quite moody. But the song itself prevents the video from entering a gloomy feel. I liked the hand held camera work in this video, which I think made the video more impactful with its shakiness. It gave off a live impression. While we are on the topic of ‘live’, I did wish this was a live video, where they were singing and recorded live. That would have made it more stunning and impressive, whilst also showcasing the song in a very gripping way.
Song – 10/10 Music Video – 9/10 Overall Rating – 9.6/10
I can’t believe we are already in June! How crazy fast has 2021 been? And this is definitely something, given how 2021 is already looking like a repeat of 2020. But we are not here to be sad or disappointed! I am sure that we all found an escape in KPOP in 2020, but I am sure it has extended into the present. And talking about the present, I will be looking back at the 1st Week of June 2021 today. A number of comebacks happened this week including TXT, Joy’s solo debut, Mamamoo and MONSTA X. Also, Stray Kids was crowned the winners of Kingdom: Legendary War, and they (along with fellow contestants The Boyz, BTOB, SF9, ATEEZ and iKON) performed their newly released songs on the show this past Thursday. Click the link to see my thoughts/reviews of those stages (and for the rest of the series). But as for now, it is time to wrap up the last week!
New Releases of This Week
Apart from the new releases I had already mentioned, there are some other releases this week from GHOST9, B.I, Ravi (VIXX), VROMANCE, Zelo and NCT 127. Because of my slightly busier week, I haven’t really had the opportunity to sit down to listen these tracks. Though I am hoping to still review them in the coming weeks, after I do a bit of catch up with the other songs I have been holding onto.
Throwback Corner
For this week’s throwback, I have picked a recent-ish song. And when I say recent-ish, I mean the second half of 2020. That is The Boyz’s Whiplash, a side-track off the group’s fifth mini-album, CHASER. It is quite an addictive song, and I recommend that you check out if you want to listen to more of The Boyz!
The Charts
Congratulations to Mamamoo, who tops KPOPREVIEWED’s Weekly KPOP Charts for the 1st Week of June 2021, with their recent comeback Where Are We Now. For more of the charts, keep on scrolling down!
30th May – 5th Jun 2021
Title
Artist
Status
1
Where Are We Now
Mamamoo
(NEW)
2
Hello
Joy (Red Velvet)
(NEW)
3
Finale (Show And Prove)
BTOB
(▲ 38)
4
GAMBLER
MONSTA X
(NEW)
5
ONE
ASTRO
(=)
6
KINGDOM COME
The Boyz
(▲ 64)
7
|Believer|
SF9
(▲ 60)
8
WOLFGANG
Stray Kids
(▲ 61)
9
FIRST
EVERGLOW
(▼ 2)
10
BLACK MIRROR
ONEUS
(▲ 8)
11
0X1=LOVESONG (I Know I Love You)
TXT ft. Seori
(NEW)
12
The Real
ATEEZ
(▲ 54)
13
Hot Sauce
NCT DREAM
(▼ 9)
14
Son Of Beast
TO1
(▼ 11)
15
Not The End
HIGHLIGHT
(▲ 13)
16
Dun Dun Dance!
Oh My Girl
(▼ 14)
17
Touch By Touch
GreatGuys
(▲ 55)
18
libidO
OnlyOneOf
(▼ 5)
19
Like It Hot
GWSN
(▲ 4)
20
M.A.F.I.A (In The Morning)
ITZY
(▲ 20)
21
Atlantis
SHINee
(=)
22
At Ease
iKON
(▲ 46)
23
You Make Me
DAY6
(▼ 12)
24
INSIDE OUT
NU’EST
(▼ 14)
25
Hurt
Baekhyun (EXO) & Seomoontak
(▼ 24)
26
Drunk-Dazed
ENHYPEN
(▼ 6)
27
Switch It Up
JAY B (GOT7)
(▲ 2)
28
10 Times
B1A4
(▲ 18)
29
Purple
woo!ah!
(▲ 43)
30
Ugly Dance
ONF
(▼ 18)
Songs leaving the charts this week
Songs that have wrapped up their nine week run on the charts and hence won’t be appear on the charts from next week are:
Earlier this month, Kingdom: Legendary War began its run, pitting six well known and high performing male groups against one another for the throne. The Boyz, winner of the prequel season Road To Kingdom last year, is featured as one of these male groups. During the 2020 MAMA Awards, it was confirmed that Stray Kids and ATEEZ will be participating. And in January 2021, it was also confirmed that iKON, BTOB and SF9 will be joining the lineup. It was also confirmed that TVXQ (a name in the industry worthy of the Kingdom title without a doubt) will be hosting, but this was later reduced to just Max Changmin, as Yunho was involved in a scandal and was edited out as much as possible (and will not make an appearance in future rounds).
As I have reviewed part of Queendom and all of Road To Kingdom, I will also be reviewing the stages of Kingdom: Legendary War, recapping the high caliber performances from each round and also putting forward my thoughts on what the ranking should have been for that round.
Final Round – WHO IS THE KING?
After two months of performances, we have finally reached the final round. WHO IS THE KING? started a week prior to the episode airing, with the final songs released to see which group would garner more attention on the music charts. This attention (and their ranking on the music charts) would determine the first set of points the group’s would get, thus contributing to their final score.
When the episode starting airing, fans were given the opportunity to live vote for their favourite groups, thus creating a second set of points the groups were able to get in the final round.
At the conclusion of the performances, the live votes were tallied and added to all the points which the groups have accumulated throughout the competition. The group with the most points would be crowned the King!
For this review/rundown, I will be having a deeper listen to the songs released by each of the groups and a closer watch of the performances. I will also be giving a final rating based on these aspects, allowing me to determine a rank for the final round.
Then I will look at all my rankings I have done since the start of the show to determine who I thin should have been crowned the King! See you at the end.
The Real (멋) – ATEEZ
Going first up in the final round is always a daunting task and that task was assigned to ATEEZ. But knowing ATEEZ’s style, this task was going to be a piece of cake for the group. The Real taps into the hip-hop genre, combining it with a really dynamic and upbeat instrumentation filled with abrasive synths that has a sense of familiarity for me. I am sure somewhere on the blog, I have heard these same synths somewhere. But despite that, I really like that ATEEZ took those synths and really made it their own hype song. ATEEZ’s rappers kept the song dynamic, especially in the verses, and helped moved the song along. The vocalists really help give The Real some definition, and kept the song grounded and still for a brief moment. I think this was needed to prevent the song from being too overwhelming with the synths and energy. It also made the chorus that followed become more impactful. But what really sold me with this song is the energy that comes off it. I love the relentless energy that just doesn’t stop coming at you. And I also really liked how the energy just kept on piling up, especially towards the end. It was an exciting and stimulating opener to the round. It even got the crowd (i.e. other participants) hyped up. Definitely a style I would like ATEEZ to continue with in the future.
I feel the stage for this performance was a bit weak. While the choreography and energy was undeniable, I felt the performance could have had more of a wow factor to it. It might have been a stylistic choice to not include a wowing moment in the performance, but I felt that is where this performance fell short. I really like how the markings on the locker and the way the microphones were positioned to make the hangul of the song’s title appear at the right angles. That would have taken a while to set up and to ensure the camera work was on point (we all know how sometimes camera people like to not capture the right moments). I also feel the other stage props and setups had a fun vibe to them, which also matches the song (i.e. the puppet box and the chickens). As for the choreography, it definitely had that hype energy that felt on par with the song. I also felt their stage presence and personality made the choreography more energetic.
Final Rating – 7.9/10
WOLFGANG – Stray Kids
With WOLFGANG, Stray Kids relies heavily on momentum and intensity to get through their performance. There is also a showcase display of vocals and rapping from the members throughout the song. But I feel that comes second in WOLFGANG. I feels the members could have been a bit more angsty at certain parts (like in some of their other performances), which would have made for a more intense and thrilling performance. This would have made the dynamic performance even more dynamic and powerful, and give them more room to experiment with performance strategies on stage. I also find it interesting that none of the members really stood out to me in this WOLFGANG. Each member brought their individual style to the song, but the limelight was shared between members. Instrumentally, I liked the choir-like background to this song. It gives of a suspenseful atmosphere and does a good job of contrasting with the vocal/rapping delivery that we did get in the song. It also felt like something was simmering away in the background, concentrating as the song progressed along. Glad to hear in the end that energy was released in a relentless and concentrated manner that makes for a really thrilling ender to the performance. It started with the EDM instrumental break before leading into a dramatic increase in strings for the final sequence. It definitely showed Stray Kid’s powerful potential and it gave what I thought the performance definitely needed.
I really like the idea of the members turning into werewolves for this performance. The members started out as humans, before they start donning fur to show their transition from human to werewolf. But I think they are new to this transition, with some of dance moves starting off small (i.e. when they jump off the dancers back the first time). But as we get towards the end, the members become used to this change and exert more dominance, leading them to leaping off the dancers’ back the second time around. The choreography for the ending sequence also looked really powerful, matching the energy they exuded in the song. The show-stopping moment of the performance has to be Bangchan putting on the wolf attire showing some skin in the process, which I assume has thrown the STAY fandom into disarray.
Final Ranking –8.1/10
KINGDOM COME – THE BOYZ
The Boyz rounded out their Kingdom journey (Road To Kingdom & Kingdom: Legendary War) with KINGDOM COME. I liked that their song reminded me of their winning song from Road To Kingdom (CHECKMATE). This one sounds more intense, especially thanks to the powerful orchestral influence the producers of the song infused into the chorus. To compliment the chorus, KINGDOM COME teases us with less intense strings in the verses. Their vocals and rapping also fits in really neatly. The second half of the second verse brings in a really stylish and cool electronic-based instrumental break to facilitate a dance break on stage (more on that in a bit). It led to Juyeon’s dance break, which retained the dynamic thumping but opted for strings rather than EDM. The chorus returns, before transitioning with a really cool rough textured electronic sequence to the bridge song, which showcased nice vocals from New, a bit of deep rapping from Sunwoo and a spectacular elongated high note from Sangyeon. This marked an entrance to the final chorus, which I am sure had the same energy levels as the previous chorus. But until this point, KINGDOM COME has been snowballing all its energy to release it during the final chorus to give off an ‘edge of your seat’ vibe. I really like the autotuned ‘Until Kingdom Come‘ line that repeats. I didn’t notice it at first, but I think it added to the suspense that contributed to a really strong ender from The Boyz.
What I really liked about this stage is the pre-recorded footages featured in the performance. As mentioned at the start, this performance wraps up their time on the Kingdom series. In the first pre-recorded footage, we see each individual member wearing a different stage outfit from each of their RTK and Kingdom performances. The second pre-recorded footage we see features Younghoon, who couldn’t physically dance in this performance due to an injury. And the third pre-recorded footage features the members dance in white shirts and black pants while it is raining in the background. These pre-recorded footages were interlaced throughout the stage performance, allowing for different visuals to be in play, similar to how a music video switches between solo shots and choreography scenes. A unique concept and idea. On stage, The Boyz pulled off really both intense and graceful dance breaks (the latter being in a shallow pool of water) and powerful choreography that was captivating to watch. I liked fiery red colour of the stage at the end that showed us their passion.
Final Ranking – 8.7/10
Show And Prove (피날레) – BTOB
What I really like about Show and Prove is how uplifting it sounds. And because of this, it has a very different sound to all the songs by the other participants of Kingdom: Legendary War. I really like the dramatic rock-influence instrumental sequence that kicked off the song, which lead into Peniel’s opening narration to enjoy their stage, Changsub and Eunkwang’s vocal pairing and Minhyuk’s rap sequence. Up until this point, it appears that BTOB had opted for a rock styled instrumental for the song. But what keeps Show and Prove exciting is that they changed up the style for the chorus, opting for a much brighter and warmer melody. The rock influence remains, but it clear the vocals do most of the speaking during the song’s central parts. And while we are on the topic of vocals, the members’ smoothness really sell me this song. You can also feel the passion and energy through their vocals, which makes a really great song to finish their journey on Kingdom with. I particularly commend Changsub, who seems to employ a bit of a musical flair with his vocals in this song. The same structure of rock-dominance in the verses and the warm melodies for the chorus repeats again, repeating the same level of captivation from the first time they did it. The entire bridge and final chorus sequence, consisting of Minhyuk’s vocals, high notes from the members, harmonies between the members in a choir like manner and more of Peniel’s speech, gave me goosebumps and was a really polished finish Show and Prove.
For the final stage, the members of BTOB keep true to themselves and focus on what they know best. They don’t dance or participate in the accompanying choreography. Instead, they showcase their vocals. Despite opting this arrangement in terms of the stage performance, it doesn’t mean it is any less dynamic or impactful. I am sure I have mentioned this somewhere on my blog, but their vocals speak volumes. That being said, the dancers did a lot to give a bit of a wow factor to the stage and I liked how BTOB used the stage for this performance. If I were to nitpick at one aspect, it has to be how the stage was set up for the final sequence. I think some of the dancers should have been in front of the members (who were already on high blocks). I think the stage would have looked better and potentially warmer, as a result to fit the song’s vibes. But overall, a really strong performance by BTOB, who were clever and played with their strengths.
Final Ranking – 9.1/10
At Ease (열중쉬어) – iKON
There was no surprise when I heard At Ease for the first time. It taps into hip-hop, which is iKON’s preferred genre of music whenever they release something. Like most of their songs, the rap is dominant in At Ease, which definitely plays towards their strengths. But based on what I heard, the rapping in At Ease was pretty standard for iKON. Nothing special in that department. Similar comments can be said about the vocals that make up the pre-chorus, though I was glad for some melodic flair in the song. It the last few seconds of the chorus when the song gears up for the chorus drop that starts pulling my attention towards the song. The repetition of the ‘Play Play Play‘, paired with the drumming instrumentation, was a really cool and intense buildup. Then came the chorus, which brought all the energy down. While I do wonder where all that energy those last few seconds had brought to the song, the militaristic vibes and bombastic creates a very powerful atmosphere that I feel iKON could only create. I do think it pairs well with the rapping we get in the verses, even though I did mention they felt standard. Their anthem ending sequence was expected, as it tends to appear in all iKON songs (and have been appearing in their Kingdom stages). And while I do groan at the unoriginality of how they approached the ending, I do find the energy that comes off this sequence to be fitting for this song. It felt like a last hurrah, following all the seriousness that the chorus felt, infusing a bit of freestyle and fun into the song. Personally, At Ease isn’t my preferred song of the bunch. But they definitely infused their roots into the song.
As for the stage, I did like the way they used the fences. From the mini ‘rooms’ created by the fences (like how the cameraman was trapped in at the end of the performance), to how the cameraman shot through the fence to create an edgy effect. I did think they could have taken the stage a step further and made it more interesting. Aside from the fences, there wasn’t much to really talk about. As for the choreography, it was good. Though like the stage, I think more could have been done. I do find their outfits interesting. I would have thought they would have gone something to compliment the militaristic style of the song. But I guess that would have been cliché.
Final Rating – 7/10
Believer (숨) – SF9
SF9 finishes up the final round with Believer. The song comes off as smooth and showcases the charm that SF9 was most successful with during the earlier rounds of Kingdom: Legendary War (i.e. sensual). What I find interesting about Believer is that it is the least bold song out of the bunch. But that might be a good thing on one hand. All the other performances rely on dramatic flair and powerful instrumentation. Believer differentiated itself as a result from the pack, allowing it to become an ‘easy on the ears’ listen, which is definitely appreciable after so many powerful and intense sounds. But on the flip side, it might not be able to standout and become forgotten within the mix of powerful songs. For me, I feel the former (it being a good thing) to be the case here. Though, I do think there is room for the song to be bolder with its instrumentation. The synths in this song are quite stylish and sound like they have never been done before in KPOP. It is almost trippy and hypnotic in a way (combined with the percussion we get in the instrumentation). I find the vocal work to be quite sleek, while the rapping infuse a bit of edge to the song. As for the chorus, the melodies were memorable and catchy. The ‘Tuk Tuk Tuk‘ at the end of each line in the chorus was very addictive.
Of all the six stages, I think SF9’s was the stylish. And that is thanks to that hexagonal mirror structure present, which reflects the stage’s lighting and imagery from the screen. As a result it gives off a really cool effect that takes me back to a few music videos from KPOP’s past. I also like how it wasn’t just a tube, but rather segments that SF9 used really well to reveal members and have them quickly disappear. As for the choreography, SF9’s stage was also pretty cool. I really like the idea of mirroring that was employed in the routine (seen during the start with Hwiyoung and Yoo Taeyang and then again between Chani and Youngbin after first chorus). I am not entirely sure what the story behind the choreography, but it seems like there is a struggle between light and darkness based on the imagery we see on stage. I did wish they brought more of a sensual vibe to the choreography, though. The best part of the stage has be Zuho’s stage presence during his rap sequence, where we saw the light and dark come together in a moment of peace. His outfit was split between the two sides and the contacts he was wearing was quite scary, but at the same time, very memorable.
Final Rating – 8.6/10
And the winner of this round is…
Formal results for the final performances were not provided, with the crowning of the king taking precedence once the performances wrapped up. We did get to see digital results for the final round, but these are based on their rankings on music charts since the release of the songs a week prior to the final episode. The ranking for the digital music points were The Boyz (1st), Stray Kids (2nd), BTOB (3rd), ATEEZ (4th), iKON (5th) and SF9 (6th).
As a result, I have decided to ranking the final performances amongst each other. The table below shows the ranking for the final round only. Keep on scrolling down if you want to find out how I ranked each group’s performance throughout the entire Kingdom: Legendary War series.
Do you agree with my ranking of this round? Comment below if you agree/disagree. Plus include what you think the ranking would have been like!
Rank
KPOPREVIEWED’s Final Round Ranking
1st
BTOB
2nd
The Boyz
3rd
SF9
4th
Stray Kids
5th
ATEEZ
6th
iKON
And the winner of Kingdom: Legendary War is…
And it is the moment you have been waiting for! I will be sure not to going into dramatic pauses, like what Changmin did on Thursday. I did laugh at how quick MNET decided to flash the final results on our screen on Thursday at the very end.
For the most part, I agree with the crowned winner, which was ultimately Stray Kids! But it the rest of the rankings which I for the most part did not agree with, considering how I ranked the performances and stages from all the rounds. You can see the results below!
Do you agree with the shows’ ranking? Or do you agree with mine? Or do you disagree with both and have a different ranking in mind? Let me know in the comments section below!
Ranking
Final Kingdom: Legendary War Results
Final KPOPREVIEWED Ranking
1st
Stray Kids
Stray Kids
2nd
The Boyz
BTOB
3rd
ATEEZ
ATEEZ
4th
BTOB
The Boyz
5th
iKON
SF9
6th
SF9
iKON
And that’s it! Thank you once again for sticking around for my review and thoughts for Kingdom: Legendary War! While I do have negative thoughts on how MNET operates, I do hope that we get to see more Queendom and Kingdom seasons in the future. Congratulations to all the groups for their amazing performances. Mad respect to all of them and I can’t wait to see all of their future comebacks and works! (Now to get back on track with the reviews…)
Mamamoo is the next big name group to make their return this week. So far this year, we haven’t heard too much from Mamamoo. This might be due to the fact the members were renewing contracts with RBW. Currently, all members aside from Wheein have confirmed to have resigned with their company, with Wheein’s contract still being negotiated. That being said, we have seen some of the members since their promotions of AYA and Dingga at the end of last year. Solar has released an OST track for the Korean drama Vincenzo, Wheein made her comeback with her first solo mini-album and the track water color and Moonbyul collaborated with Bumkey for the single The Lady. On Wednesday, the group made their comeback with their 11th mini-album, WAW and the single Where Are We Now.
For a group who is known for their amazing and power vocals, it is pretty interesting that this is Mamamoo’s first full-fledged title track that is also a ballad. They did release Paint Me in 2018 as single, but it didn’t get the same promotional treatment as Where Are We Now. The new song was initially breathtaking as Paint Me, showcasing the group’s vocals abilities in an undeniable sense. The song starts off with Hwasa’s husky vocals and piano/guitar backdrop, before we are introduced to the lightness with Wheein’s vocals. And this is all followed by Solar’s soaring vocals. I really like how they keep the song grounded, despite all the lightness and high notes we do get. It brings the song back to a stable point and allows for the thrill of the same lightness effect and high notes to return as we listen to the song some more. But let’s skip back a few sentences. I stated that ‘The new song was initially breathtaking…’. Key word in this statement is ‘initially’. It came off as breathtaking the first time I listened to it for sure, but I think the effect has worn off with multiple listens. Sure, the song is still captivating. But with multiple listens, I am pretty familiar with the song and yet I find myself preparing for the disappointment that comes in the song’s second verse. And that disappointment has to be Moonbyul’s rapping. It isn’t her style or delivery that I find disappointed. I just find the rapping to be an ill-fit for Where Are We Now. I wished Moonbyul had stuck to singing like the rest of the members, and showed off some vocals like in 10 Nights. I am not looking for Moonbyul to replicate her high note that from example song, but I think Where Are We Now would have sounded better full of vocals rather than with a rap sequence. I also think Moonbyul could have been given more parts and not be confined to just the second verse. Overall Where Are We Now had potential to be grander, if it hadn’t conform to the need for a rap sequence as per most KPOP songs.
There was a mix of elegance and casual visuals throughout the video for each the members. But regardless of which scenes fell along the spectrum of elegant and casual, they all came together to make this a really beautiful video to watch, complimenting the same captivating feeling that the song had. While I tend to not like the moody colours filter that was applied throughout the video, I felt that the moody colour tone was expected to fit the ballad genre. The most stunning scene has to be the one where they are in their white dresses, surrounded by the revolving lights. The birds-eye view shot we got with the lights started twinkling was amazing to watch, and appropriately matched the peak of the song.
Song – 8.5/10 Music Video – 9/10 Overall Rating – 8.7/10
Next up on the reviewing block is yesterday’s release of GAMBLER by MONSTA X. The new single comes from their ninth mini-album, One Of A Kind. It follows the November release of LOVE KILLA and their third studio album, Fatal Love (which I have previously reviewed). Since then, the group released Japanese versions of their previous Korean title track, a new original Japanese single (titled Wanted) and their third studio album in the Japanese pop music market titled Flavour of Love. The lead single off that album hasn’t been reviewed yet and I will doing that in an upcoming International Song Review post. In the meantime, sit back and prepare for a secretive listening session with MONSTA X’s GAMBLER.
MONSTA X takes a few steps away from their usual EDM based tracks for a sleeker sound. The usual intensity that we have gotten through many title tracks from MONSTA X is still present, just delivered in a different manner this time around. GAMBLER features this groovier foundation, which is a refreshing sound for the group. Sure, it might not be the most innovative technique out there in the wider KPOP music scene, but it is definitely so for the group. The bass in this song brings forth that funkier sound and is highlighted by the electric guitars and drumming. There are synths in the song, that bring a rougher texture and bombastic sound, but they are not as intense and don’t contribute to the ‘noise’ as much as in their previous songs. The best part of the instrumentation, for me at least, is all the deep instrumentation we get. So much depth and texture to GAMBLER. Also adding so much texture to the song are the vocals and rapping. To me, I feel like the members are making up for that lack of EDM through their deliveries. Kihyun blasts us with his power vocals throughout the song, and we see more coverage of Hyungwon and Minhyuk in this song. I like Joohoney’s and I.M’s more rhythmic rapping sequence in the second verse. Usually, they come at us with this really aggressive sequence, featuring a lot of growling and raspiness. However in GAMBLER, they tone it back but still have that really impressive tone to it. Joohoney, in particular, also surprisingly brings us a high note towards the end of the song, showcasing his vocals which we have previously heard during their Versace on the Floor cover a few years back. His skillset is reiterated further down the track during a really intense ad-lib which compliments the electric guitars that come into play to close out the song. I have been waiting for Joohoney to bring that to a track and it is finally here. My most favourite part, in terms of vocals/rapping in GAMBLER, has to be the harmonies we get following the thumping dance break. There was a lot of unpack from the song and I don’t think I even covered all bases with regards to what I liked about GAMBLER. Though, I think it is safe to say that this is one of the best in a very long while.
Throughout the video, MONSTA X successfully hatch a very lucrative plan to steal a gem that has been dubbed MX0514 (MX standing for MONSTA X and 0514 representing the date in which they made their debut over seven years ago – which I guess means they have renewed their contract with Starship Entertainment given that initial contracts last 7 years). They each infiltrate a private auction and try to scare the potential buyer by putting him under some bidding stress by following his bids very closely. All the members become bidders by killing other bidders or stealing their invitation. Meanwhile, Joohoney kidnaps the person who is supposed to be overseeing the auction and takes on the role of the auctioneer. Assuming that they didn’t have money to begin with to win at the auction, Kihyun and Minhyuk start a fight at the auction, timing it to when Kihyun had set the timer to go off to cause an extensive blackout, which resulted in the members defeating everyone who is not part of their team and hence allowing them to steal the gem without any problems. I am not exactly sure of the ending though, as they drive away from the scene in police cars (i.e. are they police?). My guess that this is just a cover to help they get away from the scene. It is a really cool video that shows off their fierce and bad-boy looks, showing us who not to mess with.
Unfortunately, Shownu is sitting out of promotions for GAMBLER due to a medical issue. Despite this, the rest of the group make up for their leader’s absence by filling up the stage with their stage presence. I have said this before, but facial expressions make up a really massive part of the stage performance. And watching their performance, each member really hit the nail perfectly in regards to facial expressions, filling up any gaps with their stage presence. The energy that comes from the performance as a result is thrilling and really captivating.
Song – 9.5/10 Music Video – 10/10 Performance – 9/10 Overall Rating – 9.6/10
KPOPREVIEWED 