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.
As promised during last week’s review of WJSN The Black’s review for Easy, I would be looking at WJSN’s latest mini-album this weekend. Well, that review comes today! This full group comeback (excluding Cheng Xiao, Meiqi Xuanyi due to scheduling conflicts) shares the name Unnatural for both the title track and the album’s name. Both of which were released at the end of March. This is another strong comeback from the group, who consistently have put out great title tracks and albums. Their last full group comeback was back in June 2020 with Neverland (headlined by Butterfly). Let’s see how the indivdual songs faired on Unnatural.
2. Last Dance– Last Dance continues the mature vibes from Unnatural. It is also my favourite side track from the album. There was a lot to like in this song. To me, the instrumentation in this song was pretty much perfect. Nothing felt out of place, underwhelmed or overwhelmed. The synths employed were more to the harsh side of the spectrum, but they came together to make a fulfilling backdrop. They used this to create the peak of the song, which I thought was smart. I really like the catchy nature of the chorus, and how the melodies came off as soft but you can still hear them over the loudness of the synths. The rapping in this song really showed some edgy flair, which I also really enjoyed. (10/10)
3. Super Moon (원하는 모든 걸) – The next song loses the serious tone that the preceding mature tracks had. Super Moon takes us back to familiar territory for the group, reminding me of their Boogie Up days. The instrumentation is very vibrant and feels fitting for the initial period of Summer. I really like the texture component of the pre-chorus, which brought some depth to the song and contrasts with the light approach WJSN had opted for in the chorus. I also enjoyed the electronic infusion of synths that preceded the final chorus, giving a bit of zing to the song as it approached its end. I just wished Super Moon had a more dynamic and catchier hook to really push this song to a new level of appeal. (9/10)
4. New Me – New Me promises a sexier side of the group, based on how the song sounds. This is probably unexplored territory for the group, given their well-known fantastical sound that they started their careers off with. I can imagine a really sleek and sensual performance to accompany New Me on stage. The retro instrumentation was very alluring. I enjoyed the rapping in this song (particularly just before the first and final choruses), but felt the vocals were a bit plain. I really like the whole concept of that extra bit at the end after they had supposedly wrapped up New Me. It isn’t new per say, but they are rare in KPOP dance music. But it works well with that alluring side of the song, teasing us just a bit longer. (8/10)
5. Yalla (음) – For me, Yalla’s main appeal point is the chorus. The first half of the chorus is made up of broken up synths that come together to create a bold and aesthetically messy centre-piece. This is followed up with bold vocals and sweet harmonies. I also really like the groovy nature of the rest of the instrumentation. But that is if I were to treat the chorus as its own song. When I consider the entire song as a whole, I want the chorus somehow pops out more. It is different, but it lacks definition. It needed to be bolstered up to be more out there. Instead, Yalla stays relatively neutral despite having a potentially mindblowing and wowing arsenal. (8/10)
6. Rewind (잊지 마 (나의 우주)) – The album ends with the mandatory ballad that is expected on all KPOP albums. It is backdropped by a piano-centric instrumental, which built up to include other classical instrumentation. Typical in many ways, but still stunning. Rewind boasts member’s the amazing vocals, which is without a doubt their best on the album. Especially in the chorus, they really pierced their way through the song. I think the weakest moment of Rewind is the rapping. I don’t think the ballad needed a rap sequence and it disrupted the blissful flow of the song. (8/10)
Kicking off this Sunday is the Weekly KPOP Charts post for the 2nd Week of May 2021. For today’s post, it is going to be a super quick one as I will focusing on writing some reviews for next week which I am on break. I might pop back to write a few reviews for new releases during the break, but rest assured that this time I have already scheduled a couple of reviews of some releases from the last months and/or weeks that I have been hoping to review. I will also be working my way through some other reviews as well. On top of that, I have a bit of personal stuff to deal with, so I need all the time I can get today to make sure I complete most things on my list.
Due to my break, next week’s Weekly KPOP Chart post for the 3rd Week of May 2021 will be posted a few days later than the usual Sunday program. But without further delay, let’s move forward with last week’s charts.
The Charts
Congratulations to Oh My Girl, who makes me want to Dun Dun Dance!, especially during the last week with their catchy and addictive new single which has also topped the charts for the 2nd Week of May 2021. It is fun and very bright!
9th May – 15th May 2021
Title
Artist
Status
1
Dun Dun Dance!
Oh My Girl
(new)
2
Hot Sauce
NCT DREAM
(new)
3
BLACK MIRROR
ONEUS
(new)
4
Easy
WJSN The Black
(new)
5
CLOSER
AB6IX
(▼ 3)
6
INSIDE OUT
NU’EST
(▲ 4)
7
Make Up Your Mind
Ailee
(▲ 53)
8
ASAP
STAYC
(▼ 5)
9
Not The End
HIGHLIGHT
(▼ 2)
10
5K
Lee Jin Hyuk (UP10TION)
(▲ 11)
11
ONE
ASTRO
(▲ 2)
12
Unnatural
WJSN (Cosmic Girls)
(▲ 11)
13
Drunk-Dazed
ENHYPEN
(▼ 9)
14
I Wouldn’t Look For You
Kim Jae Hwan
(▲ 38)
15
Atlantis
SHINee
(▼ 3)
16
EXIT
T1419
(▲ 11)
17
Do or Not
Pentagon
(▼ 3)
18
Antidote
Kang Daniel
(▼ 1)
19
M.A.F.I.A (In The Morning)
ITZY
(▼ 8)
20
Ugly Dance
ONF
(▼ 19)
21
You Make Me
DAY6
(▼ 16)
22
Scared
P1Harmony
(▲ 32)
23
Loved You
BAE173
(▼ 14)
24
10 Times
B1A4
(▼ 4)
25
Hurt
Baekhyun (EXO) & Seomoontak
(new)
26
Ponzona
PURPLE KISS
(▲ 6)
27
KILLA
MIRAE
(▲ 33)
28
ALL IN
DKB
(▲ 32)
29
libidO
OnlyOneOf
(▼ 23)
30
House Party
Super Junior
(▲ 11)
Songs leaving the charts this week
A lot of songs are leaving the charts this week as they have wrapped up their nine week run on the charts. The songs are:
The next album on my reviewing radar is Baekhyun’s third mini-album, Bambi, which was released back in March of this year. Bambi is also the title track of the album. Amusement Park is also featured on the album after its digital release in December of last year. This is a pretty significant release for Baekhyun, with the album selling over a million copies within a few weeks of its release, breaking his personal record which he had set himself with his Delight mini-album from last year. It is also significant in a sense that this is Baekhyun’s final mini-album release before his military enlistment which occurred earlier this month. I believe Baekhyun has hinted at some solo stuff while he is away. But until that is officially confirmed and released, we only have this mini-album to fulfil our Baekhyun cravings for the next two years or so.
Bambi Album Cover
1. Love Scene – The album starts off with Love Scene. This form of R&B isn’t my personal cup of tea, given that there isn’t much going on. However, I felt that Love Scene was quite soothing to listen to. There is something about the consistent guitar work and the soft thumping in the instrumental that carried the song for me. Baekhyun’s vocals were smooth and there was a decent degree of raspiness to it. But as stated a few sentences ago, the song does feel quite consistent and I wished that wasn’t so much the case. (7/10)
3. All I Got– The opening beats of All I Got really perked my attention towards the song. Then comes Baekhyun’s falsetto note, before the R&B genre truly kicks in. In comparison to the opening track, All I Got has heft to it, which is more of my style. I really like the bass that sits under the rest of the song’s instrumentation. I really like the backing vocals in the bridge, giving a choir-like effect to the song. And to add to all of that, Baekhyun constantly returns with his vocals. A combination of falsettos and impressive ad-libs that only Baekhyun is capable of. (9/10)
5. Privacy – This song combines jazzy notes and with lo-fi effects to give us Privacy. It is a really nice mix of styles that work really well with one another. And in addition to that, Privacy is really smooth so it is an easy listen. I would have liked to hear more of Baekhyun aligning with the jazz side of the song, rather than the lo-fi side. While I think his vocals in this song are amazing as usual, I felt there was some missed opportunity to do some further exploration in the jazz genre space. (8/10)
6. Cry For Love – The saying ‘saving the best to last’ is applicable for this album. Cry For Love is my personal favourite side track from this mini-album. Like the entirety of this album, Cry For Love falls into the R&B genre. But the song is the heftiest on this list, thanks to the beat of the instrumentation. What makes this an even better song is Baekhyun’s vocals (per usual). He showed off a lot with his voice. You can hear the emotional drive behind his voice, which was fitting for the lyrics of this song. (9/10)
Early last month (more so 31st of March but I am rounding up), WJSN made their return to the stage with Unnatural (the name of both the title track and mini-album) as a full group. I have previously reviewed the title track and will be publishing the album review for Unnatural this weekend. But just a month after wrapping up promotions for Unnatural, WJSN has returned in the form of a second four member unit, named WJSN The Black. This unit is made up of Seola, Exy, Bona and Eunseo, and made their unit debut with the title track Easy. As mentioned, this is WJSN’s second unit, following the likes of another four member subunit WJSN Chocome, which debuted last with Hmph!.
With the teasers that floated around in the weeks before this debut, you could tell that WJSN The Black will be giving us WJSN’s most mature release to date. In retrospect now, Unnatural held that title for a very brief period of time, with the release of Easy taking over. It is easily a more concentrated form of Unnatural, but with added chic and sleek to separate it from the older song. And I quite like this aspect, as it made the instrumental alluring and almost hypnotic. It is also quite fascinating to hear a groovy side to the song. Mature and groovy isn’t a rarity in music or KPOP. But it has been a while since we heard something from the top of my head of this nature. And it also nice to hear something that taps into the ongoing re-emerging trend in KPOP that is somewhat unconventional. Adding to that alluring and hypnotic effect of the song are the member’s vocals, which are best described as blissful and breathy. I really like how they keep this up throughout the entire song. Even Exy gets her moment to shine in the vocal side of the song, distancing herself from her usual hefty tone when it comes to the rapping. That being said, Exy does employ her usual rap style for the song’s rap sequence, which gave the song a much needed edge and moment of relief from the really consistent vocal work throughout the song. So far, all praises. But the song does suffer in the length department. Easy is a standard length song, if we were to say a standard length song is (average) 3:30 seconds in KPOP. But the way the song flows and is stringed together, Easy feels more like a minute long to me. Every part is so close to one another and the consistent vocals don’t really give us an opportunity to differentiate each distinct part, which are the reasons why I am not entirely head over heels for Easy. But without consideration of that flaw, Easy was still a smooth listen.
One of the unit’s lineup (Exy and Bona) is being investigated by the investigators (Seola and Eunseo) for a recent robbery of $3 billion. Unsure why the member’s had to steal that money during a heist of a heavily protected exhibition at a National Museum (seems like an unnecessary hurdle in their pursuit for some cash), but for the sake of the story I will assume the money is tied up in the museum and they had to be on location to get into the system. But the investigation isn’t getting far. Well, it turns out that Exy and Bona are a team with Seola and Eunseo, who on the inside are destroying evidence and leaving fake tips to look like the investigation is hitting dead ends. It was a plot twist that I saw coming, but I still thought it was a good plot line in this video. Aside from that, I would have liked a bit more to the choreography sets to help give the video a little more excitement. But it was still a good watch overall.
I like how the choreography takes advantage of the melodies during the chorus and hence taps into a sensual profile. It compliments the mature side of the four members that the song brings out. On top of that, I really like the outfits they wore for this release. I always find suits to be a visual overload and WJSN The Black proves just why that is the case with their performance while they are wearing suits.
Song – 8/10 Music Video – 8.5/10 Performance – 8/10 Overall Rating – 8.2/10
While I need to catch up on reviews for songs released many weeks ago, I also need to do some catching up on some new releases from this week. First up is ONEUS, who returned on Tuesday with their new single BLACK MIRROR. This new single is featured on the group’s fifth mini-album, Binary Code. This comeback follows ONEUS’ recent return with their first studio album, Devil, and its lead single, No Diggity.
BLACK MIRROR adds itself to the re-emerged trend in KPOP of groovy and funky songs. It also continues what was set up through the release of BBUYSEO(a digital single released by the group at the end of 2020 and featured as part of the Devil album). BLACK MIRROR ticks everything that is quite common in this class of songs, aside from the brass component that I enjoyed as part of BBUYSEO. I am a bit disheartened that it was left out of this song. But at the same time, I feel that BLACK MIRROR does a good job of maintaining that level of funk without using brass. Instead, the funkiness and grooviness comes prominently through the use of the deep rythmic guitars and disco-sounding synths. I particularly enjoyed the stripped back formula of the first half of the chorus (i.e. the ‘dudududu‘ part) and how it slowly builds back to the wholesome and upbeat vibes of the second half of the chorus, which felt substantial and fulfilling. The ‘dudududu‘ part was also super catchy, and in combination with the instrumentation, we got a really nice sleekness to the song. Once again, ONEUS showcases strong vocals and rapping throughout the song. I felt this was most evident in the bridge of the song, which had a vocal and a rap half. The latter half really caught my attention. Leedo and Ravn’s deep and raspy voices, along with the energy that really throw behind their delivery, gave the song that extra oomph I wanted. I wished their rapping parts earlier in the song shared more of that same intensity. Overall, I think BLACK MIRROR is an awesome song from ONEUS. I don’t think this is my favourite track from them, but I still find it enjoyable and filled with great energy!
What I really liked about this music video are the sets and the member’s outfits. The black and white sets look really stylish and simple. The light does wonders and really opens up the music video in a physical sense. I also like how the coloured sets don’t really give the video that vibrancy colour tends to beings to music video. Instead, it feels as if the colours in the sets are somehow blended with the other black and white, and you don’t really pick up on a difference. I also like the sets with the mirrors which the reflections are doing somehting else. Gave the video a sense of creepiness, which I thought was a nice contrast to their upbeat vibes! I also liked the outfits the members wore. They too tap into the black and white domain, but the white is more sparkly rather than straight white. Also this comeback is meant to have a Michael Jackson influence, and I feel that the outfits are the best example of this influence coming through. The black and white colours and the sparkly glove are all portrayed in some capacity in their outfits. Also the hats as well!
We got more of that homage to Michael Jackson in the performance. The entire performance defintiely screamed MJ in many ways, but I feel that the actual moves/poses were subtle. I wished those moves are a bit more explicitly shown (who doesn’t love a good full-on moonwalk?). However despite that thought pattern, ONEUS held their ground with their take on a choreography to suit those funky and groovy vibes. The ending sequence after the final chorus was definitely amazing to watch. Those bending knees made my ones hurt (and that is just by watching them). I also thought their charisma and stage presence really made it a captivating performance to watch.
Song – 8.5/10 Music Video – 9/10 Performance – 8/10 Overall Rating – 8.6/10
The next major comeback from today is Dun Dun Dance from Oh My Girl, which is featured on the group’s 8th mini-album since their debut in 2015. This is the group’s first comeback since their mega hit Nonstop topped charts in 2020. It also follows the continous success of their side track Dolphin and YooA’s with Bon Voyage. High expectations as the result of a highly successful year for Oh My Girl are placed on Dun Dun Dance, so let’s see if the new song meets those high expectations.
Right off the bat (and for me at the very least), Dun Dun Dance definitely meets those expectations. And at the moment, judging solely on how much I am enjoying the song, Dun Dun Dance exceeds those very same expectations. A little fun fact about me writing reviews – I usually do so just before going to bed. And so, I am usually very tired while typing up my thoughts for the new releases (sorry for spelling mistakes and if something doesn’t make much sense, I do try to proofread but sometimes some mistakes just sneak into the reviews). But the vibrant and upbeat energy Oh My Girl and Dun Dun Dance‘s producers manages to package into the song’s almost four minute run time was so damn infectious, it literally woke me from my tired state and gave me energy to have a little boogie in my chair. And it is so infectious that I have to stop writing the review because I am too engrossed in the song’s funky and groovy vibes. (I pressed paused so I don’t lose any more focus on the review). It too also brought a smile to my face, which is definitely saying something, especialy after the long day I had. I love the funky instrumentation of the song, which is the main driver of that infectious energy. Dun Dun Dance also benefits from its lightness. It isn’t too heavy of a song, which helps make it so appealing and refreshing to me even in my tired state. The vocal work was really nice, especially when it came to the chorus. I really like the way that Seunghee (for the first and second chorus) and Jiho (in the final chorus) drags out that ‘High~‘ in the lyrics. It is the song’s small detail that I really enjoyed. Even Mimi’s raps weren’t heavy handed despite it opting to feature her deeper tone and the instrumentation tapping into the typical trap base. But what makes Dun Dun Dance memorable for me, and is probably what pushes the song over those expectations that I mentioned at the start are the catchy hooks that are just digging. They are part of the reason to why I now cannot get the song out of my head and I must take a 4 minute breather to have another listen!
For the music video, it appears that Oh My Girl are aliens that are brought to Earth to have some fun. They look pretty normal at first, but I did find their placement alone in each of the settings to be very perculiar. The start looked like a flying saucer was trying to get to them, but in fact was there to collect them. But since Oh My Girl is having so much fun on Earth, they send the flying saucer away at the end. I liked how the indivdual solo shots came out, especially with the various effects we saw (i.e. the camera flying over Mimi and Seunghee during the second post-chorus hook, and small round camera effect that we saw Mimi become part of for her short rap sequence in the final post-chorus hook). I also enjoyed how the camera really made the colours, especially in the choreography scenes pop out, making this one beautiful video as well!
Once again, the choreogeaphy for this comeback is very fitting for the song. I really like the bounce the choreography has, which complimented the upbeat and vibrant feel of the song. I also really l enjoyed the entirity of the chorus’ routine. It looks very fun! It is a pity that Mimi is unwell, as her absence from the showcase was felt while they group was perfoming Dun Dun Dance for the first time. Hope she has a speedy recovery and we see her soon!
Song – 10/10 Music Video – 9/10 Performance – 9/10 Overall Rating – 9.5/10
It is a new week and a new lineup of comebacks! First up this week is NCT Dream, who makes their grand return with their very first studio album since debut five years ago. The group has defintiely gone a long way away from their Chewing Gum days. Also based on a food item, this comeback’s title is Hot Sauce, which is the shared name of both the studio album and title track. Their first studio album also marks the return of Mark, who previously graduated from the group back in 2018 as he no longer fitted the age criteria for the group. But in 2020, it was confirmed after the unit’s last comeback (Ridin’ and Reload) that NCT Dream would abolish the graduation system and that the group’s lineup will become fixed with the re-addition of Mark. It also appears that NCT Dream’s comeback is hugely anticipated, with the group already selling more than 1.7 million preordered albums.
After all, we have been deprived of some form of NCT Dream for over a year. And with the re-addition of Mark, it will be interesting to see what direction NCT Dream would take. And based on what I am hearing, it seems like they went with a more trendy number as their main title track. The song taps into the hip-hop genre and it also features Latin influences. While this combines very typical music trends in the wide-ranging genre of KPOP nowadays, the resulting song is actually quite refreshing to me. What makes Hot Sauce really unique is that descending background vocals everytime the chorus comes into play. It adds a unique tinge of colour and texture to the song, but also keeps the instrumentation interesting. The energy that comes from Hot Sauce packs a punch and is quite intense. Just take the instrumental sequence in which they use for the dance break that they peak with as an example. This intensity also compliments NCT Dream’s more recently noticeable asset, their deep and raspy voices (hence my comment about their Chewing Gum days before). The member’s deep vocals have been around since Boom, but I felt Hot Sauce really utilises this asset very well and brings out the raspy side of Jeno and Jisung in their rap sequences. In addition to intensity from the hip-hop and dance side of the song, the Latin influences were also very memorable. I really liked the acoustic guitar that was prevalent during the verses and pre-chorus. It too kept the instrumental mix interesting and gives Hot Sauce some extra ‘spice’ without it just relying on EDM and synths. If I was to pick one thing that I wasn’t necessarily a fan of, that would be the shouty vocals in the chorus. It was a good way to captialise on the energy that was coming off the song, but it overwhelmed me unfortuately. But overall, Hot Sauce delivers a flavour-bomb. Just sometimes, there is that one distinct flavour coming from the mouthful that I am not entirely keen on. But maybe if I keep on tasting, I might grow to like it.
When I first watched the music video earlier today, I thought we were teetering on the edge of a Ko Ko Bop situation. But now that I have rewatched the music video, it appears to be more innocent than what I thought. Essentially, the lyrics say that the members’ charms are addictive as hot sauce. And the video shows the members becoming addicted to the hot sauce (i.e. Haechan and Jaemin’s eyes bulging after consuming some hot sauce, Chenle watching the hot sauce on his phone, the members helping out with the supply chain for the hot sauce, even being part of the commericals for the hot sauce). They even go out of their way to stop Mark from having some straight up, knowing how addictive it could be. In addition to the storyline, the music video also features cool effects that felt appropriate for the concept.
Based on what I can see in the music video, the choreography looks very intense and powerful, which is fitting for the song. I can’t wait to see the entire routine in full, especially when it comes to the dance break! I really like the ‘mixing bowl’ move for some reason. It looks cool, when it doesn’t really sound as cool.
Song – 8.5/10 Music Video – 8/10 Performance – 9/10 Overall Rating – 8.5/10
Keeping in theme with the other reviews this weekend (reviews I should have written sooner), I have decided to review Super Junior’s 10th (!) studio album. It has been almost two months since the release of the album, titled The Renaissance. It features the title track House Party and a whole bunch of other new songs, including all the pre-releases which Super Junior have unvieled since late last year. The reason why I have decided to review this album to continue the theme of this weekend is because I feel I don’t review Super Junior all that often anymore. I have done a couple of album reviews for them previously. But given they have 10 studio albums (and countless mini-albums) under their belt, I feel I have a lot to catch up on. I have also been neglecting their solo work, so I better get to writing those reviews. But in the meantime, here is what I thought of The Renaissance.
The Renaissance Album Cover
1. Super– Super gives us a teaser of what is to come on this album. The track itself is only a minute and half, and acts as the album’s introductory track. I liked the intensity of the track and the chanting delivery which makes Super feel very Super Junior. I just feel the short track was very plain when it came to its instrumentation. I think it would have been better served as a full-length track and was further down the tracklist. (7/10)
3. Burn The Floor– Burn The Floor starts off very elegantly with its focus on waltz-like music in the verses. But if the name suggests any clues to you, this whole elegant touch is pretty much a ruse for what is to come. Burn The Floor integrates trap electronic music and a rush of intense energy into the song for the chorus over the top of the strings, keeping true to the start of the song. The transition between classical and electronic was very well done and clean-cut. Burn The Floor also throws a few more curveballs towards the end, such as the haunting bridge and dubstep finisher. The entire song is quite unexpected, but yet is a show stopping piece that has me coming back for more. And this doesn’t even consider the performance, which is really unique and one you ought to check out. (10/10)
4. Paradox– Paradox features a funky background, which is fitting for the current trends of KPOP at the moment. However, the chorus takes more on a percussive route opting for an interesting mix of EDM that I find quite intriguing. In combination with the whispering vocals, the chorus comes off as surprisingly sleek and classy. The vocal work, aside from the chorus, were pretty solid. My biggest issue with the song is that it sounds rather loose, when you consider everything together. I just the various parts blended more with one another continued the momentum from the preceding sections. This would have made the song sound a lot more refined. (8/10)
5. Closer– We move away from the EDM and heavy emphasis on electronics with Closer, a R&B pop track. Closer is a lot easier on the ears and is simpler in terms of its arrangement, compared to the preceding tracks. But Closer has this really catchy underlying beat that makes this song hard to stay away from. With a softer song, the focus is without a doubt more on the vocal works. While all the members sound so nice throughout the song, I have to applaud both Kyuhyun and Ryeowook’s vocals that opened up the song’s two verses. They oozed so much charisma, pulling me into the song from the start. (9/10)
6. The Melody (우리에게) – The Melody has a few great star attractions. The first is being the song’s feel-good melody. It makes the song extremely pleasant and gives off a simple atmosphere. The second is the instrumentation. It is an acoustic pop number, which is quite likeable. The simplistic nature of the song is further emphasized by the whistling and urge to foot-tap along to the beat of the song. The third has to be the vocals. Alone, the members handle their parts effortlessly well. But the harmonies is what gives the song so much depth. Altogether, The Melody brings a smile to your face while listening to it, and is also my favourite side track from this album. (10/10)
7. Raining Spell of Love (사랑이 멎지 않게)(Remake Ver.) – Raining Spell of Love was previously a very emotive dance track from Super Junior’s seventh studio album, Mamacita. For this album, the song was remade into a ballad (piano and soft percussion) but it still retains the song’s original emotive and heart-breaking profile. The vocals in this version are breathtaking, especially when it came to the chorus when they all sang together. Yesung’s high note at the end was also spectacular. Also retained are the rap sequence. I personally felt that this version could have redone this sequence to be delivered by vocals and to make this more fitting in this version’s ballad set-up. (9/10)
8. Mystery – Mystery returns us to the start of the album with the focus on electronic and EDM. Mystery isn’t as explicit with this return however, opting for a more down-tempo atmosphere. I really liked how the vocals sounded in this song, aiding in making the song sound soothing and mature. But it is the instrumentation that I am not entirely sure about. It made the song unnecessarily busy. I would have preferred it if they took out one or two elements from the instrumentation to make the background a bit more fitting for the rest of the song’s atmosphere. (7/10)
9. More Days With You (같이 걸읅까) – More Days With You is your more straightforward and traditional sounding ballad. Once again, the focus is more on the member’s vocals. I really like what they did for the chorus, making it breathy and airy. I also like the instrumentation. Piano, violins and acoustic guitars consistently throughout the song. Unfortunately, the melodies are not as memorable as the previous ballads on the album, which leaves it falling behind the rest on the album. But it still sounds good, nonetheless. (8/10)
10. Tell Me Baby (하얀 거짓말) – The final song on the album is an upbeat pop number. The energy coming from this song brings a smile to your face. It also gives me holiday vibes, as I think there are some instrumental influences in the background. It isn’t the most promising song on the album, but it was nice song to end the album with. Furthermore, there is actually a cute video to accompany this track on Super Junior’s YouTube channel. (8/10)
Another week has passed and it is time to look back at that very week. It was a fairly slow week for me. I reviewed only one comeback from the week (HIGLIGHT’s Not The End) and two other songs from last month (STAYC’s ASAP and OnlyOneOf’s libidO). I also have plans for another album review (on top of IU’s 5th studio album that I posted a few hours back) and two other song reviews that I want to post today, in keeping with the last-minute declared theme of the weekend – reviews in which I should have written sooner. So I better get cracking with those posts. But before then, here is my Weekly KPOP Charts for the 1st Week of May 2021.
News songs from this week
As just mentioned, it was a slow week. Aside from HIGHLIGHT’s comeback, there were releases from Yesung (Super Junior), Ailee and a collaboration between Bumkey and Moonbyul.
Throwback Corner
This week’s throwback song is Stray Kids’ Ta, which was a single on Stray Kids’s first album Go Live. The main reason to why this song popped up again on my radar again is because it appeared on my recommended list and why would I refuse a Stray Kids song. And since the energy from this track is so addictive, my mouse cursor found itself on the replay button many times.
The Charts
Big congratulations to ONF and their latest single, Ugly Dance, for topping the charts this week. Definitely a fun a song to listen to! This is ONF’s fourth time at the top of the charts this year, with Beautiful Beautiful topping for the other three works. For more of the charts, see below!
The next album review is fitting for the theme of this week – reviews which I should have written earlier. And while all of the albums that I intend of reviewing do fall into this category, I think the two I have selected for this weekend are most appropriate for this themed weekend. First up is IU. The nation’s little sister, as everyone has nicknamed her. The reason why I should have written this album review sooner is simply because of the fact that this is IU we are talking about. Even over a month after the album’s release, LILAC (the album’s title and title of its title track) is still ranking high on the music charts, which is why IU is considered to be a digital queen! We haven’t spoken much about the other tracks on the album yet (aside from pre-release Celebrity and COIN), so let’s look at those tracks in further detail!
2. Flu – The main element of attraction of Flu, for me, was the pleasantness that the song exuded. Flu is a pop track with a nice bounce to it. It isn’t really an interesting song, but it does also give off some really cheerful energy despite the lyrics are about liken to being in love as like catching the flu. I like how IU keeps consistent throughout the song. Her delivery method, a mixture of whispering and falsettos, really complimented the instrumentation. Altogether, everything worked together in harmony to be pleasant sounding. (8/10)
4. Hi Spring Bye (봄 안녕 봄) – Hi Spring Bye is a soothing ballad that gets me swaying along to the music and melody. For those who have been following my blog for a while now, you know I liked my ballads. And while Hi Spring Bye ticks my criteria for a good ballad, I found the slow pace of the song to just hold me back from fully liking the song. It is good nonetheless, but it seems like I am just not feeling this style of ballad this time around. (9/10)
6. Troll (돌림노래) (ft. Dean) –Troll has this reggae influence that brings a playful tone to the song. I liked the contrast between IU and Dean. IU brings this high tone to the song, while Dean balances it out with his deeper voice. It makes their harmonies quite nice. But while that is the case, I haven’t actually fallen for the song. I don’t really find much of it as memorable as it could be, nor do I have the drive to really return to it after I have finishing listen to one round of it. (7/10)
7. Empty Cup (빈 컵) – Empty Cup is a mid-tempo song that falls into the ballad genre, but also has a R&B influence. It is a relatively short song, in comparison to the rest of the songs on the album. When I listen to the song, I always get caught off guard when the song wraps up quickly. I find her vocals in Empty Cup to be quite captivating, and so I always find the song to seemingly end prematurely. That is Empty Cup’s only flaw! (9/10)
8. My Sea (아이와 나의 바다) – My Sea is another ballad. But what sets My Sea apart from the rest of the internal competition to become the best song on the album is that the ballad is quite atmospheric. And this is largely thanks to the orchestral instrumentation that builds so epically from the start of the song. Her vocals were amazing and stunning in the song. The choir and IU’s spectacular high note (which you know I would be a sucker for) just blows me away. What more can you ask for? (10/10)
9. Ah Puh (어푸) – Ah Puh brings back up the upbeat vibes from the start of the album to the end of the album. But it has a bit of the twist. And that is twist is that there is an indie pop feel. But I feel the indie pop feel is lost as the song progresses and it develops into a straight forward pop song. But I am not too troubled by that. I really like the lines in the song. It is super catchy and makes for an addictive track. (9.5/10)
10. Epilogue (에필로그) – I am very aware that Epilogue has a music video. But due to time constraints, I am holding a review for the music video for the Missed Review segment in the future. In the meanwhile, here are my thoughts on the album’s final song. This is also another pleasant song to end the album with. I really like the acoustic feel of Epilogue along with the vintage touch with some of the instrumentation and the crackles of the record player. The vintage touch also gives off a warm and golden feel, which is definitely a great note to end on. (8.5/10)
Following the previous review for STAYC’s ASAP, I will be focusing on some releases which I should have posted reviews sooner for. Most of these reviews will be for songs released more recently which have garnered some sort of attention directly or indirectly. First up is OnlyOneOf’s libidO. It garnered some shocking attention since its release for one of the comeback’s components. I will delve into what that shocking element later on. But if you know, you know. libidO was released a month ago on 8 April 2021.
When libidO first popped onto my radar, I wasn’t sure what to think of the song. It was definitely intriguing when it came paired with the music video and performance. But on its own back then, I didn’t think much of it. I think I would have described as a blur (which still would be one of the words I would use to describe the song). But since the song’s release a month ago, I have checked it out a bit more and grown to liken its artiness. libidO thrives on percussion and a warped effect on the song’s melodies. Paired with OnlyOneOf’s whipsering and hushed vocals, libidO exudes a strong and hypnotic sensual atmosphere that feels unique in KPOP, especially in the current climate of retro resurgence. That being said, libidO also taps into the groovy side of music. But I feel that this isn’t the song’s main mechanism of reeling listeners in. I think the song’s whole sensual profile is what attacts people’s attention to its release. And this pretty much has me interested in the song as well. But the instrumental element of a song is only one component. While I really liked the aesthetic that the members bring through their vocals and rapping, libidO suffers from a lack of momentum on that front. The hush-hushed nature of their delivery really makes the song feel airy, which in turn doesn’t help push out a strong hook or melodies. As a result, the only memorable line I got from the song was the repetition of the song’s title, libidO. This why I mentioned that I felt the song would still be described as a blur. As I can only remember one line (well, word in this case) from the song, libidO felt like it was over before it got anywhere. But nonetheless, libidO is still a unique listen and one to check out if you are into aesthetics and artsy releases.
The music video for libidO was a surprise, and one that I had to rewatch a couple of times to make sure I was understanding it correctly. Given how conservative South Korea is, a video like libidO that shows LGBTQIA+ themes is rare. It isn’t unheard of, but it isn’t exactly everyday common. But I definitely applaud the members, the company and producers for pushing the boundaries with this music video and taking a bold risk. Aside from the LGBTQIA+ theme, I thought the music video was quite aesthetic. I really like the colour palette for this music video, with the grey filter being applied to the coloured scenes. I also really liked the choreography shots. The black and white really helps create a sleek and sensual atmosphere. THe opening shot for the music video showing the members on top of the white platform (which they shoot their choreography shots on) surrounded by the green foliage was a really striking image to begin with,
What was also really bold was the choreography. Once again, I applaud the members and the choreographer for pulling off this risky yet very striking choreography. I am all for creative freedom and liked how they really emphasised the sensual nature of the song with all those moves such as the sliding knees, the use of rope throughout the routine etc. The choreography has recieved some negative comments for going to far when it came to the bridge, with one member kneeling in a questionable position in front of another member. It was then followed up with hands on the crotch area. It may be explicit, but I don’t see it as an issue. It might be due to the fact that I was raised with Western media and so I am kind of sensistised to some of this stuff. However, the group has responded to concerns with a reasonable response, so check that out if you want to know the internal thought process of those behind the creative direction of this comeback/choreography.
Song – 7.5/10 Music Video – 9/10 Performance – 910 Overall Rating – 8.3/10
It is time to review a song which I should have done so many weeks ago when the song was first released. The song which I am speaking about is STAYC’s ASAP. For those who don’t know, STAYC has been garnering a lot of traction with the release of ASAP. Their song has been rising on the music charts in Korea and their music video has already pulled in over 20 million views since its release a month ago, a rare feat for a newly debut female group. ASAP follows STAYC’s debut with SO BAD, which I have previously reviewed. Their debut song faired fairly well based on my standards. Will ASAP do the same? Continue reading to find out.
The main reason to why I didn’t jump right into reviewing ASAP when it first came out (aside from time constraints) was that the song didn’t really appeal to me at first. It sounded generic initially with its unimaginative pop approach, in combination with the song’s (what I thought at the time) dull instrumentation and synth hook. However, a lot can happen in a month. And since the song’s release, ASAP has managed to weave its way into the category of songs in which I would describe as pleasant. The synth hook (i.e. the short but repetitive flute-like high pitch synth) is literally keyed into your mind after many listens. Instead of the initial plainness the synth featured, it actually had a very appreciable aesthetic, which made the song enjoyable. Similarly, I think the same can be said about the chorus, before and after those multiple listens. There was an extremely pleasing sensation that comes from the melodies of the song, and the metal xylophone they use in the chorus felt similar to ASAP‘s main synth hook. The plainness in which I felt initially from the chorus actually ended up being a charm to the song. I also find the song’s spoken delivery of the title ‘ASAP‘, as emotionless they sound, quite charmful. I also like the distorted piano in the bridge to be an interesting and aesthetic touch towards the end of the song. However, there are some things that the multiple listens just didn’t help resolve. Namely, the verses didn’t (and still does not) sound as nice as they could have been. Am I head over heels for ASAP? No, I am not. But I do think ASAP ended up having its own charms and unexpectedly pulled me in with said charms.
I am not surprised that the music video took a page out of the generic book. No number of listens or views for me would change my mind on the music video. While I appreciate the really bright colours and all the comic special effects, the music video just felt like any other video from a newly debuted female group. I would say that ASAP shows STAYC in cutesy mode, just without going overboard. But I felt the video was heading in that direction, for me at least. For the sets, I thought they were typical and added very little substance to the music video as a whole.
I really liked the cool factor that was present in the choreography, particularly around the song’s main synth hook. The same effect could be felt from the song and the choreography for me. It was plain, but it worked in harmony with the charms of the song, hence I ended up liking it. I also liked how they stayed in sync with one another throughout the choreography, which always gives off a polished look.
Song – 7.5/10 Music Video – 4/10 Performance – 7/10 Overall Rating – 6.4/10
Apologies regarding how long this post has taken. The next round’s rundown should be out this week!
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.
Round 1 – To The World
Round 1 was broadcast over episode 2 and 3 of the new season, occuring on the 8th and 15th April. Round 1 is titled ‘To The World‘. In this round, the groups are able to performed a revamped version of one or two of their past hits. Included alongside the revamped version, the groups also had the opportunity to bring them to life with never seen before stages.
After the broadcast of episode 3, live voting opened allowing fans to vote for their favourite performance. The official results of that will be shown at the end of this post, along with my personal ranking from this round.
Round 1 was unfortuate quite problematic thanks to a communication error between MNET and the indivdual companies. Only three of the six companies were notified that the budget for the round was increased. Watching the performances below, you can see three of the performances utilising the extra cash, while the other three performances did not (as they were not aware). Obviously, this raised concerned regarding bias behind the scenes, which MNET has denied and apologised for. Rules were altered for subsequent rounds. While I will try to consider this issue in my ranking, I will admit it will be hard given how bold and high calibre the advantaged performances were. But I will try my best.
I will be reviewing the performances based on who went first, and will be looking at song arrangement, concept and choreography for this round.
No Air (A Song of Fire and Ice) – The Boyz
First up, I am so happy that The Boyz (or someone in the competition) chose to perform No Air. It is one of my favourites. I really enjoyed the dramatic and theatric side of the arrangement, thanks to the use of the classical instrumentation. It is very different from their electronic synths they used in the original version. I also like how different the song sounded on the vocal front, with the changes also affecting the member’s delivery of their vocal and rapping line. For the most part, I really liked the softer moments of the arrangement and few growls. But I am disappointed by the lack of the impactful ‘No Air‘ hook. It was altered to fit in with the song, but briefly. But it just doesn’t have the same effect. I wished that was retained that resembles the highlight version, keeping to this more dramatic flair the arrangement had opted for.
As for the concept, I am not exactly sure what they are going with. My best guess, and this comes after their Round 2 performance, is that they are going with a Games of Throne concept. I never watched the series (I know, feel free to gasp), so I can’t really make much of an association between show and stage. I really enjoyed the ice and snow side of the performance, represented by the snow and the blue on the screen behind them, while fire was represented by the flaming props and orange red colour we see on screen. I also really enjoyed how the members interacted with said props.
As for the choreography, I thought it was good but not best of the bunch. There really wasn’t much in the performance that stood out for me, when I compare this performance to the other performances. But there were some memorable moments including the gracefulness and elegance of the first chorus, the lineup of members that appeared in the second verse with the female jewelled hand, and Juyeon’s performance with the white sheet. Noticeably absent were the stunts that The Boyz commonly does.
Love Scenario & Killing Me (Kingdom Version) – iKON
IKON is one of the two groups in the competition to blend two of their own songs for this round. The first half was Love Scenario, which started off as a passionate performance. But when the iconic chorus comes into play, iKON takes an unexpected turn towards a really happy and upbeat version of their infamous song. I am very used to seeing iKON in hip-hop mode and not musical mode. The second half of the performance, after some thunder and sirens, takes a turn. Gone are the happy tunes and hello serious and moody tunes. iKON brings in Killing Me, which already has me excited as that is my favourite title track from them. While the second half had dynamism, I wished they did more on the music front. Like their remix of the song and the parts picked from the original were all great. I just wished they had upgraded Killing Me‘s killing parts and also find a way to tie the elements of this part together in a neater fashion.
Their concept is pretty straight forward. Musical influenced at the start and grungy boy band in the second half. While iKON was on the performances that got the short end of the stick, they made good use of the props to really showcase those two profiles.
Another great performance. We got to see really upbeat moves that fit that musical profile that Love Scenario opted for. We got to see really dynamic moves for the second half, fitting for Killing Meand its remix. I did wish they didn’t opt for the anthem style approach for the latter part of Killing Me. I know they did it in the original, but I think it could have been upgraded, as well.
Missing You (Threatre Version) – BTOB
Expectations were high for BTOB’s performance. And I think they really hit those expectations. BTOB also went for a theatrical version of Missing You, but also maintains the balladry side of the song. Interestingly, they didn’t do a whole lot to the song to give it a new face lift. There were still some new and different aspects to this version, compared to the original. But what I loved about this performance was how it still gave off that same warm and soothing impression, just like the original did. I liked how they incorporated various additional instruments into the song’s instrumental (I think there was a mix of contemporary and folksy instrumentation add to the song). I also liked how they gave each a member a distinct part. Eunkwang and Changsub showing off their vocals. Minhyuk and Peniel adding their passionate rapping to the mix. The harmonies between the members helped make this stunning performance.
Concept wise, I think the group brought in a mix of traditional Korean imagery and added that theatrical aspect to the performance. It really isn’t anything special, but the stage still looks quite aesthetic. From the trees to the screens, BTOB made good use of what they had to make it look beautiful. I also really like their traditional styled outfits.
There wasn’t much choreography for this performance. BTOB opted to focus on vocals, which was the main point of the original song though. However, Missing You‘s sign language choreography made it into this performance and Minhyuk had a really strong showing of his performance skills when it came to that sword-fighting scene.
Jasin (Oneself ‘Ja’, Ghost ‘Sin’) – Stray Kids Songs: Side Effects & God’s Menu
Stray Kids was the second and final group to combine two songs into the one performance. The first half of the performance was dedicated to Side Effects, which was a rearranged into a really eerie and haunting sequence. I wished it was longer as this was a whole different energy to the original version of Side Effects. The whipsery vocals and rapping of the original version were brought into this version untouched, showing how fitting their delivery is for this new side. In particular, Felix’s deep voice was made for this! Side Effects was brief, however. The main spectacle of this performance wasGod’s Menu, which they really intensifed in this arrangement, especially when we were first thrown into it. I liked how the rest of the performance, the amplified instrumentation kept us on the edge of our seat (or on out toes), adding a thrilling element to what already was a striking song to begin with. Side Effects returned briefly before the performance wrapped up, bringing in its killing part alongside God’s Menu, which makes this powerful and energetic performance to watch.
I really like the controlling concept. The first half of the performance, we see the dancers controlling the members. We see the dancers control Lee Know’s moves, hypnotize Jisung and act as puppet masters. However, Felix fiinds a bell that breaks whatever spell they are under. The playing field switches with the members controlling the dancers in the second half. I also like how they designed the sets to really keep us captivated.
The dancers played a very big part in this choreography. Not only do they have a role in the concept, they also make the performance whole. Without them, the members would not have been able to pull off that epic entrance for God’s Menu, which the dancers popping up under that massive white sheet. Bangchan’s solo part was also very iconic, with that dancer upside down and mimicking Bangchan’s moves as if there were two seperate parallel worlds.
Symphony No.9 (From the Wonderland) – ATEEZ Song: Wonderland
When it came to ATEEZ’s stage, I really liked the theatrical aspect of their arrangement. It just felt so fitting for Wonderland and made the stage quite memorable just from the song itself. It also gave the performance a more impactful level of nostalgia. I also liked that they didn’t change too much with the performance. It didn’t feel over-engineered or over-produced, which could be the case when you try to recreate another version of the song. They maintained the various effects and vibes that came off the 2019 version, but they did add some new parts and pauses to enable a story to be told on stage. I also liked the party remix towards the end. But what made this stage of Wonderland explosive were the vocals and raps from each member. The rapping start of the song courtesy of Hongjoong was so powerful and energetic. The rest of the members were extremely clear and crisp in this live performance. But the standout member has to be Jongho, who blew us all away with a surprising high note that even shocked the other contestants of the show.
ATEEZ’s concept for this stage was definitely the pirates and the Seven Seas. Defintive clues of this was the pirate ship they used as the main backdrop to their stage, the treasure map at the start of the performance and the massive octupus tentacle that surprised and wowed everyone. I also find the start of the performance quite mysterious, and liked how they used one of their previous concepts from their TREASURE era. It seems like these pirates are trying to find something that they have been contracted to do.
As mentioned earlier, I really liked how they weaved the story in the choreography as well. It definitely made for an interesting stage. The first verse and chorus was mainly to set the scene and also incorporated the original choreography, before the second verse and onwards changed things up a bit to make the story progress and provide that ‘new’ element to the performance (i.e. an alternate choreography for the remixed sequence at the end). I iwshed they changed it up sooner, as the start was kind of meh for me. The most impressive part of the routine was Jongho and Yunho’s spin.
Jealous – SF9
The final performance of the night was SF9’sJealous (otherwise known as Now or Never). I am so glad they picked this song to be their stage, as it is too my favourite release from the group. Unfortuately, I think this version of Now or Never was the weakest arrangement of the bunch, and it doesn’t do the original version justice. It attempted to be thrilling and alluring with its subtle instrumentation mix at the start, the use of violins in the second verse and then its intense electronic sequence at the end. But the resulting product felt pretty bland. I didn’t get the same captivating or ‘edge of my seat’ experience as I did with the other performances. The vocal work was good, and the rapping had a promising factor to it. But I think the arrangement could have been better executed. Something electrifying would have been nice especially towards the end could have reinvented the energy, done justice to the original and given the arrangement that zing it needed.
Concept wise, this performance was also the weakest of the bunch. I wasn’t sure what the concept was, aside from the fact that mirrors played a massive part. It is quite unfortuate that SF9 got the shortest end of the short stick, given how shockingly poor the entire performance looked (and it is not SF9’s fault). From their lack of props to cheap looking outfits to the poor camera work, the performance did not hit the aesthetic standard. I did like the use of the two-way mirrors, which gave the performance that element of wow.
The choreography was good. Not the best, but it was the best element of their stage performance. Chani’s solo part with the female dancer gave the routine a sensual touch. I also liked that they brought over some of the original choreography, which made the routine feel familiar.
And the winner is…
We don’t know who the real winners of this round are. We are still awaiting official final rankings, though I suspect MNET might hold off on that. MNET has, however, released the results of each category that would make up the final ranking. Below are these results that have been officially announced, and the fifith column is what I think the final ranking should be like based on my own thoughts.
Ranking
Expert Evalution
Self Evaulation
Video Views
Global Voting
KPOPREVIEWED’s FINAL Ranking
1
ATEEZ
ATEEZ
Stray Kids
Stray Kids
Stray Kids
2
Stray Kids
BTOB
iKON
SF9
ATEEZ
3
The Boyz
Stray Kids
ATEEZ
iKON
BTOB
4
SF9
The Boyz
BTOB
BTOB
iKON
5
BTOB
iKON
The Boyz
ATEEZ
The Boyz
6
iKON
SF9
SF9
The Boyz
SF9
Do you agree with me? Or do you agree with the show’s interim category ranking? Or do you have a different order in mind? Let me know in the comments!
Kicking starting this week is HIGHLIGHT. It has been two and a half years since we last heard from this second-generation group in 2018 through the release of Outro and Loved. At the time of that release, HIGHLIGHT was a quintet. Since the group’s hiatus due to military enlistment (which all members have now officially completed), the group reformed into a quartet after the departure of the group’s main rapper, Junhyung, due to a scandal in 2019. The group’s lineup now features only Doojoon, Kikwang, Yoseob and Dongwoon. Today, HIGHLIGHT makes their long awaited return with THE BLOWING, which features the title track Not The End.
Not The End is very fitting song for their return. You can tell this by just referring to one line of the song – the song’s main English hook ‘I’m still here. It is not the end‘ which is repeated throughout the song really hones into the fact that despite being around since 2009, the group is still active and will continue pumping out music for their fans (Light or B2UTY). The song’s entire message is that ‘that this is a new beginning, rather than the end’ (taken from Soompi’s article), which also feels fitting for the occasion. Moving away from the meaning of the song, I really like the atmospheric vibes during the verses. The piano work and percussion was all quite captivating and stilling to listen to. What makes Not The End quite memorable is the contrast between the stillness that comes from the verses and the use of the upbeat electronic synths for the chorus. It makes the chorus quite punchy and exciting to listen to. The synths used in this the chorus drops give off a very notable vibrancy that one would expect with songs as you approach/enter in the Summer season. They are pretty traditional synths and aren’t really mind-blowing on their own. But as a whole picture (i.e. the verses and choruses together), Not The End comes off as memorable as Loved (for me, at least). What makes Not The End even better were the vocals. It is definitely nice to hear their familiar voices, particularly since they were one of the first KPOP groups that I listened to (way back in 2009!). I felt their voices brought this really enjoyable sense of warmth and comfort to the verses. It was interesting to hear they kept the same tone for the chorus. I wished they hadn’t as their voices could have been slightly louder and strengthened to match the energy coming off the chorus’s instrumentation. Unfortunately, they were overshadowed and overpowered by the instrumentation in the chorus. But overall, Not The End still is a touching return for the group.
The music video definitely gets points for being quite aesthetic. I really like how the colours pops out at you, especially when it layered over the white in the video. It really matches the vibrancy of the song. Think of the chorus’s synths and the blue/green that just contrasts so well with the plain white sets during the choreography scenes. I am sure each member’s solo scenes in this video has some sort of purpose that somehow corresponds to the new beginning that the members sing about in this song. But I am entirely sure what I am seeing. I might have a theory that one of Kikwang’s main props is a bare tree in the middle of his set, while Yoseob’s scenes feature a forest mural – showcasing that there is potential for that tree to re-begin its life and become a lush green forest. For Dongwoon, his scene features flowers which are very much alive. But Doojoon repurposes the flowers into perfume, which shows you that even while you may be growing and maturing, you still have that opportunity to change yourself to become something else. It is a wild and out there theory, but that is what I got from the video.
I really like softness that really prevails in this performance. It adds a nice delicate touch to the performance, despite it being quite fitting for the upbeat energy we get from the synths in the chorus. The choreography also looks sharp, which made this performance look even better. I am also impressed that their performance skillset has not been impacted despite a hiatus and the fact that they are in their 30s.
Song – 9/10 Music Video – 8/10 Performance – 9/10 Overall Rating – 8.7/10
Surprise! Another album review this weekend. I felt like I was cheating the system by reviewing just one single album today. So I thought, why not review another single album! Luckily, WOODZ also released a single album around the same time as the album I had just reviewed. WOODZ’s single album is titled SET and features the title track FEEL LIKE. It is, too, his first single album since his solo debut. It also follows the release of Woops, which I had reviewed late last year. The songs on Woops faired quite well, so I couldn’t wait to sit down and write out my thoughts for the new side tracks on this single album, so continue reading on if you want to know what I thought about SET.
2. Touché (ft. Moon) – WOODZ brings out his vocals in Touché. It is one of the highlights of the track for me. I also like the lines in which he finishes off with spoken delivery, which were really smooth and gives the song that depth of dynamism. Aside from the soloist’s vocals, Touché is a sensual R&B track with Latin-influences. Interestingly, the Latin influences don’t really become that prevalent until Moon (the featuring artist) comes into play towards the end of the song. But you can definitely feel those influences bubbling away in the background, waiting for it emerge as a centrepiece. In addition to WOODZ, Moon’s voice is stunning in this song. And their harmonies at the end were really captivating. Overall, Touché was a breathtaking song. (10/10)
3. Rebound– Rebound also taps into the R&B genre. But I feel Rebound is a highly concentrated steamy number that promises a very alluring and captivating performance when the time comes for one. It is also a song sung in English from start to end. Rebound without a doubt showcases his vocals. It not only compliments the sensual nature and pace of the song, but also really emphasise his falsetto vocals. And if you enjoy them, I recommend that you check out WOODZ’s Accident from his first mini-album, which also involves some unique instrumentation. Here Rebound stays more traditional, but definitely captivates. (9/10)
The next album I will looking into is Kim Sung Kyu’s very first single album which features the title track, HUSH. There are a few significant milestones with the release of this single album, titled Won’t Forget You. This is the first single album under his name since his solo debut back in 2012. It is also his last album release under Woolim Entertainment, which he has been signed to as an artist (both solo and as a member of Infinite) since his debut in 2010. The company announced his departure in early March and (as mentioned in HUSH’s review), it appears the two parties mutually parted ways from one another based on the existence of this single album. Let’s wish Kim Sung Kyu good luck to wherever he goes next with his solo career. And while we await for his next solo release, let’s have a deeper listen to Won’t Forget You.
2. You – You is a very pleasant and likeable track, thanks to the simple instrumentation involving acoustic guitars and consistent percussion. I like how the electric guitar and a very small amount of electronic band styled instrumentation sneaks its way into the song by the time it wraps up. On top of that, we have Kim Sung Kyu’s vocals which are very clear and crisp. There is an appreciable level of sweetness to his voice that really compliments the song’s message of wanting his partner to stay by his side. The backing vocals in You really amplify his vocals and the melodies, along the chorus to be quite memorable. The combination of the backing vocals and melodies also brought out a nostalgic factor, for some of his past singles. Altogether, You is a highly recommended listen from me. (10/10)
3. My Day (나의 하루) – Kim Sung Kyu’s music is heavily influenced on the electronic band style that you would associate with Korean band Nell. While My Day seems to stay within that same area of music, it also seems to be slightly more experimental with its more upbeat and Summery vibes. My Day seems to be the perfect song to use as background music while walking along the beach. Like all his songs, his vocals stand out here. I really like the echo that comes through (thanks to the vocal processing) during the chorus, which enhances those Summery vibes. The layering at the end was really well executed. Overall, My Day comes off as extremely dreamy and is another highly recommended listen. (10/10)
KPOPREVIEWED 