[Review] Not The End – HIGHLIGHT

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

[Album Review] SET (1st Single Album) – WOODZ

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.

SET Album Cover

1. FEEL LIKE (Title Track)Click here to read the full review for FEEL LIKE. (8.5/10)

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)

Overall Album Rating – 9.2/10

SET Teaser Image

[Album Review] Won’t Forget You (1st Single Album) – Kim Sung Kyu (Infinite)

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.

Won’t Forget You Album Cover

1. HUSH (Title Track)Click here to read the full review for HUSH. (9/10)

2. YouYou 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)

Overall Album Rating – 9.7/10

Won’t Forget You Teaser Image

[Weekly Chart] 4th Week of April 2021

Another Sunday, another opportunity to look back on the week that just past. We have reached the end of April this week, and the mid-year mark is fast approaching. It is definitely scary how fast the year is going by! I hope you all have been having a great week and look forward to the new releases in the KPOP world in the incoming month! Big names have already been confirmed such as HIGHLIGHT, ONEUS, Ailee, NCT Dream, Oh My Girl, BTS and TXT (just to name a few)! Definitely one to look forward to. But in the meanwhile, let’s look back at the final week of April 2021.

New songs this past week

In addition to the releases from ENHYPEN, AB6IX, ONF and ITZY that I have already reviewed, other artists that released music this week (and have been added to the charts for a nine week run) include Hyunseong (former Boyfriend member), BIBI, HOT ISSUE, (G)I-DLE and Kim Kyu Jong (member of the currently inactive SS501).

Throwback Corner

This week’s throwback corner is actually a very recent release. Soyou and IZ*ONE’s joined forces with one another for the Starship and Pepsi collaboration project, ZERO:ATTITUDE (which also features pH-1) back in February of this year. The song has resurfaced on YouTube for me, and I have been listening to it every single day this week. You should, as well!

The Charts

Congratulations to ENHYPEN, who has topped this week’s Weekly KPOP Charts with their first comeback since debut! Their new song is titled Drunk-Dazed! Make sure you check it out and (per usual), for more of the charts, keep on scrolling down!

  25th Apr – 1st May 2021
Title Artist Status
1 Drunk-Dazed ENHYPEN (new)
2 CLOSER AB6IX (new)
3 Loved You BAE173 (▲ 25)
4 Ugly Dance ONF (new)
5 M.A.F.I.A (In The Morning) ITZY (new)
6 LILAC IU (▲ 27)
7 ONE ASTRO (▼ 3)
8 Antidote Kang Daniel (▼ 7)
9 Do or Not Pentagon (▲ 4)
10 5K Lee Jin Hyuk (UP10TION) (▲ 56)
11 Fireworks (I’m The One) ATEEZ (▲ 45)
12 You Make Me DAY6 (▼ 10)
13 Scared P1Harmony (▲ 3)
14 INSIDE OUT NU’EST (▼ 11)
15 DADADA LUNASOLAR (▲ 51)
16 Kiss The World NTX (▲ 50)
17 VO!D HyunJun Hur (▲ 49)
18 Unnatural WJSN (Cosmic Girls) (▼ 9)
19 Atlantis SHINee (▼ 14)
20 libidO OnlyOneOf (▼ 1)
21 Love Song Yoon Ji Sung (▲ 8)
22 Warning Kim Sejeong (▲ 41)
23 Say Yes IZ (▲ 43)
24 Seoul GHOST9 (▼ 12)
25 Ponzona PURPLE KISS (▲ 23)
26 House Party Super Junior (▲ 17)
27 MOON RIDER BDC (▲ 30)
28 Spider Hoshi (SEVENTEEN) (▼ 18)
29 I Wouldn’t Look For You Kim Jae Hwan (▼ 23)
30 Universe DONGKIZ (▲ 21)

Songs leaving the charts this week:

The following songs have completed their nine week run on the charts and hence will not be appearing on next week onwards:

  • Fireworks (I’m The One) – ATEEZ
  • Get Away – VERIVERY
  • Why Why Why – iKON
  • Why Don’t We – Rain X Chungha
  • Say Yes – IZ
  • Call U Up – Park Ji Hoon ft. Lee Hi
  • Because Of You – Woosoo
  • Breath: Blood Night – Greyish
  • Not Over – MCND

[Album Review] HIDEOUT: BE OUR VOICE – SEASON 3 (3rd Mini Album) – CRAVITY

I think last week, I mentioned I had one more album from the month of February that I wanted to cover. Well, it turns out that the album is from the month of Janaury. I am talking about none other than CRAVITY’s third mini-album, HIDEOUT: BE OUR VOICE SEASON 3. Can you believe it has already been almost five months since this mini-album’s release! Apologies once again for the very long delay for this album review. Featured on this mini-albim is their title track My Turn, and follow-up promotional track Bad Habits. While I did a full review for My Turn (spoiler: it didn’t fair too well), I have yet to do a review for Bad Habits. I will definitely return one day to look at the music video, but for now, let’s settle on a song review for Bad Habits as part of this album review. Let’s also see how the rest of their 3rd mini-album faired, given that my take on the title track wasn’t that great.

HIDEOUT: BE OUR VOICE – SEASON 3 Album Cover

1. My Turn (Title Track) Click here to read the full review for My Turn. (5/10)

2. Call My Name Call My Name takes a diversion away from the harshness and powerful energy that My Turn had going on. Instead, this side track opts for more wispy and soothing instrumentation, all the while still falling into the EDM realm. Similarly, the vocals and rapping are toned down considerably to fit in with the instrumentation. Here, the members bring out sultry vocals – which you would expect with a ballad or other downtempo songs. This hence gives the song that passionate and emotional profile, which in turns makes it impactful. It is a bit standard, but stunning as a whole piece. (8.5/10)

3. MammothMammoth is a more substantial song, compared to the likes of My Turn (the title track). The main issue I had with the title track was the chorus, which Mammoth takes a more typical approach with. But it pays off as Mammoth’s chorus still ended up being quite dynamic and many times more likeable than what we got in My Turn. I really like the punchy ‘Mammoth’ start of the chorus, which adds a quite memorable element to the video. The intensity of the EDM instrumental and the hip-hop influences of the song were really strong material and helped delivered a filling feeling to the song. (8/10)

4. Bad Habits – Following all promotions of their title tracks, CRAVITY has always selected a side track to follow up promotions, music video and stage performances included! For this release, the hip-hop leaning Bad Habits was selected as the follow-up promotional track. My number one question is why wasn’t Bad Habits selected as the main title track. To me, this is the better cousin of My Turn. The deep tones in which are adopted by the rappers were definitely show-stopping. They also complimented the heavy use of bass in the instrumentation. I also found the rappers’ deep toned whispering when it came to the chorus to be quite sleek. While the vocals took a backseat for this song, they really showcased themselves when their parts came up. Bad Habits is a strong track that really deserves to be in the drivers’ seat of the album. (9/10)

5. Moonlight Moonlight could have been my favourite track on the album. However, it was a bit much for my liking and hence it wasn’t my final pick for my favourite track on the album. I just wished that Moonlight toned back its energy and intensity behind the chorus be toned back a bit. While I do appreciate the energy, power and abrasiveness of the choruses’ instrumentation, I felt that it was overwhelming for even myself (which is saying something, as I really do like it when songs showcase energy, power and intensity). It is unfortuate, as I couldn’t hear the members in the chorus. But aside from that, everything else earned big ticks from me. From vocals to rapping to instrumentation (aside from the chorus) to melodies, Moonlight had it all. I could imagine a really powerful choreography that shows off CRAVITY’s performance skills to accompany this release. (8.5/10)

6. Dangerous – Right off the bat, Dangerous gives off this addictive groovy energy which really captivated my ears. It is also the reason to why I held so long onto writing a review for this release. I just wanted to talk about it! The grooviness underpins the entire track, with it also peeking through the intense and prevalent house effects we get in the chorus. I liked how the members sounded in this song. The vocals felt very clean, while the rappers brought in dynamic energy through their parts. The chorus itself featured catchy hooks. For the bridge, I thought the suspenseful and haunting nature of the instrumentation to be quite charming. Overall, Dangerous is definitely my pick for favourite track on this album. (10/10)

7. Give Me Your Love – Based on the title of this song, you can tell that CRAVITY was approaching the end of the album with a softer pop release. It was actually quite a track and one that I definitely recommend that you listen to. The instrumental was quite soothing and atmospheric with its pop rock vibes. The vocals gave off this dreamy tone, while the rappers gave the song some needed heft to keep the sound grounded. I wished there were more harmonies between the members (like a sequence in which they all sing together). That would have been a stunning sequence that would have enhanced the sentimental aspect of the song. I also like that additional instrumental piece at the very end, rounding out the song so nicely for me. (8/10)

Overall Album Rating – 8.1/10

HIDEOUT: BE OUR VOICE – SEASON 3 Teaser Image

[Review] M.A.F.I.A (In The Morning) – ITZY

Rounding out the week and the month is ITZY with their latest comeback single, M.A.F.I.A (In The Morning). This new title track is featured on their fourth mini-album. Guess Who?. Well, the answer to that question is ITZY, and it is a suitable question given that it has been a while since we have heard from the group. This is their first comeback since Not Shy in August of last year. Since that last comeback and a month (to the date) before this comeback, ITZY did release a digital single for their fans, titled Trust Me (MIDZY). But that had no music video, so I skipped over it. And so, we find ourselves here today for the review for M.A.F.I.A.

My first impression of M.A.F.I.A is quite simple – it appears ITZY’s direction for this song follows the big and bold nature of BLACKPINK and not of their own. Personally, I felt disappointed by this. Both are great groups and both have their individual styles. BLACKPINK has this more bombastic and dark energy with their recent releases (i.e. Kill This Love and How You Like That). ITZY differentiates as their music has this energetic colour and vibrancy, which makes their songs quite appealing in its own way (i.e. Wannabe and ICY). I just wished they didn’t tap into each other’s current niche. BLACKPINK, more recently, have not crossed the line. But it is clear with M.A.F.I.A, ITZY have. And I will mention it now, M.A.F.I.A is more of a cheap knock-off than a successful replication. One of the few positives of the song is that there was a good showcase of rapping skills in the song. But that all comes after a spoken syllable-by-syllable delivery that sounded undeniably very BLACKPINK-esquee, courtesy of Ryujin. While the rest of the rapping skills were good, I wished their lines didn’t feel weighed down and boring. It was probably a stylistic choice to fit in the suspenseful and mysterious vibes of the instrumentation, which features that paced and squeaky synth. But it was a choice that really didn’t appeal to my taste. The vocals that followed in the pre-chorus were actually also quite good. It gave the song that stability it needed and added in a splash of needed colour. And I was glad we got some colour into the song in the pre-chorus, as the chorus didn’t really give much of it. Instrumentally, it just felt like an extension of the instrumentation we got in the verses, and the chorus’ hooks were pretty plain and unimaginative. I can see it catching on briefly, but it will probably be forgotten soon after. The second verse was more less the same as the first verse. And well, the rest of the song felt more less the same as the first verse and chorus. Another let-down of M.A.F.I.A is the song lacks a peak. While I think Lia’s bridge was a nice touch to the song melodic-wise, it doesn’t feel in anyway different to the pre-choruses earlier in the song. While you expect her to hit a high note at the end of the bridge, she doesn’t. The instrumental doesn’t build up to the final chorus either. We aren’t pushed into an amplifed mix, nor are we given something to help to make it a memorable closer to the song (or even signal the end of the song is approaching). Overall, M.A.F.I.A is a very flat release that doesn’t live up to the ITZY style that I have associated with the group.

A music video acually comes off a lot better than the song itself. Despite the dark aura and the obvious black and purple colour choices that seems to bring out that ‘influence’ as I mentioned in the above paragraph, I feel that the music video does a good job of showing off that confident side to the group. This is a running theme in their music videos and I am glad they managed to link this video to their past comebacks. I also thought the editing in this video was also a strong positive aspect. But that is all pretty standard. It is that memorability factor that I am looking for, and there doesn’t seem to be much in the video. I guess the opening scene where we are looking from inside the gun barrell at Ryujin in her full red outfit was pretty intriguing. But nothing else really pinged as memorable for me.

The choreography is probably the only stable factor in this entire comeback. The confidence really comes off strongly in the routine, and I also liked the added sexiness that the group brings to the table with this routine.

Song – 5/10
Music Video – 6.5/10
Performance – 7.5/10
Overall Rating – 6/10

[Review] Ugly Dance – ONF

After Tuesday and yesterday’s intermission from the week, I return to the usual broadcast of reviews for new releases. Today’s review revolves around ONF’s latest release, Ugly Dance. The group returned with a repackaged version of their first studio album, My Name: ONF, and the title track Beautiful Beautiful back in February of this year. It was a very successful comeback for the group with Beautiful Beautiful reach the number one spot on SBS MTV’s The Show, the first time the group has ever reach the number one position on a weekly music show. A month ago, it was announced the group would be return with a repackaged version, which has been retitled as City of ONF, and is headlined with the title track Ugly Dance.

The most intimidating task in the KPOP industry is finding a song that exceeds the standard set by the artist’s best performing and sounding song (to date). For ONF, they successfully one-upped New World with the release of Beautiful Beautiful this year. And now, all eyes are on Ugly Dance to see if it can do the same. It might be the entire reason to why Ugly Dance starts off with a throwback to their previous title track with the song’s main hook. However, Ugly Dance gives it to us in a remixed form, making it to be more orchestral sounding. This is an amazing twist to the really catchy hook from their previous song and it also fits in perfectly with the orchestral approach that parts of the instrumental of Ugly Dance opts for. But that is only the based on the instrumentation that is used to create part of the the background of their new song. The other part takes on a funky hip-hop style, which seems to align with the colourful energy we got from their previous song. Together, Ugly Dance is a very powerful and epic sounding song. In regards to the vocals, ONF really shows off their vocal chops in this song from what I can hear. The instrumentation in this comeback is quite loud, so they really had to ensure they stand out on top of the loud background, And ONF does just that. Everything felt solid and very straightforward on that front, as well. The high notes at the end were probably the most obvious examples of that. For Wyatt’s rapping, his deep spoken tone was very surprising. It felt dynamic despite it coming off as spoken. His deep tone was also very stylish and cool. What I enjoyed the most about the song are the hooks. The ‘1 and 2 and 3 and 4‘ was probably my favourite one as it added a lighthearted and playful vibe to the song. The vocal melodies for the chorus were also quite memorable. The most important question is, however, did Ugly Dance surpass Beautiful Beautiful? My gut (at the present) unfortuately says no. I feel that Beautiful Beautiful had it all, but it edged in front thanks to the colourfulness it brought to the table. But if it is any constaltion, Ugly Dance is defintiely there as one of ONF’s best!

Also lacking colour is the music video for Ugly Dance. The music video isn’t shot in black and white. Rather, it feels quite muted, thanks to the sterile, hospital room-like aesthetic and plainness of the white box ONF got as a set for this music video. They tried to insert some colour in the video (i.e. the alternating black and white outfits; the green borders up top and for the doors; the members’ hair colours), but none of this was really a splash of colour that the video needed to not be as dull as it ended coming off as. It is a bit disappointing, given that the video is the first in KPOP (as far as I can remember) to be shot in 8K. I also didn’t like how the outfits would sudden change between the black and white. It seemed like a bit much for me. But I did like how the music video sits within the same world as the Beautiful Beautiful music video, based on the start. I also liked how the music video captured ONF’s more lighthearted side, with their smiles and interactions playing a part in making this video more appealing to watch.

The choreography for this comeback was a blast! I enjoyed the whole package and the performances so far have been replayed multiple times! Their smiles really give off a playful vibe in the choreography, making the extremely powerful routine a little more lighthearted. And hence, I found the routine to be fitting for the song as a result. I also liked how they inserted elements of Beautiful Beautiful into the routine.

Song – 9/10
Music Video – 6/10
Performance – 10/10
Overall Rating – 8.3/10

[Review] ON&ON – Hong Eunki

Today is one of the days in which we don’t have any musical release. So I thought I take this opportunity to select a song from my ‘Coming Soon’ list to write a review for, which I seem to touch every blue moon. Today’s choice is actually a release from way back in January. Actually, to be precise, this release dropped on 5 January of this year (almost four months ago). I am talking about Hong Eunki’s ON&ON. It caught my attention a few weeks after its release, and has since been on the ‘Coming Soon’ list. As this is my first time reviewing a Hong Eunki release, here is my short rundown of the soloist. He was a former member of Rainz, a project group formed after Produce 101 Season 2, in which he placed 38th on the show. He made his solo debut in 2019 with Blow, and has since made comebacks with Breath, Flower and now ON&ON.

To me, I find that ON&ON has this fresh mix of the groovy trend and deep house. It isn’t reaally much of an interesting mix, nor is it innovative. However, I do appreciate the remergence of different styles and combination once in a while. ON&ON defintiely benefited from this, as I couldn’t really think of another song from the top of my head that has blended the two together in recent times. What is also great about ON&ON is that while the two is a blend of the groovy trend and deep house, neither really felt like a commitment. It was a relatively light mix that felt pleasant enough to enjoy. And I say that in a positive manner. In addition to the instrumentation, ON&ON has this great upbeat vibe and catchy hooks that really caught on. You might argue that it didn’t have much effect, given how delayed this review is. But that shouldn’t mean anything (given my long and growing list of songs that I personally want to review). When it comes to the vocal front, I think ON&ON could have been more interesting. Hong Eunki has some standard vocals that were able to showcase a bit of vocal variety, such as falesttos throughout the song. There was also some decent effects placed over his vocals to give off some texture. But by the end of ON&ON, I was a little bored with the same techniques on the vocal front. But this didn’t really drag down the song for me. Overall, ON&ON was a nice and decent introduction to Hong Eunki for me. I will definitely keep my eyes open for further comebacks from the soloist in the future and hopefully they catch my attention as this one did.

The music video was okay. It tapped the shoulder of the standard choreography and closeup formula that isn’t that inventive. And while the saving grace of that formula is usually amazing and stunning closeup of the artists the music video features, this one doesn’t get up to that level for me. I did like the subtle emphasis on the colour blue, which is a bit interesting. It wasn’t bold in any way, but rather muted. But you could tell the producers were pushing a blue agenda for this music video.

I think the choreographer missed the opportunity to add a bit of a bounce to the routine. This could have potentially made everything better, given that the performance was focused more on generic output, if you understand what I mean. Everything looked standard and felt more like a clash of moves that didn’t really work with one another. I did like his enthuasism and the energy that he conveyed through the routine, however.

Song – 8/10
Music Video – 7/10
Performance – 6/10
Overall Rating – 7.3/10

[Review] CLOSE – AB6IX

Also making their comeback today is AB6IX, with the release of CLOSE marking their return. CLOSE is featured on the group’s fourth mini-album, Mo’ Complete: Have a Dream. We last heard from AB6IX through their repackaged 3rd mini-album, Salute: A New Hope and the title track Stay Young in January of this year. This also coincided with the release of a remixed version of Why Don’t We’s Fallin’ (Adrenaline) earlier this year as well that AB6IX and the original artists collaborated with for.

CLOSE is a promised return to deep house, a style that ABNEW and other avid AB6IX listeners may find familiar. For those who are not familar with this group, deep house is the style of EDM that AB6IX debuted and followed up with during their debut year (Breathe and Blind For Love) before embarking on a year of different sounds. CLOSE starts off with twinkling synths and warped effects, before heavier synths and percussion come into play. I find all of this contribute to a somewhat brighter and lighter tone than their earlier works. It is an interesting dynamic for the group. I like how refreshing the members sound in the first verse. The pre-chorus is also quite intriguing, as the members come together to sing the sequence together. This too adds to the refreshing tone of the song. For the chorus, CLOSE delves into the more traditional routes of deep house. But layered on top of that are deep textured synths that added an electric touch to the centrepice of the song. For the second verse, the highlight here is Woojin’s rap sequence. The energy he brings to the song resembles AB6IX’s early days, which is what the song is aiming for. Great success there. For CLOSE‘s bridge, I really liked the delayed return to the final chorus. It was a clean transition that added tinge of suspense to the song. It was also reminiscent of Breathe. For the vocals of the song, we saw a solid showcase of them throughout the song. I do think they could have been a bit more dynamic on the hook front to make CLOSE a little more memorable. But overall, CLOSE is a nice return to roots for AB6IX.

While the music video feels like it is a mixture of different scenes, I think the video is fairly straight forward. From what I could tell from the lyrics, a lot of the song is about not worrying about getting lost when you are in the dark. I assume they are referring to the dark moments in life and feeling lost then in the song. But AB6IX portrays this as the darkness you get when you close your eyes when you sleep, which I think is a clever way of presenting this in a visual manner. We see the members sleeping and then waking up in very different locations. But as the lyrics suggest, everything will be okay. We see the members find each other and then a way out of this dreamland. It is a pretty cool video when it comes together like so. I am not sure about the floating rock we get at the end, whether this links up with another video in the future or if there is a detail hidden in the video that I didn’t catch.

The best part of the choreography for CLOSE is the pre-chorus. I really like how Donghyun in the first verse and Daehwi in the second verse interacted with the other members in the pre-chorus sequences. It looked cool and worked really well with the music. For the chorus, nothing felt out of place. Everything was just clean. I also really like Woojin’s rap sequence, which fitted in so well with his image. It also added some intensity to the performance, which was some icing on the cake for me.

Song – 8/10
Music Video – 9/10
Performance – 8/10
Overall Rating – 8.3/10

[Review] Drunk-Dazed – ENHYPEN

New week, new comebacks. First up this week is ENHYPEN’s latest comeback, Drunk-Dazed. It is featured on the group’s second mini-album, Border: Carnival, which also dropped today. This is also the newly debut group’s first comeback since their debut at the very of November of last year, with Border: Day One and Given-Taken. Since their debut, ENHYPEN has scored a number of rookie awards during the KPOP award season that occured throughout December 2020 and January 2021. This is especially an amazing feat, given that they had a month to make an impact on the industry. And with rookie awards coming their way, it seems like ENHYPEN just did. For the KPOPREVIEWED Awards, ENHYPEN wasn’t nominated, nor did they win any awards due to their late debut. Instead, they will be considered as rookies for the upcoming 2021 KPOPREVIEWED Awards later this year. But there is a long way to go, so let’s start off with a review of their latest single.

Drunk-Dazed is a really powerful pop song. I have to start off by focusing on the chorus, which to me, was the best part of the song. The unquestionable blast of energy that we get thrown into from the chorus was very exhilarating and thrilling. Imagine how it would sound when Drunk-Dazed is on full blast! It doesn’t help that the hooks here were super catchy and addictive. Both worked in harmony to create a really relentless and upbeat part of the song that I thoroughly enjoyed. The verses don’t have that same impact or memorability as the chorus, but they had their charm. Both essentially had the same make up, with its consistent thumping and build-up to the chorus. I really like the rock vibes that comes from verses, which made the energy of the chorus feel like it was brewing in the background of the verses. The pre-chorus had a nice nostaligic ring to it. When it came to the bridge, I was a bit let down by the drawn out nature of the part. It just didn’t feel like a right fit for the song, from my prespective. I was glad it was brief and we returned to the familar tune of the chorus. The extension we got at the end of Drunk-Dazed felt appropriate for the group. Throughout Drunk-Dazed, the members sounded mature or at the very least didn’t feel like they were teenagers. But I detected some bright youthfulness in their tone in that final bit that matches the group’s profile given their young age. Overall, Drunk-Dazed is an addictive song full of great energy, fitting for a party vibe.

And I am glad that party vibe was translated into the music video. It appears the members are werewolves (or vampires, not too sure). They lure a fellow school mate to a party they are having, persumably to suck their blood. After all, she was invited to a bloody birthday party. We get a sense they are after blood by drinking it at the party (i.e. one of the members add blood to a glass of water pre-party, plus the raining blood at the end of the video). The member who we see dancing the blood rain falls to the ground to wake up surrounded by the rest of the group. We then see the school mate arrive with the invitation in hand, unsuspecting of what is about to happen to her. It also appears that the members have been around for a while, with scenes at the party were followed up by scenes of the members celebrating a birthday back in the early 1900s, based on the way the yellow filter was added to mimic the video footage of that time period. In the second verse, we see 1980s style effects, mimicing music videos from that era. There also seems to be a bit of telekinesis, teleportation, pyrokinesis (seems all of this is reminding me of American Horror Story: Coven). I like the story and how they conveyed the clues. Though I am still not clear if they are all werewolves, vampires or a mixture of both.

When it comes to the choreography, I have similar thoughts of it as per the song. I really like the routine during the chorus, including the zombie start and the wavy motion they used to represent the second ‘Dazed Dazed Dazed‘ hook. I also thought them lying on the ground and spinning was a cool move in this routine. Overall, a nice routine.

Song – 8.5/10
Music Video – 8.5/10
Performance – 8/10
Overall Rating – 8.4/10

[Album Review] Zero: Fever Part.2 (6th Mini Album) – ATEEZ

The next album on my reviewing radar is ATEEZ’s latest release, Zero: Fever Part 2. The group’s last comeback featured Part 1 of their Zero: Fever series, featuring the title track Inception. This occured July 2020. And over half a year later, the group has finally returned with the second part of the series. ATEEZ’s latest title track, Fireworks (I’m The One) features on the mini-album, along with four new tracks. In addition to that, the album also features two alternate versions of Take Me Home (one of their new songs) and Fireworks (I’m The One). Per usual, I won’t be reviewing those two tracks and you can find them on YouTube or Spotify if you to check them out. But before you do that, check out my review of the individual songs on this release!

Zero: Fever Part.2 Album Cover

1. Fireworks (I’m The One)Click here to read the full review for Fireworks (I’m The One). (8/10)

2. The LeadersThe Leaders is definitely something that falls into ATEEZ’s portfolio with its intensity. But this isn’t the usual type of intensity that is reliant on the instrumentation. Instead, I think it is more of how the member captivated me through their rapping and delivery of lines. On that front, there is a lot going on. You have powerful rap lines that dominate the verses to whisper-spoken lines in the chorus. Some of the lines and melodies felt like it easily could be the next trendy hip-hop song that Korea tends to fall in love with every now and then. This is all layered on top of a trap-beat instrumental. This is powerful in its own right and definitely adds to the intensity. Overall, The Leaders is an unconventional song (at first glance) that somehow gets me hooked on and following ATEEZ as my leaders. (9/10)

3. Time of Love – Definitely a 180 degree change from the two songs preceding Time of Love. The third song on the album comes unexpectedly, as it adds a sweet sound to the album following intense numbers. A lot of sunshine and peppiness comes from this song, something that I don’t we would associate with this group whatsoever. But interestingly, I really like how Time of Love stood its ground. It is actually one of my favourite songs off the album. It was a catchy number with memorable hooks. Time of Love’s instrumentation is still synth-dominant, but the energy that comes from it makes me want to smile. The members, regardless of their positions in the group, all sound amazing throughout the song. (9.5/10)

4. Take Me Home Take Me Home takes a step towards their roots and away from that unexpected change in sound that preceded this song. What makes Take Me Home stand out is its retro sounding background, which really leaves a positive impression on me. Rather staying on the EDM front with their intense sound, this change in style is refreshing and interesting. Take Me Home also showcases the amazing vocals and rap that we know ATEEZ is capable of. The melodic chorus was one of the highlights. Also Hongjoong’s ‘Over and over again’ overlap and rap sequence was really memorable. But you know what spoke to me the most? It was the saxophone solo at the very end. It was an unexpected addition, but one that really caught my attention. (10/10)

5. Celebrate Celebrate is the final new release on this mini-album. It is another fun song that brings a smile to your face. But it isn’t as unexpected change in sound as Time of Love was. Celebrate is of a different style, opting for what felt was a very upbeat gospel-like tone, mixed with some jazzy notes. There was also choir in the background of the song, emphasizing this style. What Celebrate does so well is showcase the members. I know many of their songs do this already. But honestly, how iconic and powerful were the vocals in this song? Jongho’s ad-libs in the final chorus, San’s tone at the start of the bridge. The rappers also showed off their stuff, with their parts further fueling the energy of the song. Everything comes off as powerful, which is definitely one of the highlights of ATEEZ’s music. (10/10)   

Overall Album Rating – 9.3/10

Zero: Fever Part 2 Teaser Image

[Album Review] Identity: Challenge (2nd Mini Album) – WEi

Teaser image of WEi for their Identity: Challenge mini-album release

Another album from February makes it way onto the blog. I think I got one more coming your way from the second month of the year (despite us being in the fourth month already). But that will be published tomorrow or next week. For now, I turn my focus to WEi, who released their second mini-album and first comeback on the 24th of February. The mini-album is titled Identity: Challenge, and features the title track All or Nothing. In addition to the title track, the album also features an additional four new songs. This comeback comes after the six-member male group under OUI Entertainment made their debut with Twilight and Identity: First Sight in October of last year.

Identity: Challenge Album Cover

1. All or Nothing (모 아님 도)Click here to read the full review for All or Nothing. (9/10)

2. Breathing Breathing follows All or Nothing by delving into EDM. It isn’t as intense as the title track (that was on a whole different level), but Breathing still has that heft to it which I thoroughly enjoyed. Obviously, Breathing’s intensity is not only reflected in the instrumentation. Time and time again, I have made a wish that the rappers should really match the energy of the instrumentation. Dahyeon and Yongha (WEi’s resident rappers) live up that expectation and delivery a smashing sequence that forms part of the bridge. The other members match the intensity with their powerful vocals, which were needed to be heard over the synths and percussion that dominated the background of some parts. The song’s main flaw was its straightforward and no-nonsense approach. Great on many levels, but it resulted in a bit of plainness for me. (9.5/10)

3. Dancing in the Dark – Once again, their next track taps into the EDM realm once again. And like Breathing, it is less intense than its preceding track. I really enjoyed how much the EDM instrumentation really emphasized percussion, giving it a really satisfying glow. Usually, the main driver of an EDM is its synths. But the percussion really made the song stand out for me. I also really liked the peaks of the EDM in Dancing in the Dark, which further adds to that satisfaction. While the vocals and rapping were powerful enough to be heard and definitely reflected that intensity, it all felt like a blur to me as nothing really felt memorable. I was more in tuned with the instrumental, rather than the members. I wished the hooks and melodies were more prevalent and grabbing. (8/10)

4. Diffuser Diffuser moves away from WEi’s reliance on EDM, opting for something leaning more towards pop. That being said, synths still made up most (if not all) of the instrumentation. It was pleasant and nice, but I don’t have much else to say about it. I felt the pop was more reflected in the ways the members delivered their lines. All the members really shined throughout the song with their sweeter and toned-down vocals. You could also sense a smile behind their vocals, which is a whole different side to the members when you compare this song to the title track. (7/10)

5. Winter, Flower (겨울, 꽂) – No KPOP album is complete without the mandatory ballad and Winter, Flower serves as that track for WEi. It closes the album with a style that very different to the way they opened this mini-album. The background of the Winter, Flower is a traditional orchestra styled instrumental. To me, Winter, Flower is a massive success as it shows that the members are highly capable of different styles. The vocals sound so nice and very powerful. In some ways, it was quite striking. Even the rappers did amazing on the vocal front for this song. (8.5/10)

Overall Album Rating – 8.4/10

Teaser image of WEi for their Identity: Challenge mini-album release
Identity: Challenge Teaser Image

[Weekly Chart] 3rd Week of April 2021

It is time to look back at the week that just passed through the Weekly KPOP Charts segment. It was a light week in the KPOP industry, with a few major comebacks happening at the start of the week, such as DAY6’s return with You make Me and NU’EST’s INSIDE OUT. As I have album reviews to write up, I want to move along, so let’s jump right into the Weekly KPOP Charts.

New releases of the past week

In addition to DAY6 and NU’EST, we also saw comebacks and releases from GreatGuys, APINK, IZ and B1A4. I also wrote a review for P1Harmony’s Scared, which also dropped this past week.

Throwback corner

With DAY6 returning, it is appropriate time for a DAY6 marathon. And one song that took me a while to stop replaying to move onto the next DAY6 song is their 2019 release, Time of our Life. Definitely a worthy addition to the throwback corner.

The charts

Congratulations to Kang Daniel and Antidote, who rose to the top of the charts jumping one position from last week’s second place. For more of the charts, scroll down below.

  18th Apr – 24th Apr 2021
Title Artist Status
1 Antidote Kang Daniel (▲ 1)
2 You Make Me DAY6 (new)
3 INSIDE OUT NU’EST (new)
4 ONE ASTRO (▲ 5)
5 Atlantis SHINee (▼ 2)
6 I Wouldn’t Look For You Kim Jae Hwan (▼ 5)
7 Like Water Wendy (Red Velvet) (▲ 3)
8 Breathe Golden Child (▲ 53)
9 Unnatural WJSN (Cosmic Girls) (▼ 5)
10 Spider Hoshi (SEVENTEEN) (▲ 62)
11 Beautiful Beautiful ONF (▲ 4)
12 Seoul GHOST9 (▲ 13)
13 Do or Not Pentagon (=)
14 All Or Nothing WEi (▲ 27)
15 Young Blood DRIPPIN (▲ 4)
16 Scared P1Harmony (new)
17 YOU CHECKMATE (▲ 9)
18 water color Wheein (Mamamoo) (▲ 2)
19 libidO OnlyOneOf (▲ 3)
20 Tail Sunmi (▲ 15)
21 Spit It Out MAJORS (▲ 51)
22 Bad Habits CRAVITY (▲ 49)
23 What Type of X Jessi (▼ 18)
24 Away From Home Kim Jeong Uk (▲ 48)
25 Thank You APINK (new)
26 On The Ground ROSE (▲ 20)
27 My Name D-CRUNCH (▲ 45)
28 Loved You BAE173 (▲ 5)
29 Love Song Yoon Ji Sung (▼ 22)
30 ASAP STAYC (▲ 28)

Songs leaving the charts this week

The songs leaving the charts this week (as they have wrapped up their nine week run on the charts) are:

  • Don’t Call Me – SHINee
  • Clicker – J.Don
  • Inside – KEEMBO
  • Tail – Sunmi
  • Beautiful Beautiful – ONF
  • All Or Nothing – WEi
  • Wings – PIXY
  • I Wanna Hear Your Voice – Kim Kyu Jong (SS501)
  • Lose – Wonho
  • Blossom – Oh Sae Beom
  • Breathe – Golden Child

[Review] Loved You – BAE173

Next up on the blog are some reviews for releases from the last few weeks that I have not yet reviewed. First up is BAE173’s first comeback single, Loved You. This one in particular is one I really wanted find time to write a standalone review for, for a number of reasons. Firstly, this is the first time I am reviewing a BAE173 release. They made their debut earlier this year with Crush On U (which I have yet to review, I will definitely get to it soon!). Other reasons will become apparent as I review this release. But as this is the first time I am reviewing BAE173, I will need to provide a little introduction to the group. BAE173 is a nine-member male group under Pocketdol Studio, consisting of J-Min, Hangyul, Yoojun, Muzin, Junseo, Yongseo, Doha, Bit and Dongpyo. Members Hangyul and Dongpyo may be familiar as they debuted as part of X1 and later formed duo H&D, before disbanding to re-debut as part of BAE173.

What really excited me about Loved You when I first heard, and even now, it is how much it reminded me of Big Bang’s works. To be able to pinpoint that exact feeling is something that is extremely hard, given Big Bang’s vast array of songs under their belt. But as I, like many, miss Big Bang greatly, this puts Loved You in a very favourable light. What I also like about Loved You is that it is a satsifyingly cohesive track. It made for a good listen and nothing felt out of place for me. From the piano work we get in the pre-chorus, to the strumming of guitar in the background of the verses, to the simple instrumental break that we get as part of the bridge. Instrumentally, the song is quite sound and memorable for me. Sure, Loved You could use some improvements in the vocal department. I do admit that they are not as memorable as they could have been. In fact, one might describe their vocals and rapping as rather dull, especially for an instrumental as good as this one. But I think that thought might be a bit extreme as I felt the members were going in the right direction with what they had going on in Loved You. They just could have been a bit more energetic with their delivery in retrospect, especially as the rappers felt very subdued. I think Loved You could have really benefited from something that was more dynamic as this potentially uplifted the song to a whole new level. Overall, Loved You is a really solid song for BAE173, putting them on the radar for new artsists to look out for in 2021.

When I watch the music video for Loved You, I can’t help think that PocketIdol Studio is holding back an extended version. I feel like there is a more fulfilling story to be told, but it had to be cut down to fit the parameters of a music video (even though this one did go for a longer than usual amount of time). As a result, I don’t think I can really form a storyline. But I think there is enough to take a stab at a guess. It seems like the music video revovles around one member, as in one scene the members disappeared leaving only one behind. Similarly, there is one member lyring over his desk in the swimming pool, whereas evertyone is standing around him. My best guess is that the music video talks about the struggles of being alone. But I am not sure what the giant big cat and the flames around the members suggest. Maybe I will revisit this video in a Music Video Theory post (which I planning doing again in the future, but just don’t have the time to restart at the moment). I also like how the music video features an extended version of the song, which I think adds appeal to continually rewatch the video.

The performance that accompanies Loved You is pretty good. My favourite bit has to the be the instrumental break that features the performance’s dance break. Though brief, I felt that it really delivered and showcased the group’s performance skillset. Similarly, I felt the same with the rest of the performance. I just wished the rest was a little more memorable.

Song – 8.5/10
Music Video – 8/10
Performance – 8/10
Overall Rating – 8.3/10

[Review] Scared – P1Harmony

The next comeback to occur, and be reviewed, this week was made by P1Harmony. P1Harmony returned on Tuesday (once again, apologies for the delay in the review) with their very first comeback since their debut six months ago in October 2020 with Siren. This latest comeback features the group’s second mini-album, Disharmony: Break Out and the title track Scared.

Right off the bat, Scared really appealed to me with its intense and high level energy. As mentioned in the past, hip-hop isn’t my preferred genre in general, let alone in the Korean music scene. But like all things, there are always exceptions and Scared falls into the latter category for me. I have to admit that I was weirded out by the instrumentation when I first heard the song. The constantly clashing instrumentation, which sounds like a lot of metal falling on top of one another, felt a bit much for me at first. But as I continually replayed the song the next day, it grew considerably on me and it is the element of the song that I look forward to the most when I play the song now. I really liked how that even while the clashing like metal is not explicitly in the foreground of the instrumental, they are still present in the background but in a very muted fashion. It ties everything nicely together, creating a robust backing for this song. As the song delves into the hip-hop genre, the members that flourish the most are the rappers, and their delivery is definitely top notch during the verses. I was definitely head banging my way through the song. I am a little disappointed come to the first and second choruses, as I wished the rappers were more powerful with their delivery in this vital part of the song. They easily could have hit a home run if they were more dynamic. The instrumental in the chorus was definitely energetic, though could have been heightened further in my opinion. This would have helped tie the song together even more tightly. On the other side of the spectrum, the vocals were equally as good. While the rappers did flourish, the vocalists were not shorthanded during their parts of Scared. I mean, Kijung’s vocals during the latter was just on point and quite smooth. Overall, Scared is not song to be scared of. It may overwhelm at first, but it will grow on you.

I am not exactly sure what the story behind the start (and all the relevant scenes throughout the video) were about. My best guess is that each of the people who we see that are non-members were at one point scared of something. But they have joined this cult or following lead by the members of P1Harmony, which tells them not to be scared of anything. Even if the world around you is falling apart. Aside from my botchy storyline, I really like the underground vibes of the music video. It really worked well with the song and really complimented the subtle intensity those additional scenes from the start and throughout the video had.

What a performance! The incorporation of the football into the choreography was a really unique touch. The way the performance goes full circle by bringing back the football at the end, and the whole routine we saw at the end with Theo’s slide and Jungseob’s jumps over the dancers, was amazing. Throw in the choreography we saw throughout the routine, and you have a cool looking dance performance that emphasizes the intensity of the song. If that wasn’t enough, then Soul’s dance break would have been the icing on the cake. And this praise hasn’t factored in the fact they performed the entire performance with live vocals.

Song – 9/10
Music Video – 9/10
Performance – 10/10
Overall Rating – 9.2/10

[Review] INSIDE OUT – NU’EST

Next up on the blog is the review for INSIDE OUT, NU’EST’s most recent comeback. It dropped on Monday (apologies for the delay in the review) and is featured as the title track on NU’EST’s second Korean studio-length album, Romanticize. This comes after almost a full year since the group last promoted on a Korean stage with I’m In Trouble. The group did release their second studio album in the Japanese market, headlined by Drive, which I have previously reviewed. Romanticize and INSIDE OUT is a full group comeback, however Aron which only partly feature in promotions for the release due to ongoing health concerns. He previously stopped all activities earlier this year as a result of these health concerns. But I am glad that he feels he is well enough to participate as it is always unfortunate for a group to not promote with a full lineup, and the fans who have eagerly been awaiting a full group comeback of their favourite artists.

INSIDE OUT opens up in a very refreshing manner. If that was my initial impression of the song, surely INSIDE OUT would be a knock out of the park. But it didn’t really. Instead, NU’EST’s latest release suffered from a case of being too consistent. I bring back my straight analogy which I hardly use nowadays. The song simply stays within the confines of this straight line, going from point A to B. Sometimes, it is the selling point of the song. But most of the time, I find it a bit too tight for my liking. INSIDE OUT never really peaks or deviates from the line, resulting in a consistent and monotone sound. At the same time, however, I couldn’t really pinpoint anything wrong within the song if I were to extract it to the individual main elements I tend to focus on. The instrumental takes on chill house, which is what brings out that refreshing tone. I also like its minimalist vibes, which was promoted as one of the song’s charms. Maybe this combination added fuel to being overly consistent. The vocals are quite clear and crisp throughout the entire song. It was definitely a solid feature to the song. I wished the rapping (courtesy of JR) was a bit more dynamic. What we heard was fitting for the overall final product. But I think that this additional dynamism could broke the song from its consistency mould and made the song more appealing in that regards. Aside from the rapping, the song’s melodies and hooks are quite catchy. The opening of INSIDE OUT came back as post-chorus hooks and gave the song a little bounce. The vocals also helped the melodies appear a lot smoother, which was nice. But while I give praises for the elements within INSIDE OUT, it is the bigger picture that I find a bit boring.

Like the song, the music video opens in a very striking manner. I really like the way the camera goes around in circles with a very wide angle lens. I also really thought it going upside down was pretty cool. There were also many other cinematography shots that look really cool, so it is a video to check out if you are really into that stuff. I also find the music video to be quite smooth, with the transitions playing a vital role in making this happen. They are all your standard transitions, but the way they come together and blend the various scenes together make this video look so good. I also thought the concept behind the ball to be quite interesting. The ball just keeps on rolling away, which I assume represents the need to run away from their lover. But towards the end of the video, Baekho smashes the ball which I assume represents that they are staying with their love. The dominos could potentially be explained in a similar manner. The start of the video we see a domino piece leave the sequence, which prevents the continuation of the falling dominos. At the end of the video, we see Ren ponder and put down the piece, allowing the dominos to continue falling. My guess is the dominos represent his love for this partner. The start shows his love being cut short, but the end shows the love continuing as per the lyrics.

I liked the choreography that accompanied this release. While it isn’t really a mind blowing performance, I did like the energy exuded from the routine, especially during the chorus. It makes the song feel more lively. My favourite bit has to be the post-chorus hook (i.e. “you are the one I want, eh eh eh, you are the one I need eh eh eh‘). Not only was it catchy, but the moves felt like they could as well.

Song – 8/10
Music Video – 9/10
Performance – 8/10
Overall Rating – 8.3/10