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.

[International Song Reviews] Jackson Wang & JJ Lin, The Boyz, AB6IX & Why Don’t We, Jun.K, WAYV

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It is time for another post International Song Review segment. As promised last time, I would write the post as soon as there are five songs eligible for review (i.e. any song by a Korean or KPOP-related artist who has released a song in a non-Korean market). In this post for this week, I will be reviewing the collaborations between Jackson Wang & JJ Lin, the remix collaboration between AB6IX and Why Don’t We. I will also look at The Boyz and Jun.K’s recent releases in the JPOP market and WAYV’s return.

Should’ve Let Go – Jackson Wang & JJ Lin

Should’ve Let Go is a collaboration between Jackson Wang (member of GOT7) and JJ Lin (a famous Singaporean artist) and was released at the end of 2020. The biggest asset in this song are both Jackson’s and JJ Lin’s vocals. They sound stunning throughout the song with their raspy vocals. The melodies in which carry their vocals are so smooth and this makes the song even more impeccable. And don’t get me started when they harmonise with one another. Those sections are just blissful. Another really great aspect of the song for me is the R&B instrumentation. While I do describe the song as a ballad, the R&B roots are very prominent and give the song a little bit more appeal than a usual classical instrumented ballad would. Oh, and per usual, the ballad makes me sway along (Props to you if you know what that means). The music video shows two love stories. The first is a couple who have been together for some time. The male partner gets into college or a job that requires the pair to go into a long distance relationship. The female partner does not like this idea and chooses not to kiss him one last time before he leaves. The second story is of a high school crush. The male partner has a crush on the female and hesitantly tries to get close to her. One day, she drops a necklace and he picks it up. Using this as an excuse, he plans on confessing to her through a letter. But when he is on his way to the next day, he witnesses his crush accepting flowers from another guy. At the end of the video, we see what should have happened (i.e. the guy moving away hugs his partner as he leaves, and the younger guy makes his move earlier on). I have an interesting theory that suggests Jackson is the guy who moved away as all his scenes are on the bus (which was the mode of transport the guy was taking to move away), while JJ Lin is the high school guy as he is seen holding the necklace that the female character in that story dropped. I liked how the stories felt fitting for the emotional side of the song, and the ambience of the scenes that involved JJ Lin and Jackson were optimal for a ballad like Should’ve Let Go. (10/10)

Breaking Dawn – The Boyz

The Boyz made their return to the Japanese market at the end of February with Breaking Dawn. However following the confusion caused by Tattoo (their first original single in the Japanese market), I still feel like The Boyz, their company and their producers are a little confused with the Japanese market. Three quarters of Breaking Dawn is prosed in the Korean language, with the other quarter being in Japanese (and is limited primarily to the end of the song – i.e. half of the bridge and the final chorus). Moving away from the language confusion, Breaking Dawn is a okay dance track. It isn’t one that I am super excited about. It doesn’t really offer us anything different to what we know The Boyz for. The only observation I made in regards to the song that I felt was a substantial difference was that the vocals and rapping sound a lot rougher in Breaking Dawn, compared to their other releases. While I usually would be praising this modification in sound because I really enjoy textures in my song, its instrumentation is plain and doesn’t provide any dynamic backing to these vocals. The chorus was also okay. It wasn’t the best, but it wasn’t necessarily terrible. I would have enjoyed it more with better hooks and maybe a punchier instrumental piece to liven the song. The ‘Breaking Dawn‘ deep toned whisper that kick starts the chorus doesn’t really do achieve any of that. I feel like its whisper really sets the tone for the chorus, which resulted in it not being as dynamic as I thought it could potentially be. For the music video, I really like the visuals that we got. This includes both the visuals of the members and the sets in general. I really like how they used fluoro colours as the main colour palette of the video, which looked stylish and trendy. The choreography was pretty good. To me, it felt like a continuation of the same themes and style as their The Stealer choreography. They show off their performance skills in this routine and there is also that tinge of sexiness in the performance, thanks to the bending back move that kicks off the chorus and the outfits worn by some of the members. (7.3/10)

Fallin’ (Adrenaline) – AB6IX & Why Don’t We

While there is no music video for the collaborative remix for Fallin’ (Adrenaline) by AB6IX and Why Don’t We (one of the criteria a release usually must have to be reviewable), I still want to write a review for it. While the main differences between the two versions is simply the multi-language approach of the lyrics, I have classed Fallin’ as an International Song because it was previously released as Western single and this particular version still involves the original singers of the song. Why Don’t We’s version was already really captivating, thanks to its instrumentation. But I also have really enjoyed AB6IX Remix for a number of reasons. Firstly, I enjoyed the instrumentation of both. They are effectively the same background piece, with really thrilling drumming that really get the adrenaline pumping. Secondly, I really liked how AB6IX really fitted into this song and alongside Why Don’t We. There synergy really made it feel like this was the original version of the song. Thirdly, I really enjoyed the addition of the rap sequence that Woojin contributed as part of the bridge. It continues that momentum from the chorus and it didn’t ruin the integrity, structure or overall feel of the song. I wish that one day (after this pandemic) we will have the opportunity to see a live performance of this collaboration. Just imagine Why Don’t We playing their instruments in the background and bringing us a live performance of that adrenaline rush, while AB6IX throws in a bit of choreography that taps into that energy and vibe. Already sounds like a performance to watch out for. (10/10)

Hide & Seek, 1995 – Jun.K

A release that has probably gone under the radar for a lot of people is Jun.K’s most release Japanese release, Hide & Seek, 1995. The song dips its toes into that groovy trend that has been ongoing in the KPOP music scene, however still keeps a R&B profile. I quite like this combination. It might be a bit typical in hindsight. But it is a good listen, nonetheless. I really like Jun.K’s vocals in this song. His husky tone is used really well and his vocals in general feel really lively and upbeat. Interestingly, his more recent Korean release (30 Seconds Might Be Too Long) actually has a similar sound. But yet, Hide & Seek 1995 seems to sound like a complete turnaround in sound thanks to his brighter sound. The music video for Hide & Seek, 1995 actually looks nice. Through the short previews that you get when you hover your mouse over the thumbnails on YouTube, I thought it would be a dull video. But the post-production, including colours and effects, all really helps the video work in harmony with the song. It is also a stylish manner to make the video appear more energetic. Jun.K also had good chemistry with the camera, which also helped as well. I quite enjoyed it in the end. (8/10)

Kick Back – WAYV

Kick Back is the latest release from WAYV, the Chinese based unit of NCT. Kick Back starts off like your typical male group dance track. I did like the hefty momentum of the song and the percussion in the background. The song then progresses into the pre-chorus, which brought in some dramatic flair. They merged some classical instrumentation into the song and I found this part of the song to be the most engaging. Just before the chorus, we get a long note from Ten, a bit of rapping from Lucas and what I would describe as ‘sparks’ in the instrumentation. This transition felt quite smooth and really connected well with the catchy and repetitive chorus simply. I really like how amped up everything felt in the chorus, but I think it could have gone an extra mile (more on that in a second). Moving along, I also really liked the bridge of the song. The focus is more so on the vocals, which I think was a very strong aspect of Kick Back, and I really like it how the instrumental felt like an extension of the pre-choruses (which I have already mentioned that I enjoyed a lot). The rapping in Kick Back was more forgettable. I felt like this was a missed opportunity to have the rappers deliver a sequence with a little more power and dynamism to offset the ‘neutral gear’ that the song was stuck in. And that is something that I must admit really stuck out at me. While the song was good and what I have described Kick Back is quite positive, I can’t help it but think the song was ‘safe’ for the group. We did get a tease of an octane sequence at the end with a dance break sequence at the end. However, I would have preferred it more if the producers somehow integrated this into the song, rather than just sticking it at the end. I think this would have helped make the song a lot more appealing in the long run. Based on what I am reading, WAYV’s music video for this release is connected to past NCT and WAYV music videos. Watching the music video a couple of times for this review, I didn’t really catch any references to those videos. But maybe my mind isn’t working right today. But the video has good cinematography, which made the video engaging for me to watch. The sets also looked good. Their outfits felt questionable for me. Their choreography routine looks really cool. I really like the footwork that you can see throughout the video and their jelly leg move during the chorus. While the footwork does look easy, I am sure the balancing act they had to do at the same time on the other foot made it really hard. I also liked the subtle tinge of aggressiveness in the choreography. (7.6/10)

[Review] House Party – Super Junior

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One of the longest running groups of all time has finally made their comeback with their 10th studio album in celebration of their 15 years in the industry. For any of the new KPOP fans who are wondering, I am talking about Super Junior, who made their debut way back in 2005. Their 10th studio album is titled The Renaissance and features the title track, House Party. Previously, the group was teased their 10th studio album release with the pre-release The Melody. The album release was also originally scheduled for a December 2020 release, but was later postponed to February 2021. It was once again postponed until March 16th, which was when the album and new single, House Party, was officially released.

For the most part, House Party was a decent song. The song delves into funky pop track. It is something that Super Junior has done before. But this has less quirks than their usual releases and feel relatively more plain. However, at the same time, I do think Super Junior manages to infuse their own character and showmanship into the song. Furthermore, I think the plainness is offset by relentlessness of the song’s energy, which is practically 100% throughout the song. I also find their rap centric delivery to be quite engaging, despite it falling more to the cringy side of the spectrum. Their vocals during the chorus where they are all singing together really make the song feel more wholesome and feel-good. This momentum continues into the second verse, until we are interrupted by the most ill fitting trap hip-hop breakdown sequence ever. My reaction to it the first time around was a jaw drop and a confused look on my face. And while I do want to go back to replay the song for those funky feel good vibes, I have to brace myself as they lead us into this unnecessary edgy sequence in the song. Another aspect which I don’t like about this particular sequence is how much it felt like an insert. There is no transition into this segment. There was no attempt to blend it in or build up to it, which could have potentially made it sit a bit better in the song. It to me broke the song and I am left gutted by this as I was enjoying the high that they had going on preceding the second verse. Even though they returned to the what they started off with, House Party is left impacted by the sudden poorly thought out breakdown in the second verse.

I don’t know about you. But I expected something a little more along the lines of a house party, given the song’s name, and not just a house dinner. I am a bit disappointed on that part. But I guess the video make sense, given that a lot of our world are bored out of their minds because of quarantining and being in self isolation. And a dinner party with a couple of people, given that is what is most likely all you can do at the moment. Aside from touching on the current climate, the music video actually looks nice. I really like the elegant suits they wear. Their casual wear is a hit and miss for me. I did like the edgy black outfits they wore during the breakdown, though I am not exactly into the whole idea of shooting guns at your fellow members for no apparent reason. The music video had to do something edgy to match with that part of the song, so I acknowledge that. But even here, it looks really ill-fitting concept wise.

The choreography looks nice. I would have expected it to be a lot simpler, but I like it that they make sure the choreography matches the relentless nature of the energy exuded from the song. I also like how it still remains playful and looks fun as well.

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

[Review] Young Blood – DRIPPIN’

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After reviewing all of Monday’s releases, I can finally move onto releases from this week that occurred after Monday. One of these releases is DRIPPIN’s comeback single, Young Blood, which is featured on their latest mini-album, A Better Tomorrow. They are a relatively new group and this is their official comeback since their debut with Nostalgia. So for the benefit of those who are unfamiliar with DRIPPIN’, they are a seven-member male group under Woolim Entertainment. And here is a reason to why you should familiarise yourself with the group. They were overwhelmingly voted (44%) as the Best Male Rookie Group of 2020 in the 2020 KPOPREVIEWED Awards. And if that it the attention they garnered within two months of their debut, the future for DRIPPIN’ is looking very bright. Let’s see what they are doing with Young Blood.

Young Blood reminds me of some of AB6IX’s early works. From the vocals to the upbeat yet straightforward nature of the instrumentation, it takes me back to those 2019 releases by AB6IX. What I did like about Young Blood that stood out for me was the groovy tinge to the song. Once again, this is another song to add to the ongoing trend. But this is who DRIPPIN’ made the song theirs. AB6IX’s releases did have a similar tinge, but it was not as satisfying or fulfilling as Young Blood. The electronic synths and energy come together to make a quite dynamic dance track that I am sure meets the expectations of fans. I find the pre-chorus slow down to be quite nice, especially with the piano coming through. It also helped make the launch into the chorus more exciting and impactful. The rapping in the song’s second verse was probably its weakest moment. Compared to the rest of the song, the instrumental strip down felt as simple as a blank canvas. Some synths can be heard, but they were used sparingly. The rapping just didn’t do enough to fill in that ‘blank canvas’ for me. The song then returns to the chorus, pulling the song back up to the thrill that was heard before the second verse. The bridge was short, but it was decent. I enjoyed the thumping beat that dominated the bridge. It added more to that thrill that just mentioned and threw in a bit of suspense. I also enjoyed the instant launch back into the final chorus, reinforcing that idea of being straightforward and not messing around. Overall, Young Blood was very energetic and dynamic, aside from its middle core.

I am not entirely sure about what is happening in the video. The start looked intriguing with one of the members going about his day as a convenience store clerk. During his usual duties, the power goes out and he notices a light behind the refrigerator. He looks into the light and this takes us to a world with no restraints (this is my assumption). The members look like they are having fun. But at the same time, they are seeking something (which I assume is in the box that they found the key for). What is in that box, I have no idea. It does give the video an air of mystery. But at the same time, it was lackluster and I don’t think there was enough in the video to decipher whatever was going on. Aside from that, I really like the use of multiple scenes throughout the video, which gave us some variety in the visuals of the video.

I really like the energy and drive behind their moves. It matches the dynamism and momentum of the song. No moves or not any moment stood out to me on its own. Rather I felt the entire choreography routine was a solid package. If I had to point out one part of the choreography that did at the very least elicit some sort of reaction from me, it was the spinning leg move they did at the start. The choreography just quickly moved on and so I didn’t really have much time to really think about it.

Song – 8/10
Music Video – 6.5/10
Performance – 7/10
Overall Rating – 7.4/10

[Review] Feel Like – WOODZ

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Also making his comeback this past Monday was WOODZ, with his new single Feel Like. I was super excited upon hearing the news of WOODZ’s impending return, as he is one of the solo artists to really stand out last year with his solo releases. His 2020 releases include his return to solo promotions with Love Me Harder (and his first mini-album Equal) and then the release of Bump Bump and the mini-album WOOPS! in November of last year. Feel Like is featured on his first single album, titled Set.

WOODZ delivers what I had hoped for. Feel Like channels the aesthetic that we got through some of his best side tracks of 2020. Such tracks include Lift Up (from Equal) and Trigger (from WOOPS!). Though, Feel Like differs in its own way when it comes to it musically. The start of the song and the body of the first verse feels like a R&B dance track. It is sleek, moody and very alluring. The bass is very present and really sets the tone of the song from the get-go. I really like the use of the drums for the pre-chorus segment. They come crashing in and adds a layer of texture to the song that helps make it more dynamic. The chorus brings in electric guitar solos that just sound so good. They are the star attraction of the song. While his vocals are really smooth and sleek like the electric guitar solos in the chorus (and pretty much the whole song), I wished there was more of a hook in this section. This would have transformed the song and enhance it to a new level. The delivery of the rapping in the second verse in combination with the instrumentation reminds me of one of SHINHWA’s song (I believe the song I am thinking of is Sniper). The rapping in Sniper was quite cool and has left a great impression on me. So WOODZ going down that route and opting for something similar was very fulfilling. Similarly, I thought the bridge (and in hindsight, the entirety of the song) had Taemin-like vibes, which is another really cool artist to pay homage to. Still, despite all of this, WOODZ retains his own colour. Overall, Feel Like is a really good song that shows off the strengths of WOODZ.

The highlight to the music video for Feel Like is WOODZ’s captivating charisma. The dark tone of the video sets the atmosphere, which I found fitting for the sleek nature of his vocals. While at times it was hard to see what was going on, WOODZ managed to shine with his alluring appeal and charisma. Most of it stems from his solo choreography and movement. In addition to all of that, I really like the post-production editing of the music video. The way the dancers made their entrance into the video and how we see WOODZ gets zapped back into reality at the end of the video. That was all pretty cool. Not entirely sure what the story in this video is, though. All I understood that he was zapped into and out of an alternate world.

The choreography for this comeback is really cool. Once again, it fits in with the sleekness of the song. In addition to matching up with the song’s vibe, Feel Like showcases more of the performance side of the soloist. That charisma and energy from the music video comes through and I really enjoyed the smoothness of the moves during the chorus.

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

[Review] DO or NOT – Pentagon

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Another group making their return this week is Pentagon. They make their welcomed return with DO or NOT, the title track off their 11th mini-album LOVE or TAKE. It follows the release of their hit Daisy, which earned them with their first music show win since debut. This comeback is also without Hui, who enlisted a month ago after his original enlistment was postponed due to COVID-19. You will still be able to hear Hui’s vocals in the song for this comeback and you will also see him in the music video. But he will not be participating in promotions. Apart from that temporary lineup change, Pentagon continues to power through with DO or NOT.

The title track opens with really nice harmonisation. Hui leads this part, with the rest of the group harmonising in the background. It is a very delicate start and draws your attention to the vocals. Some whistling appears out of nowhere in this section, but it manages to create a segueway between the intro of the song to the main body. The main body of DO or NOT has a bit more substance with its pop sound, ultimately peaking during the chorus. I really like the bass in the verse, which felt like the energy of the song was brewing in the background. That brewing energy become apparent in the chorus, where band instrumentation livens up the song, and creates a very fun and lively atmosphere. The rest of the song follows a similar profile. Vocally, I don’t think it is their most impressive showcase of vocals. But the vocals were still pretty good and solid nonetheless. The vocals do enjoy some enhancement thanks to the energy from the instrumentation that I have already spoken about and the really catchy melodies of the song. DO or NOT also has some really addictive hooks that really help make the song more memorable. The rapping by Wooseok and Yuto were also pretty good, adding some more oomph to the energy of the song with their deeper and raspy tones. Overall, I think the song was a really strong showing from the members. To me, the best element of the song has to be the energy they created with DO or NOT, which brought a feel-good vibe and was something I constantly revisited as you may have noticed above.

The song’s lyrics depict the guys as cool and laidback in a relationship (or a potential relationship). They say they don’t care what their partner does next, but ultimately the guys are in love with their partner. And the music video shows just that as well. We see the female get a text message and she rushes away from the members to answer. And this starts a whole bunch of events which show the guys pretending not to care. But they end up chasing after her and being around her while they ask her to pick who she wants to be with whilst pretending to be cool. At the end of the video, we see the guys sitting around the couch like at the start of the video, with the exception of their crush, who I am assuming has chosen someone else over them. You can see the disappointment in their faces. Apart from the storyline, I really like the how the music video reflected the song’s upbeat energy. I also enjoyed the splash of colour throughout the video.

I really like the playful vibes they brought to the stage with the performance. I compared two of their performances and noted that for one of them, the members seemed to be very cautious (I am guess the set they are performing on isn’t made for dance performances) and toned down the energy considerably. It made the performance awkward to watch. The other performance was a lot more lively and more fun as their movement was not bound by caution. And it is this energy that I really enjoy from Pentagon’s performance that I hope they stick with in the future.

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

[Review] Ponzona – PURPLE KISS

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After teasing us with two pre-release singles, My Heart Skip A Beat and Can We Talk Again, PURPLE KISS has finally made their debut with Ponzona (‘Poison’ in Spanish), today. For those who are unfamiliar with the group, PURPLE KISS is a seven-member female group from RBW Entertainment, which is the home of MAMAMOO, ONEUS and ONEWE. The seven members that make up the new group are Park Jieun, Na Goeun, Dosie, Ireh, Yuki, Chaein and Swan. On a side note, I have yet to review those two pre-release tracks. I do intend on reviewing them and will get around to them soon. Aside from that, let’s have a closer listen and look at Ponzona.

Based on sound alone, PURPLE KISS’s debut single sounds very unique. There was this very mysterious, intriguing but ultimately edgy vibe to their overall sound, which I thought was an interesting blend of emotions that helped made Ponzona very appealing. On top of that, I also like how bold and intense the fusion urban hip-hop instrumental felt. That dance break was something very different to what I am used to and shows off a unique flair. It definitely captivated. I also liked the use of classical instrumentation and the piano throughout the song. that helped the song come off as artistic and aesthetic. The only concern I had with the song was its pace. I thought it was sluggish in the verses and some of the choruses. I know they really tried to intensify all of that mysteriousness and edgy vibes by using this technique. But I felt that this backfired slightly and drained some of that energy from the song. Aside from instrumentation, I really want to draw attention to their delivery in Ponzona. The vocals are superb. Coming from RBW Entertainment, I definitely had high expectations for the group in this department and they literally met that expectation with ease. That growl by the member who sings ‘Purple‘ at the end of the chorus really catches my attention. The members who participated in the pre-chorus also delivered smashing vocals that blew me away. The rapping was equally as strong and really gave the song more of that intense kick that notable rappers always give off in their personal songs. Ponzona really catches my attention from the get-go and I am definitely excited to hear what they have in store next for us listeners!

To match that mysterious and edgy vibe, the music video that accompanies the release of Ponzona did an excellent job of showcasing those same vibes in a visual manner. And they did so with the addition of a creepy aura which really sends a statement to viewers who are coming to see the members/release for the first time. While I am not sure if all the scenes are meant to connect to tell a story. But I feel the common message is that these girls are very powerful, sought after by followers and even the devil (or an evil creature) bowing down to one of the members as well. I also liked how their use of purple isn’t too overwhelming. I would have expected the video to be somewhat saturated with the colour, given that it was their debut and you would want your name to be known. But it was used sparingly and in a refined manner.

I liked how those vibes I mentioned above were also reflected in the choreography. I really like the introductory sequence to the choreography, with its robotic like movements. I also enjoyed the boldness of the dance break, matching that paced nature of the song, but also showing more of that unique flair that I mentioned in the song section of this review.

Song – 9/10
Music Video – 9/10
Performance – 8/10
Overall Rating – 8.8/10

[Album Review] DEVIL (1st Studio Album) – ONEUS

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After 2 years in the KPOP industry, ONEUS joins the many artists who have made their comebacks in 2021 with a studio album. Titled DEVIL, ONEUS’s first studio album features 11 tracks, which includes an intro track, the title track No Diggity, the December pre-release single BBUYSEO and an outro track. And for the first time in a while, all 11 tracks will be reviewed! This album continues on from a busy year, with includes the A Song Written Easily and TO BE OR NOT TO BE comebacks and their participation in Road To Kingdom (I know, I keep on bringing it up). But that was last year and we are reviewing a 2021 album. So let’s continue on with the review.

DEVIL Album Cover

1. The Devil is in the Detail (Intro Track) – Introductory tracks tend to be instrumentals. But vocals are not uncommon. ONEUS’ introductory track for DEVIL falls into the latter category and it really gives us a taster of what is to follow in this album. Powerful vocals, strong rapping and quite an epic instrumental piece. It starts off as a smooth dance track, but slowly becomes quite choppy as it progresses along thanks to the trickling of EDM. (8/10)

2. No Diggity (반박불가) (Title Track) – Click here to read the full review of No Diggity. (8.5/10)

3. Leftover (식은 음식) – Leftover is a pretty straight forward pop track, though with a pitiful take on breakup as its lyrical focus. Don’t let its bright aura and playful tone convince you otherwise. Apart from that, Leftover is quite paced and consistent from start to end. ‘Pleasant at best’ is how I would describe the song. Nothing really sparked my interest in this song musically, aside from Ravn’s rap sequence which managed to briefly infuse some energy into the song. However, that fizzled out before the song could act upon it to potentially enhance itself. (6.5/10)

4. Incomplete (완벽하지 않아도 괜찮아) – Incomplete is a return to form for ONEUS, following the previous song. It is a dance track, detailed with electric guitars that come off atmospheric. I also like how the additional rock band influence comes into play throughout the song and enhances the song a new level of dynamism. Though I feel this could have been taken a step further. I wanted something more along the lines of Ravn’s rap sequences throughout the song. If this was fulfilled, I think Incomplete would have potentially rivalled No Diggity as the title track. The vocal work from the rest of the members was also quite good. Overall, a strong showing from ONEUS in this song. (9/10)

5. Youth – I just love the pop rock vibes that Youth manages to exude, especially during the pre-choruses sequences. It just makes this song so much more powerful. ONEUS’ delivery in Youth is also expectational, with an amazing high note from Seoho, the falsettos in the pre-choruses, Leedo’s raspy vocals and so much more. Youth is so satisfying and so enjoyable. There is so much to like in this song. Hence it is my choice for hidden gem on this album. (10/10)

6. BBUYSEO (Pre-release Track) – Click here to read the full review of BBUYSEO. (9/10)

7. Rewind (우리의 시간은 거꾸로 흐른다) – There is a lot going on in Rewind. Every few seconds or so, the song shifts its direction. Interestingly, it isn’t off-putting in any way. I actually like the journey it took me on. From the typical clock ticking to the dubstep to the other EDM influences during the chorus. It was definitely a roller coaster. That being said, Rewind packs a punch, was quite dynamic and showed off the members really well. I guess you could call it a ‘all-in-one’ package. (9.5/10)

8. Lion Heart – Lion Heart’s best attribute was how aggressive it was. You don’t expect it in the opening sequence (I thought the song was going to be bland with that opening). But Lion Heart manages to whip itself around with a really abrasive and deep beat that accompanied Leedo and Ravn’s harsh rapping. It was quickly followed up with a steep incline to the chorus, before we are blast with powerful energy and synths in said chorus. There is more twists and turns in the song as it continued on, all returning to the same bombastic and intense chorus. It is another song that really shows me that ONEUS is at their best in similar high energy and powerful songs. (9.5/10)

9. What You Doing? – ONEUS answers the trending call to have a funky song on their album with What You Doing? I really like how sleek the first half of the chorus was, before honing home the funkiness in the second half. Unlike the other songs on the album, I did think the vocals were a little weak in this song. They just didn’t have the same level of appeal. But they sounded good. It is a different story with their rapping and the accompanying instrumentals. Definitely more appealing and attractive. (8/10)

10. I.P.U (눈부시게 빛이 나던 그날) – I.P.U (I Promise You) is the closest ONEUS gets to a ballad on this album. Actually, the only similarity between I.P.U and a typical ballad would be the emotional heft you can feel from the song. The vocals definitely evoke some emotion within you as you listen to the song, Aside from that, I.P.U still has a lot of energy from its instrumental, which feels to fall into a band direction. I also suspect synths were used to make the song. Altogether it is a stunning piece. It is another 10/10 from me. (10/10)

11. Connect With US (Outro Track) – The outro track is very different to anything we have heard thus far on the album. Connect With US is more pop than anything, but I liked how there is some acoustics in it thanks to the guitar. It is also quite melodic and flowy, before a cut in transmission occurs at the end, finishing up both the outro track and album. (8/10)

Overall Album Rating – 8.7/10

DEVIL / No Diggity Teaser Image

[Weekly Chart] 2nd Week of March 2021

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I am back with another edition of the Weekly KPOP Charts. This time, it is on time per the posting schedule I had outlined a few posts back. Once again, it has been a busy week for me, as I explained in yesterday’s post for the Weekly KPOP Charts for the 1st Week of March 2021. But that won’t stop me from finally making a start on getting on top of the many reviews I have flagged on my ‘Coming Soon’ page, which I have been updating as much as possible. Before I can make a start of those reviews, lets have a look back on the 2nd Week of March 2021 covering 7th to 13th March.

NEW RELEASES OF THE WEEK

In addition to releases by BDC, GHOST9 and ROSÉ (which I have reviewed), we also saw a new release from Soyou and the debut of MAJORS. Cravity also returned with follow-up promotions after wrapping up their My Turn promotions.

THROWBACK CORNER

The throwback song for this week is Brave Girl’s Rollin’, which has been trending in South Korea for the past few weeks. During this past week, their 2017 song managed to hit the top of the charts, scoring an all-kill (the first group of 2021 to achieve this feat). It was reported a week ago the group was considering disbandment. But what a turn around within just one week, as the now four-member group is now actively promoting Rollin’ due to its newfound popularity. And it seems like their 2020 single, We Ride, will be joining Rollin’ at the top end of the chart shortly. Congratulations to Brave Girls!

THE CHARTS

Congratulations once again to ONF for their really addictive single, Beautiful Beautiful. For the past three weeks, the song has not budged from the top spot despite strong competition from other artists. For more of the charts, scroll down below.

  7th Mar – 13th Mar 2021
Title Artist Status
1 Beautiful Beautiful ONF (=)
2 Why Why Why iKON (▲ 1)
3 Fireworks (I’m The One) ATEEZ (▲ 18)
4 On The Ground ROSÉ (new)
5 All Or Nothing WEi (▲ 44)
6 Breathe Golden Child (▲ 18)
7 Seoul GHOST9 (new)
8 Tail Sunmi (▼ 6)
9 Bicycle Chungha (▼ 5)
10 Encore GOT7 (▲ 13)
11 DOOM DOOM TA TRI.BE (▲ 16)
12 Lose Wonho (▲ 4)
13 U MAD BOBBY (iKON) (=)
14 I Wish Soohyun & Hoon (UKISS) (▲ 21)
15 Burn It Golden Child (▲ 29)
16 My Name Is ONF (▲ 3)
17 Love So Sweet Cherry Bullet (▲ 20)
18 Paranoia Kang Daniel (▲ 5)
19 Excalibur KINGDOM (▼ 9)
20 Don’t Call Me SHINee (▼ 13)
21 Time For Me Berry Good (▲ 21)
22 Only You SATURDAY (▲ 9)
23 Celebrity IU (▼ 12)
24 Odd Eye Dream Catcher (▼ 10)
25 Cinema CIX (▼ 5)
26 I’m Not Good Hyuna (▲ 23)
27 MOON RIDER BDC (new)
28 ASURABALBALTA T1419 (▼ 11)
29 Stay Young AB6IX (▼ 14)
30 Get Away VERIVERY (▼ 24)

SONGS LEAVING THE CHARTS

The following songs have wrapped up their nine week run on the charts and will be removed to make way for new songs:

  • What I Said – VICTON
  • MY TREASURE – TREASURE
  • HWAA – (G)I-DLE
  • ASURABALBALTA – T1419
  • Perfume – Yubin
  • PLAYLIST – BRANDNEW MUSIC ARTISTS
  • Used To This – Jang Hanbyul
  • Write A Letter – Kim Jeong Uk
  • I Can’t Wait – N.O.M
  • Never Let You Go – Alexa
  • Cough Syrup – Kangta
  • Dangerous – E’LAST

[Album Review] Dystopia: Road to Utopia (6th Mini Album) – Dream Catcher

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It is time for another album review. Honestly, I am so sorry about how scarce these album reviews are this year. They just take up so much time and I find myself to be quite limited with time lately. I am trying to keep to my schedule where I can and I am hope to get out all the album reviews that I have flagged on the ‘Coming Soon’ page as soon as possible. But enough talk about that. Today, we will be focusing on Dream Catcher’s latest mini-album, Dystopia: Road to Utopia. It features the single Odd Eye as the title track and Wind Blows as the secondary promotional track of the album. In addition to those two songs, Dystopia: Road to Utopia includes another three songs and an intro track (which I will not be including in the review). So without any further delays, here are my thoughts on Dystopia: Road to Utopia.

Dystopia: Road To Utopia Album Cover

2. Odd Eye (Title Track) – Click here to read the full review of Odd Eye. (9/10)

3. Wind Blows (바람아) – Dream Catcher, once again, merges their signature rock sound with EDM. While the group has done this before with some of their other side tracks, Wind Blows is unlike any other. And I say that in a good way. Wind Blows is a powerful piece. The energy that comes off it is quite thrilling. The softer moments of the song helped make the rest of the song more impactful. Their vocals and rapping really suits this style. Maybe in the future, Dream Catcher can revisit something along the lines of Wind Blows for a title track, as it definitely has the potential to be ground breaking change to their rock niche. (10/10)

4. Poison Love – Poison Love opts for an electronic dance profile, diverting well away from that rock niche that is associated with Dream Catcher’s name. And it joins the ranks of amazing side tracks from the group. Honestly, the amount of times I have replayed Poison Love since its release is probably quite unhealthy. Poison Love has such a sleek club sound during the chorus, subtly intense and quite hypnotic. The verses, considering the combination of instrumental and vocals, come off as quite classy sounding. The rapping in the second verse is heavy, yet continues the trance that the chorus creates. As a whole song, I find Poison Love to have this nostalgic factor that reminds me of songs from 2000s (which is what I grew up on). (10/10)

5. 4 Memory – Dream Catcher continues their diversion from their rock sound, continuing with a lighthearted song that delves into a mild touch of acoustics and a heavier tinge of an abrasive EDM. 4 Memory is a nice song that showcases their vocals. The lightheartedness of the song really brings out a smile in the listener, and you can feel the positive and bright atmosphere that is exuded from the song. Overall, quite enjoyable. (9/10)

6. New Days (시간의 틈) – New Days returns to the rock sound that we all know Dream Catcher for in their last song. New Days sound like it could be the anthem or OST for a bright and happy anime. It is quite an upbeat and bright song. I could imagine myself listening to the song while in the park on a day of blue skies. I really like their vocals in New Days. While the song blasts us with rock energy, their vocals keep the song grounded and not go overboard with the rock energy. I also like their harmonisation in this song. The best part of the song has to be the ‘Wa’ that follows the first and final choruses. It just adds a level of prettiness to the song that one would not expect when you hear this style of rock sound. (9/10)

Overall Album Rating – 9.4/10

Dystopia: Road to Utopia Teaser Image

[Weekly Chart] 1st Week of March 2021

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Sorry about the delay for the Weekly KPOP Charts post for the 1st Week of March 2021. I was on holiday last weekend and I couldn’t find time to actually write up the post this past week. It has been one busy week. So without any more delays, here is the Weekly KPOP Charts for the 1st Week of March 2021.

Before I proceed with actual charts (it will be another short post today), I just wanted to touch on the recent blip (Spotify vs. Kakao M) that caused about half of the KPOP songs on Spotify to disappear without a trace. It had an effect on the chart below, given that many songs on the charts ended up vanishing from my playlist. It is quite disappointing that such an event could occur, and I wish there is better protection in the future for the artists (as they easily could have dragged out for months or even years!). I tried to compensate by actively ensuring I listen to them on YouTube so they had a fair go at being on the charts. I am glad the situation has been rectified. However the songs only reappeared on my playlist yesterday, so I suspect that blip will still have an effect on the past week’s chart as well (i.e. 2nd Week of March 2021). Okay, now back to the charts.

THE CHARTS

Congratulations ONF’s Beautiful Beautiful for continuing to sit on the throne of 1st place for the second week in a row. For more of the charts, continue scrolling down below.

  28th Feb – 6th Mar 2021
Title Artist Status
1 Beautiful Beautiful ONF (=)
2 Tail Sunmi (▲ 8)
3 Why Why Why iKON (new)
4 Bicycle Chungha (▲ 9)
5 Inside KEEMBO (▲ 42)
6 Get Away VERIVERY (new)
7 Don’t Call Me SHINee (▼ 5)
8 Fallin’ (Adrenaline) AB6IX & Why Don’t We (▲ 7)
9 Wings PIXY (▲ 38)
10 Excalibur KINGDOM (▲ 25)
11 Celebrity IU (▼ 8)
12 HWAA (G)I-DLE (▼ 5)
13 U MAD BOBBY (iKON) (▲ 24)
14 Odd Eye Dream Catcher (▲ 15)
15 Stay Young AB6IX (▲ 1)
16 Lose Wonho (▼ 11)
17 ASURABALBALTA T1419 (▲ 27)
18 Blossom Oh Sae Beom (▲ 29)
19 My Name Is ONF (▼ 7)
20 Cinema CIX (▲ 7)
21 Fireworks (I’m The One) ATEEZ (new)
22 Paranoia Kang Daniel (▼ 14)
23 Encore GOT7 (▼ 3)
24 Breathe Golden Child (▼ 18)
25 God Damn I.M (▲ 22)
26 MY TREASURE TREASURE (▼ 7)
27 DOOM DOOM TA TRI.BE (▲ 15)
28 Used To This Jang Hanbyul  (▲ 5)
29 Thank U U-Know Yunho (TVXQ) (▲ 18)
30 X Chungha (▲ 10)

SONGS LEAVING THE CHARTS

The following songs have wrapped up their nine week run on the charts and will be removed to make way for new songs:

  • In The Dark – Jeong Sewoon
  • Luxury Big House – BOYHOOD
  • Crush – MCND
  • ON&ON – Hong Eunki
  • Fallin’ (Adrenaline) – AB6IX & Why Don’t We
  • Fav Boyz (Gold Star Remix) – A.C.E & Steve Aoki ft. Thutmose

[Review] On The Ground – ROSÉ (BLACKPINK)

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It has been a long time coming. But after years of promise, the next BLACKPINK member has made their official solo debut. ROSÉ makes her start as a solo artist with the single On The Ground, an all English single. Usually for an all English single would be lumped as part of the International Song Review segment. But as ROSÉ will be promoting the song in Korea, I have decided to write a separate review for it. The first member of BLACKPINK to make her solo debut was Jennie, way back in 2018 with SOLO. Check out that song if you haven’t yet after this review.

On The Ground is an awesome track. I literally have to get that off my chest. I was pretty satisfied with the entire song from the start. ROSÉ really shined with her vocals in this song, making a lasting impression of a minimalistic acoustic instrumental at the start of the song. Her vocals were extremely clear and I really like the tiniest tinge of raspiness in her voice throughout the song. The producers were very clever with the minimalistic instrumental approach, as this made us zone into her vocals from the very first second. I also like the ‘Every day, every night‘ line in the verses, which reminded me for the briefest of seconds, a Taylor Swift type of melody. The chorus is a bit of a twist, with the direction changing for a bit of an electronic influence. I really liked this beat drop changeup, as it cuts through the acoustic of this song and brought a intense dynamic to the song without going for an overload of synths or strong beats. It is aesthetic, similar to how I perceived Jennie’s solo debut. As mentioned at the start of this paragraph, I was pretty satisfied with the song. But what sealed the deal for On The Ground that spectacular high note/peak. It came out of nowhere and everything before it in the bridge did not give me any idea that high note was fast approaching. It was so good and out of the blue that it left a strong impression on me. To the point where it made the final chorus feel more astonishing and lively. Needlessly to say with how impressed I am with the song, ROSÉ delivered a stunning solo debut song with On The Ground.

The music video compliments the song so well. I really like how the music video really highlighted her visuals throughout the video and kept her grounded (pun intended) throughout the video (for the most part). I also liked, to match with the song’s chorus, the music video opted for explosions and really cool effects (i.e. floating ROSÉ) to heightened the chorus’ vibes and energy. I also like how glamarous she looked throughout the video, which I am sure is reference to her celebrity status. But there are many scenes littered throughout showing us that she is realizing what is most important to her is not that lifestyle, but rather being herself. This is the premise of the lyrics as well.

[Updated] The performance was very clever. The thing that really stood out to me was just really how low the performance was, which felt fitting for the song’s lyrics/title. The first chorus was performed by Rose and the dancers by lying on the floor. The second chorus was performed sitting on the ground, while the final chorus was performed while standing up. It was a creative choice and it felt like a climb that shows that while she was at a low while living the glamorous life, she got back up as she fully embraced her own identity.

Song – 10/10
Music Video – 10/10
Performance – 10/10 [Updated]
Overall Rating – 10/10

[Review] SEOUL – GHOST9

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GHOST9 is back with a brand new single, titled after the capital city of South Korea! SEOUL is featured on the group’s third mini-album, Now: We Are Here. One of the things that I am glad about with GHOST9 is that they (and their management) have already bypassed their first hurdle by already delivering multiple comebacks within less than a year of debut. That is a big feat as they aren’t from a big company, and we have seen many groups from similar companies fail to return after one song. SEOUL follows the release of W.ALL, which was the main title track for their December 2020 comeback.

Within just one listen of SEOUL, I was confident that the new song surpassed their previous title track in terms of likeability, execution and enjoyment. I really liked how the song started off with such an intense introduction, before throwing us a curveball with a higher pitch synth. It was definitely an intriguing start. SEOUL then followed up with the same choppy spiraling synth but at a lower pitch. I liked this reversal as the higher one would have been too whiny to continually listened to, given how much the latter was played throughout the verses. The synth itself brought dynamism, something that I pointed out was lacking in the the verses of W.ALL. It also complimented the lower tone in their members voices when they rapped or sung in the verses. I also liked the energy that the vocals and raps in the verses brought to the section, heightening the dynamism I just mentioned. SEOUL‘s chorus was also pretty good. It went for a more vocal centric approach. I felt that this was a lot less intense and almost softer than their other releases, allowing for a pop vibe to come through. I quite like this changeup for GHOST9 as it brings something different to the table for the group. One thought that did occur to me while listening to the song is that the chorus does feel ever so slightly plain. I feel that was the super critical side of me processing the song. I still enjoyed the chorus nonetheless and would happily continuing listening to the song regardless of that thought. Skipping forward to the bridge of the song, especially with how atmospheric it felt. The heavy thumping made it sound more epic. The higher pitch version of the synth returned just before we launched into the final chorus. I felt quite done with the sound by then, but the higher pitch made it feel reinvigorating and punchy. The ending brought a bit of dubstep to the song, which I quite liked as well. Overall. SEOUL was quite enjoyable.

I was keen on getting a continuation of the big robots that featured in their Think of Dawn and W.ALL music videos. But the music video for SEOUL opted for more traditional icons in the giant department. For this video, the focus was primarily on Seoul (the city) and their giant of choice was a really cool dragon. The city of Seoul was also featured in the video, with the nightline of the city being the centrepiece for this comeback. We saw it behind the choreography shot where they performed on a floating platform which I am assuming is on Han River. We also saw it in their rollercoaster ride, though I assumed this was more post-production than reality. I also liked how they performed in front of the more traditionally structures of the city, acknowledging the culture of the city. The hanboks and jackets worked really well, as well. Overall, a really good video.

I liked the choreography for this comeback, but I felt that it could have been a little more powerful. It was going in the right direction, but I felt their moves were a bit weak and could have been sharpened a bit. I know they employed some smooth moves during the chorus, but that doesn’t mean other parts didn’t need to be a bit sharper. Other than that, I really like the choreography for the bridge and enjoyed the different vibe the ending part had when the dubstep started to come through.

Song – 9/10
Music Video – 9/10
Performance – 7/10
Overall Rating – 8.6/10

[Review] Encore – GOT7

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Earlier this year, GOT7 announced their departure from JYP Entertainment, their home for the past seven years since debut. The leadup to this news, there were rumours of disbandment and rifts between the members and their agency (i.e. JYP Entertainment unfollowing GOT7 members on Instagram and vice versa). However, like many groups nowadays, GOT7 promised their fans that they will remain as a seven-member group into the future despite signing to different companies and seek ways to promote together under the name GOT7. Many groups have made similar promises but have yet to make that group comeback that they have promised, instead focusing on solo work. Well, GOT7 has managed to deliver on this promise by regrouping shortly after their departure to release Encore, a single that promises fans that they are still a group no matter what.

As the song’s messaging suggests, Encore is quite different from the usual dance centric title tracks we have heard from GOT7 over the past seven years. While a dance track or something of their usual style would have been greatly appreciated, the group opts for more of a ballad approach with a band-inspired instrumental that is quite toned back. I feel like most songs for fans typically fall into this style simply because it is the easiest way to convey thoughts and feelings. But instead of being a sad ballad, there is a hopeful tone in both the instrumentation and from the members, which suits the messaging of Encore. Every member (vocalist or rapper alike) all take a melodic approach to their lines, complimenting the band-like instrumental that I had mentioned they opted for. It was quite flowy and soothing to listen to. What I also really enjoyed was the line distribution of the song. It felt like each member got a distinct part. I know that Mark and BamBam got the least, but their parts were noticeably theirs. I also liked how these two members, who usually just rap, actually had vocal lines in this song. The ‘Encore‘ repetition was quite nice, briefly mimicking the shouting of ‘Encore‘ that you would usually hear fans shout at the end of the concert, which they actually did blend into the song at the very end. Overall, Encore definitely came off as touching and pleasant.

The music video simply showed the members gather to record the song, share a meal and convey that promise that they are still a group in a short speech in the video. Pretty much what I expected. It was nice to see the members show their friendship in a casual and laidback manner, without the need for flashy lighting and elaborate set designs. They used a home style filming approach, which made the video feel more impactful. At the end, when they blend the fans shouting ‘Encore‘ into the song, we see a camera filming the crowds at one of their concerts whilst the members on stage. To include fans in the final moments of the video was really nice and appreciative.

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

[Review] Moon Rider – BDC

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Starting off this week is BDC with the release of their latest single, MOON RIDER. This single is featured as part of the group’s second mini-album, The Intersection: Discovery. This return of the trio from Brand New Music follows the release of Shoot The Moon and The Intersection: Belief in September of 2020.

The funky trend continues to infiltrate the KPOP industry, with MOON RIDER being the next song to conform to this ongoing style of music. While that sentence does potentially sound like it would be followed up with a groan, it is quite the contrary. I am enjoying the funky sound, as I tend to have an affinity towards the more upbeat and energetic styles of music which this style in question clearly falls under. What I do like in MOON RIDER is that the disco-like synths that make up the song maintains that matureness to it that I had pointed out in my SHOOT THE MOON review. Together, MOON RIDER is refined yet also fun at the same time. The matureness is in part thanks to the members themselves. To me, they sound very experienced in this department. There is that touch of simplicity to their vocals this time around as well, but I felt that they managed to show a bit more technique thanks to the falsettos they employ as part of the chorus. All their other vocal work was well-processed and felt clear and crisp to me. I also really like the kick the rapper brought to the song following the first chorus. It kept the momentum of the chorus going and helped drive the song forward in an appealing matter. The bridge was interesting. They opted for vocal layer and a stripped back instrumental background. I thought it was nice and gave the final chorus the ability end out the song on a punchier note. Overall, MOON RIDER felt consistent to their previous comeback and maintains that enjoyable nature.

Once again, the music video doesn’t make much sense to me. I did have a rewatch of their previous music video, but I can’t seem to pinpoint any connection between the videos, as I am going on the assumption that the comebacks are linked. In this video, the members are obsessed with the moon. For a moment, they close their eyes together and find themselves searching for something. While I was expecting us to see what they had found, the video leaves me slightly frustrated by not showing us anything. Towards the end of the video, they snap back to reality and then converge (upon remembering what happened) to a white box that has light shining from it. You probably can see my literal notes for the video don’t make sense. But that is how the video comes off for me. Many questions are flying through my mind. Any help will be appreciated. Aside from the plot, the video does have a simple aesthetic of black and white dominance. It felt stylish and trend, compliment the music in an abstract manner.

From what I could see in the music video, the choreography looks good. It isn’t as exciting as other routines out there. But the energy was pretty much well-matched between song and dance. My only critical comment is that the choreography could have been a little more refined by polishing the synchronization of artist and dancers. But this might be the editing of the music video.

Song – 9/10
Music Video – 7/10
Performance – 8/10
Overall Rating – 8.2/10

[Review] Why Why Why – iKON

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iKON is finally back after a year and a month absence from the stage with Why Why Why. The new release follows Dive, their title track of their previous comeback. Since then, things have been quiet for iKON until most recently. Bobby made his solo comeback with U MAD in January of this year, while iKON was also confirmed to be a participant for their upcoming show Kingdom. Hopefully 2021 is a more eventful year for the group, with Kingdom already making it look promising.

Honestly, I don’t have much to say about Why Why Why. This may sound like a bad thing to start the review off with, but I felt the song was straightforward enough to describe what it felt like for me. And honestly, it felt like a really great addition to their discography. Why Why Why is probably iKON’s most smoothest and melodic comeback to date. To me, I felt everything glided along with the acoustics of the instrumentation. I quite liked that. The song largely feels like a ballad, with the tiniest hint of a hip-hop influence in Bobby’s rapping in the second verse. I thought the chorus was a really nice ring to it in terms of melodies. Paired with the vocals, you could feel the heightened heartbreak behind their voices. Why Why Why undoubtedly shows us a more fragile and delicate side of the group. Their vocal delivery during the chorus made it feel like the song was going down a power-ballad route. I did wish they committed to it more, with a featuring of more powerhouse vocals and some high notes from the members to potentially make the song even better than what it is. I did like the emphasis on the raspy and huskiness of their voices, which comes naturally with some of the members. While it might be a whole heap of praise, I have to note that Why Why Why is no mind-blowing song. It isn’t unfamiliar territory for the group, who have had a string of melodic hip-hop centric releases in the past – Love Scenario being the most well-known example from their discography. Does that impact how much I like the song? No, not really. Why Why Why managed to reel me in for all of the above praises and it has definitely maintained its appeal to me.

To match the song’s ‘sad reflection’ tone and showcase some of the fragility, the members appear quite sullen and heartbroken throughout the video. You can tell they did a good job at conveying those emotions throughout the video if that is what is coming off it. The lonely scenes of the members and the amount of space the cameras managed to really capture in their solo shots stood out for me. And loneliness is probably one of the best ways to showcase those emotions. The simplicity of their choreography scenes was also quite aesthetic. I also find the purple/blue sky to be potentially quite iconic, as it is the most memorable element of the music video for me. The burning bus (that they were travelling in) was a very riveting image, yet extreme step in getting over this relationship that had left them heartbroken.

The choreography actually looks quite nice. It starts off with just five members, before Bobby is introduced into the choreography during the second verse through his rap sequence. Unsure why this is the case, though it could be related to potential overlap with practice and his solo promotions. I thought the last addition made the performance look somewhat unique. The chorus looks quite nice, while the final moments of the routine during the song’s balladry moments were quite nice.

Song – 9.5/10
Music Video – 9/10
Performance – 9/10
Overall Rating – 9.3/10

[Review] Get Away – VERIVERY

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The next group making their comeback this week is VERIVERY. 2020 was one busy year for the male group, with three comebacks in the one year (Lay Back, Thunder and G.B,T.B.), all forming part of their FACE IT trilogy. The group also participated on Road To Kingdom, where they made it to the final round/episode and released Beautiful-x as part of the competition. Now, with the busy year behind them, VERIVERY turns to a new chapter with yesterday’s release of Get Away. It appears the group has also started a new album series, with their latest single album titled Series ‘O’ Round 1: Hall. The first part of the name suggestion new instalments to a new series once again.

Get Away‘s initial verse was definitely captivating. I really liked the whisper-like/higher pitched vocals and the stripped back nature of the instrumentation. What was definitely dominating during the first verse were the trap beats. Interesting texture and a very mysterious vibe arises as a result. The song builds slowly as it progressed closer to the chorus, with more of the instrumentation coming back and the vocals were becoming more amplified. Rapping was introduced as a last pitch, before an even more mysterious horn sounds. So far so good. The chorus is what drags the song down for me. I wished it wasn’t just an extension of everything I had just mentioned. Further amplification of every element of Get Away thus far. Usually, I would like this. But it felt too predictable and just lacked excitement, especially after that horn really caught my attention. What I do like about it, however, is that the intensity peaked and every element did feel satisfying. The second verse doesn’t necessarily return to that stripped back instrumentation, opting for something that felt in-between the first verse and the chorus. The vocals and rapping in this section did seem to stall, in terms of building trajectory. But like the chorus, satisfying would be the word I use to describe them. The bridge does take a bit of a reverse turn by going back to that stripped back nature of the instrumentation, which really drew my attention to Donghyun’s rapping. But the song reverted back to a buildup to the song’s chorus quite quickly. Overall, I felt the song had some good moments. But when it mattered most, I was left disappointed with the result. I wished Get Away had more curveballs to keep myself on the tips of my toes, as that would have given me more to really talk about.

Since the release on Wednesday, I have watched the music video a number of times. But yet, I don’t understand what is going on. From what I did see, it looks like we are dealing with two version of the group once again. The first version of the group are the ‘campers’, who received a special invitation to leads them to a dark place. This dark place is essentially where they get drugged after eating the spread of food on the table, which I assume resulted in their kidnap. The other version is watching the ‘campers’ through TV screens. While they see their plan is succeeding, they celebrate. But it seems like there is a bit of conflict between the members, with some members potentially being killed within second by Donghyun if it wasn’t for Hoyoung stopping the fight and seemingly remind everyone why they were all there. Once all the ‘campers’ were knocked out, it seems like the ‘other version’ of VERIVERY replaces them in the real world. At the very end, we do see a figure wearing white walk down a spiral building. This person could be Minchan (who is currently on hiatus and is not part of this comeback), who I believed was kidnapped at the start. Why was he kidnapped first? I have no theory for this. We don’t see a Minchan in the ‘other version’ of the group, so maybe the ‘other version’ of Minchan decided to betray the rest of the ‘other version’ to protect the real Minchan, and so the real Minchan could save the rest of his members? It is interesting though, as we see seven chairs and seven beds throughout the video, implying that the Minchans were meant to be with their respective groups. It was also a nice way to include the missing member in the video. Overall, a complicated video. But an interesting story to probably dive into once we get more of it.

I really like the mature side that the members showed through this comeback. There was a masculine and sensual feel to their moves, but in a subtle manner. I particularly liked the final chorus routine, where their moves were timed to be in sync as per the additional beats/percussion in the song during the sequence. As a result, there was some jaggered footwork at one point, which I thought looked really cool and hard to make everyone be synchronised with one another.

Song – 6.5/10
Music Video – 9/10
Performance – 8/10
Overall Rating – 7.6/10