Casual reviews of KPOP songs, music videos & dances
Author: kpopreviewed
Hi, my name is Tony and I am the man behind the site, kpopreviewed. Currently an university student who wants to introduce people to KPOP and if you are already into KPOP, different groups and bands.
Over the last few months, we have glossed over the solo debut (and comeback) of DaHye, who was a former member of BESTie. This is one group we have heard for a while. The last review I have down for them was Excuse Me in 2015. It has been indirectly confirmed that the group had disbanded by 2018, with U.Ji and Dahye leaving the group in 2017 and Hyeyeon making her solo debut in 2018 (another solo debut that I have missed). DaHye made her solo debut back in October with a cover of Uhm Jung Hwa’s infamous single, Poison. Earlier this month, she returned with Bad Blood (the focus of this review).
The dramatic violins and electric guitar that start off this song really pulls you in. Bad Blood from the get-go is very dramatic and suspenseful. The entire introductory sequence then moves into the background of the instrumentation, allowing DaHye to enters with what I would describe as a very creepy-esque vocals that fits the dramatic and suspenseful vibes of the song that are maintained in the verse. The song starts to build when it gets to the pre-chorus, with the piano coming into play. The chorus comes next and it has really memorable melodies. I really liked the huskiness her voice brings to the melody, making the listening experience so much better. What I also really enjoyed was the mild electronic influence. In a time where synths dominate songs, the violins and guitars remain the dominating element of the instrumentation and not the synths. The second verse is more so the same, with a bit more of that synth influence in the mix. The stripping of the instrumentation to just have the piano remain was pretty clever, complimenting the creepiness I mentioned before. It also allows a for the dance break that follows to be intensified. What saves Bad Blood from borderline consistency are those really screechy violins in the dance break. They are quite unsettling, but they go well with the song’s tone. I would have liked one more ‘final chorus’ to really bring this song to an end. Or at least a even more dramatic ending to give the song some closure. But apart from that, Bad Blood is a song that made me go wow.
The music video would have benefited if there was some sort of vampire-like concept in it. But DaHye’s company probably isn’t the most loaded company out there at the moment, so I understand they had to make do with what they had. That being said, Bad Blood‘s music video ticks a lot of boxes. DaHye does a really good job of showcasing that creepy side throughout the video via her charismatic stares. I mean that whole sequence just prior to the second chorus pretty much sums up this horror concept. I also really liked how there was a contrast with the lighting and the darkness of the set. Likewise, the white outfits and the darkness of the set; and the black outfits with the lighting.
The choreography is pretty good. I liked the sensual nature of the routine. Not sure about the red sticks with the red strips of fabric. I guess they do add a splash of colour to the performance. I feel like the performance could have gone for some more horror-esque, yet still keep that sensual feel. I reckon that would be a unique stage concept as I think only limited female soloists have done it before.
Song – 9/10 Music Video – 8/10 Performance – 8/10 Overall Rating – 8.5/10
In this edition of the Album Review segment, I am covering Weeekly’s second mini-album, We Can. This is the first time I am reviewing their album. I passed on the opportunity to review their debut mini-album, We Are, which featured their debut title track Tag Me. But while I was vetting albums to review recently, We Can popped out me. Two of the tracks stole my attention and I knew I had to review this album to make sure I draw your attention to them. That being said, the rest of the mini-album is definitely a standout, so I recommend that you give the entire release a listen.
We Can Album Cover
1. Unnie (언니) – Opening up the album is Unnie, which is a reasonably cutesy styled pop track. The cutesy style is usually not really my cup of tea (though there are songs of this style that I do indulge myself with), but Unnie holds back from being oversaturated with this profile. As a result, the song is quite pleasant. There are some really nice vocals throughout the song, such as in the second verse and the entire bridge. The instrumental is upbeat and I really like the use of the electric guitar throughout some of the song, adding a bit of zing to the song to make it more interesting. (8/10)
2. My Earth – My Earth is a texturally interesting song and my personal favourite off the album. This is obviously thanks to the EDM instrumental that dominated the song. While I do admit that it could have been overwhelming for some, there is something aesthetic about the different EDM influences and synths they had picked for the song and how it all blends together without a noticeable hitch. Props to the producers! The bass was definitely needed to give the song depth and definition. I also liked the light vocals, which was surprising as you would expect them to be drowned out by the instrumental. But somehow, they poked through and you could hear them clearly. Props, once again, to the producers of My Earth! (9.5/10)
4. Top Secret(몰래몰래) – Top Secret is another really strong track off this album. To me, this is a Goldilocks’ type of song. Nothing in this track was lacking or too soft. Nothing was too extreme or over the top. Everything was enjoyable and pleasant. Just right, as Goldilocks would say in the fairytale. (Okay, end of fairytale reference). But honestly, this is what makes the song just standout. It didn’t need craziness or need a centerpiece that the song revolves around. I particularly enjoyed the main hook ‘You, You, You~’, as it reminds me of another way back in the early 10s. It is always nice for a trip down nostalgia lane. (10/10)
5. Weeekly(월화수목금토일) – The final song on this album is a self-titled song that returns to the upbeat roots that started off the album. It is another cutesy track. There is slightly more of this cutesy profile in Weeekly in comparison to Unnie, but it isn’t a case of oversaturation. I appreciate everything in this song from the hooks to the melodies. The vocals was very nice and the guitar in the instrumentation was a nice touch. The only part that I didn’t really like was the anthem-like sequence that was the bridge of the song. It felt cliché and didn’t feel fitting for the song for me. (8/10)
Returning today as well is NCT with their second part of their NCT 2020 Resonance album. For those who missed NCT’s first part of the NCT 2020 Resonance album, the group formed different smaller units back in October to facilitate the release of Make A Wish (Birthday Song) and From Home. For the first release of the second part, 90’s Love is performed by Ten, WinWin, Mark, Jeno, Haechan, YangYang and Sungchan. Before we get stuck into the review, I just want to say that NCT’s album review for both the first and second part of the NCT 2020 Resonance album will be published over this coming weekend. It is in the works, so be prepared for that!
90’s Love take you back to the retro hip-hop that we got commonly from the era in the song’s name. There is a modern twist to the song with the various instruments used throughout, so the song can be better described as ‘newtro’. It is jam packed with energy that throws it back to the 90s, which makes the song so much more appealing for me. The use of drums constantly really makes 90’s Love so much more abrasive, but in a fun and dynamic manner. The ‘Hey Hey Hey’ at the start really helped hype up the song and I liked how the rapping continues the momentum of this hype. The whole rapping sequence in the second verse is proof of this, even though it is detached from the first verse. Definitely reiterates to me Mark’s capabilities and also shows off Sungchan’s talent/potential. 90’s Love‘s point of weakness has to be the sudden change from retro to vocals for the bridge. There isn’t anything wrong with the two sections (like how do I fault Haechan and Ten’s amazing high note?). It is just the sudden change that really cuts the flow of energy in the song and reduced everything that was going on beforehand into basically nothing. I wished there was some bridge to really connect the two parts, like a gradual easing into the vocal sequence. Interestingly, I found the relaunch back into the chorus to work just fine. And as I said, the vocals in this section are on point. Overall, 90’s Love is definitely a full on type of song, with just one hiccup along the way.
The ice hockey concept is definitely pretty cool. I really like how the entire ice rink had the NCT branding, which I guess SM Entertainment is fortunate enough to do. I found the dinosaurs to be a really funny and lighthearted addition to the video. Usually I would say all the references to the dinosaurs are a bit random. But since it is the mascot of the team, I really cannot say that as the dinosaur has its purpose in this video. I did also like the random video game version of the mascots dancing to the choreography. I guess the main question is what is up with Haechan (I think it is Haechan) on the spinning thing at the end of the video? A possible hint for the next video? I guess we have to wait and see.
Great choreography from what I can see from the music video. The entire dance break just after the bridge was very intense. The constant percussion and the energy really lends well to an amazing routine that NCT U pulls off without any problems.
Song – 8.5/10 Music Video – 9/1/0 Performance – 9/10 Overall Rating – 8.8/10
GOT7 is making their return with a comeback next week in the form of a studio album titled Breath of Life: Last Piece. I am excited and pumped for this comeback like all their fans, but I am slightly concerned about the ‘Last Piece‘ segment of the title. Hopefully it isn’t what I think it is. In the meanwhile this week, the group is out teasing and hyping us up with their impending return through their pre-release single, Breath. This comebacks comes after Not By The Moon, which was released back in April this year.
Breath is a light mid-tempo R&B track with a bit of a hip-hop influence. The song itself is reasonably catchy, which is thanks to the way the members are arranged in this song. I really like their their use of projection in the chorus. It is a nice play on textures here and definitely alluring to listen to. It is also a slight teaser to the vocal prowess of both Youngjae and JB, especially for those who are tuning into a GOT7 release for the first time. The whistling is also a really fun element to the song, breaking up the chorus by being inserted between lines to make the chorus appear punchier. There is also a really nice sense of bounce to the song, which I enjoyed very much. It also made the song so much more appealing, especially since I prefer more upbeat releases at the end of the day. While I think the rappers of the group were used in a fine way, I think if they had a slight more edgy sequence, this would have boosted the dynamic of Breath to a new level. But as I said, I am happy with how the song turned out. Youngjae and the rest of the composing team for Breath really knows how to appeal to our senses.
The music video for Breath feels just right for the song. It compliments the energy without a hitch and the members looked like they had a genuine time filming this video. But can we take a step back for a moment to appreciate the amazingness of the editing of this video? The switches between members and setting were so well timed and looked flawless. This technique gives the video a very unique spin and will become the excuse I would use to continue to rewatch the video. Since this is a pre-release, I looking at very nook and cranny to note any possible connection for next week’s release. The floating piece of white silk seems to be a key element in this video, appearing quite often throughout the video. It also appears in a frame at the very end. I also think the signage (or maybe the entire sets in general) will be appearing in the official comeback music video (i.e. B.O.L Station and A Piece of Cake).
Song – 9/10 Music Video – 10/10 Overall Rating – 9.4/10
BLACKSWAN may be a newly debuted group, but they have such a long history in KPOP. They dropped Tonight as the lead single from their Goodbye Rania studio album. This now four member female group (consisting of Yongheun, Fatou, Judy and Leia) hails from DR Music, which was once the home of their predecessor groups, Rania (who debuted back in 2011) and BP Rania (who debuted in 2016). Long story short, Rania/BP Rania/BLACKSWAN have undergone numerous lineup changes for various reasons over the years, which have lead them to be rebranded. The most recent lineup involved the fifth member of BLACKSWAN, Hyeme. She has been swept up in a scandal and ‘decided’ not to renew her contract the day after the scandal broke out. The timing of this is very suspicious. But hopefully, this is the final lineup change for the group all too familiar with the procedure.
Tonight is a song full of heft and it actually comes off as a very substantial release. I really liked the electrifying instrumentation that brings a whole different type of powerful energy to the song, something that KPOP hasn’t really had for a while now. The constant electric guitar in the background peaks my interest and brings an exciting edginess to the song. The stomping percussions really amplifies the intensity and powerfulness of the instrumentation and works extremely well with the vocal work. The vocal work was enjoyable and was pretty much a solid effort. It paired with the instrumentation brought some attitude and sass to Tonight, which makes the song even more exciting. But the member with the full spotlight on her is Fatou, who brings a whole new dynamic with her rap sequence. Her delivery and technique resembles female rappers in the Western music industry and it feels very unique. Her style also fits perfectly with the attitude and sass profile that I just commented on. Hopefully her company recognises this and keeps Fatou on with the group (and avoids the entire debacle of former member Alex). Overall, Tonight might be the turning point for this female group, provided they can recover after the departure of Hyeme.
The use of the ‘disclaimer’ scene at the very start of the video, warning us of a ‘Strong Performance and Song. Sexuality’, whilst recommending it all audiences was pretty unnecessary and starts the video off with a cringy note. However, they weren’t exactly lying. The entire video has this powerful energy that I couldn’t tear my eyes away from. That is probably a good sign. The video opts for that choreography and closeup formula, but their powerfulness makes me overlook that typical approach. Their closeups are very alluring and these ladies have a lot of charisma. Aside from the ‘Strong Performance and Song’, the music video features the members dressed in nude colour tones and has a lot of sexual energy in it that I think works extremely well with their concept and makes a clear statement to other artists that they should not mess around with them. I also thought the editing for the video was really good.
They have a solid stage presence that really amplifies the song when they perform it. I also enjoyed how their live performance does not shortchange the energy and powerful nature of the dance routine, which I think is fantastic.
Song – 9/10 Music Video – 8.5/10 Performance – 8/10 Overall Rating – 8.7/10
If I were to put BTS’ latest album on the usual agenda for review, I probably won’t get around to it until the start of the new year. And I feel that timeframe for a BTS related review would be too late for posting. Hence, I have decided to fasttrack the album review for BTS’ fifth studio album, BE. The album features both Life Goes On as the title track and the international hit Dynamite at the very end of the album, alongside five other new tracks. In total, there are seven tracks on this studio album (including the non-musical skit), which makes it one of the shortest studio albums I have ever seen. But that does not meant the quality is reduced! Continue to read to see what my thoughts for each of the songs were.
2. Fly To My Room (내 방을 여행하는 법) (performed by Suga, V, Jimin & J-Hope) – Fly To My Room follows the group’s softer approach from the title track. At first glance, I actually enjoyed the song by the four member unit. But that was when I was occupied with other tasks. When I sat down to write this album review today, Fly To My Room didn’t really stand out for me (compared to the other songs on the album). It is still a nice and pleasant track to listen to, especially with the pop-centric instrumental. I really like the use of the keyboard in the song and there was an enjoyable display of falsetto and low tones. The best part of the song has to be when all the members are singing together for the chorus, as the happier tone that the song brings forth calls for this. The rapping seems a little too punchy for my liking. They just shoot out of nowhere and I didn’t like how they didn’t take the opportunity to match the vocals and the tone of the song. (7/10)
3. Blue & Grey– BTS’ ballads have always been the most captivating side tracks for me. And I am glad that there is a ballad on this toned-down album. It is a perfect excuse for a ballad if you ask me. Blue & Grey draws me in with stunning vocals from all the members. V is probably the standout member if I had to pick, with his husky and raspy tone starting off the song and infusing an amazing sense of texture. The rest of the members did an equally stunning job as V, especially with that bridge where each vocal-line member had a line. The rapping in Blue & Grey is much better and cleverer than in the preceding track, with Suga (in a separate section) and J-Hope easing us in with a really soft rap sequence before moving to RM’s slightly more powerful tone/delivery. This all over a really atmospheric slow-paced instrumental, starting off with acoustic guitars and later slow-pop influences. (10/10)
5. Telepathy(잠시) – While the first half of the album consisted of mainly a toned-down atmosphere and slower paced songs, the latter half of the album is more upbeat territory. Kicking off entrance into the upbeat territory is Telepathy. There is a feel-good vibe to this song that I really enjoyed. It is the type of song that I would hope for a performance for as it sounds like it can be a very fun stage. I love the retro nature of the instrumentation, particularly the cow bells (which instantly makes this sound so better). The vocals and rapping are really good, fitting in with that feel-good vibe that I mentioned a moment ago. It may not be at the level of Dynamite, but its great enough. (8/10)
6. Dis-ease (병) – Dis-ease has this super catchy old-school hip-hop to it. The energy that comes off Dis-ease is pretty infectious, so much that I really want to boogie along to it. Given that the song falls into the hip-hop genre (and that they also participated in the production), the rappers shine the most in this song. I really like the “Byeong” sequence that finishes off the choruses. That paired with the disc scratching was pretty memorable and is my favourite part of the whole song. The vocal-line do a splendid job themselves. I really liked how they used the same technique in Blue & Grey (i.e. giving each member of the vocal line a section in the bridge) and having the song build towards a slightly more amplified final chorus. It is what I personally hoping for when I heard the song and I am glad they delivered! (10/10)
7. Stay (performed by RM, Jungkook and Jin) – Stay tackles the future house sub-genre of EDM. It is a very clean track and it doesn’t have any crazy surprises to throw us off. In other words, I find Stay to be straightforward. While that could be a flaw in other songs, straightforwardness in EDM is a blessing as it doesn’t get complicated (and hence obnoxious). It doesn’t drown out the vocals and rapping sequences, which allows us to hear RM, Jungkook and Jin clearly throughout the song. I particularly like how satisfying the drop was and the mixture of acoustic guitars in the second verse and piano at the end of the song. I also like how smooth the vocals and rapping were. To me, the ending of the song isn’t as satisfying, as it gave me the impression that something should have followed it. That, or I just didn’t want Stay to end. (10/10)
It is time for another Weekly KPOP Charts to wrap up the past week. A few big comebacks and debuts this past week, along with my broken promise of more reviews :). I needed to proofread those drafts I mentioned I had “scheduled” before actually scheduling them and I kind of jumped the gun by saying they are scheduled. Hopefully I can get around to those drafts this week, but we will see based on the number of new releases this week. In the meanwhile, be prepared for the upcoming 2020 KPOPREVIEWED Awards and the rest of the Weekly KPOP Charts for this week.
Last week we saw no big jumps. This week, have a few big jumps. The biggest ump was experienced by BLACKSWAN’s Tonight, which I am in the midst of drafting a review for. Other big jumps (30 positions or more) include Super Junior’s The Melody, Berry Good’s ACCIO, ONEWE’s Parting and AleXa’s Revolution.
We have some of this week’s new releases taking over the Top 5 this week. WOODZ’s BUMP BUMP debuts in the fifth position, while aespa’s debut single Black Mamba makes its entrance in the fourth position. BTOB’s return as a subunit with Show Your Love enters the charts in the third position. GFriend’s MAGO drop into the second position, while AKMU’s Happening debuts at the very top of the charts for this week. For more of the charts, scroll down below.
15th Nov – 21st Nov 2020
Title
Artist
Status
1
Happening
AKMU
(new)
2
MAGO
Gfriend
(▼ 1)
3
Show Your Love
BTOB 4U
(new)
4
Black Mamba
aespa
(new)
5
BUMP BUMP
WOODZ
(new)
6
SALUTE
AB6IX
(▲ 16)
7
Pump It Up
Golden Child
(▲ 2)
8
Tonight
Blackswan
(▲ 48)
9
The Melody
Super Junior
(▲ 39)
10
Daisy
Pentagon
(▼ 5)
11
Dingga
MAMAMOO
(▼ 7)
12
Idea
Taemin (SHINee)
(▼ 10)
13
Then, Now. Forever
CN BLUE
(new)
14
ACCIO
Berry Good
(▲ 33)
15
HOME:RUN
SEVENTEEN
(▼ 1)
16
Ready or Not
MOMOLAND
(new)
17
Love Killa
MONSTA X
(▼ 10)
18
MMM
TREASURE
(▼ 15)
19
I Can’t Stop Me
TWICE
(▼ 3)
20
Why Not?
LOONA
(▼ 8)
21
Nostalgia
DRIPPIN
(▲ 4)
22
Parting
ONEWE
(▲ 31)
23
Cool
Weki Meki
(▲ 16)
24
Twilight
WEi
(▼ 11)
25
Like A Movie
B1A4
(▼ 10)
26
Revolution
AleXa
(▲ 39)
27
Blue Hour
TXT
(▲ 3)
28
Jungle
CIX
(▼ 5)
29
Forbidden Island
Ha Sung Woon
(▼ 23)
30
GOTCHA
Park Ji Hoon
(▼ 19)
Songs leaving the charts this week include:
The Stealer – The Boyz
La Di Da – EVERGLOW
DRUM – CHECKMATE
ARISONG – cignature
Ddalala – XUM
Think of Dawn – GHOST9
Shoot The Moon – BDC
Sand Castle – UNVS
Light – UP10TION
Parting – ONEWE
One (Monster & Infinity) – SuperM
I Believe – Bae Jinyoung & Kim Yo Han
Umbrella – H&D
Thank you once again and I will get those overdued reviews out as soon as possible.
It has been almost three years since MOMOLAND released Boom Boom, their biggest hit to date. They made multiple comebacks since that comeback with songs such as Baam (my personal favourite) and more recently, Thumbs Up. But no song has managed to overtake the impact that Boom Boom had left on them and the KPOP industry. MOMOLAND made their comeback during this past week with Ready Or Not. Unfortunately, it looks like it is going to be a comeback missed by many as I don’t see much attention being drawn towards the comeback. Let’s hope that I am wrong and that things will start to pick up soon for Ready or Not.
Ready or Not is a step away from MOMOLAND’s usual brass heavy sound, opting for a much cleaner and polished sound. That being said, the song still does fall within the retro realm of music and it still features a bit of brass (more on this in just a second). Ready Or Not starts off with a rap-sing sequence, which I didn’t think was necessary whatsoever. Luckily, the song’s turning point occur right after once they bring vocals into the song. MOMOLAND’s vocals really impresses me throughout this song. It is honestly their best effort yet and should be enough to prove that these ladies can sing. The chorus is catchy with its upbeat energy and it is here that the song reminds me of Red Velvet’s Umpah Umpah. The post-chorus hook changes up the song and keeps it unique (and prevents it from becoming a carbon copy of the similar song I just mentioned) by inserting a squeaky brass synth into the song. It might be obnoxious to some, but it was used in certain parts (i.e. post-chorus hooks only) so it didn’t have an opportunity to become annoying. In fact, I thought it added a certain level of freshness to the song. Ready or Not maintains the energetic and fun sound that it had built itself for the second verse and second/final choruses. The only disruptor was bridge, which slowed down the song completely. I personally don’t think it was necessary and I am sure the producer would have thought of something more creative that didn’t need to aimlessly cut the flow of the song like that. Overall, Ready or Not was another great song from the group that people honestly should not sleep on.
I personally thought the music video was boring. The video is essentially made of closeups of each member and choreography shots that were filmed from afar (not sure why it was shot afar). It might have been a stylistic approach to facilitate physical distancing between members and crew for the music video shoot. I also note that the interaction between the members were pretty bland and didn’t have much energy to it. Interesting, given that the song was full of energy and fun vibes. Even the pastel colour palette for the video did draw my attention. Rather, it dulled it the video for me.
I guess the key move in the performance was the rolling hips during the post-chorus hook section (where those squeaky brass synths came into play). I liked it and thought it made the performance looked fun. I wished I could say the same for the rest of the performance. It seems like it lacking that fun and over the top energy from the members that MOMOLAND ‘used to’ have associated with them.
Song – 8.5/10 Music Video – 4/10 Performance – 7/10 Overall Rating – 6.9/10
It has been a long time coming, but I have finally decided to make a start on reviewing a certain type of song that I barely looked at in the past but have wanted to write about for a while now – OST songs. OST (otherwise known as Official Sound Tracks) have been a big part of KPOP. Many of the idols we know and love have gone onto being big name actors, whiles others have had to the privilege to sing some of the most famous tracks to some of the greatest drama scenes of all time.
I personally feel that there is a misconception that OSTs are usually just ballads, but I want to prove that wrong. Furthermore, there will be a Best OST category in this year’s KPOPREVIEVED Awards (hint hint). So I have picked five OSTs throughout 2020 to review and introduce to you here (and over a number of posts). Note that I have not watched all of the dramas, so I will be reviewing the song itself – like how I write my song reviews.
You’re In My Soul – Chungha Drama: Record of Youth Release: 15 September 2020
We start off this OST Review post with a feel good song, courtesy of Record of Youth and Chungha herself (who will be return shortly with new music!). You’re In My Soul has this electronic instrumentation that brings about epic vibes. It sounds theatrical and there is a nice pop rock influence to it, which I find to be very appealing. But the promising element is 100% Chungha’s voice. It soars and lifts up the song to new highs during the chorus. The way she went with a deep tone for the verses contrasts really nice and helps makes the chorus become that more explosive. I also love the mixed of English in the Korean. Altogether, You’re In My Soul is a very attractive song. However, it isn’t perfect. There was a part following the second chorus that had overpowering instrumentation and you could barely hear her voice. Personally, I feel like that section could have just done instrumentation, as her vocals distracted me from the music whilst I was straining to hear what she was singing. But that is me being picking. My testament for this song still stands – it is very attractive piece of music. (9/10)
Please Don’t Cry – DAVICHI Drama: The King: Eternal Monarch Release: 3 May 2020
It is not possible to write about OSTs and completely disregard DAVICHI. If you are unfamiliar with this particular duo, then let me help catch you up. DAVICHI (consisting of Lee Hae Ri and Kim Min Kyung) are known for their chart topping ballads. And within the OST realm of Korean music, they are very well known for amazing OSTs, such as This Love (release for Descendants of the Sun). Please Don’t Cry comes off as one of their most impressive and captivating releases yet. It pretty much starts off like any other ballad release with beautiful piano work and gripping vocals. It is the chorus that gets to me. The very soft ‘Please Don’t Cry‘ which is followed up immediately with a deep thump had me going ‘ooh’, before we are provided with more stunning vocal work from the pair (which includes that amazing falsetto line that ends off the chorus). The rest of the song does what ballads typically do by building the instrumentation and helping the song become more powerful/ A typical move it is, but it is one that pays off. I was floored with the rest of the song and am loving the bit of intensity that the electric guitar brings. DAVICHI does it once again for me. (10/10)
Someday (어떤 날엔) – Kim Jae Hwan Drama: Crash Landing On You Release: 19 January 2020
It has been a while since we heard from Kim Jae Hwan. While he has released a few digital songs and OSTs this year, it would be nice to see back on stage with a new album. But in the meanwhile, we will need to settle with songs like Someday and his other OSTs. It is another ballad example of an OST. If I had to sum up the song, it is very nice and soothing to listen to. I don’t find anything groundbreaking in this song when it comes to the instrumentation. It is just another ballad made of band and classical instrumentation. When it comes to his voice, Someday really shows off the raspy nature of his voice, which I think is amazing. I did really enjoy the melodies in this song and it successfully gets me to sway along to the music (if you did not see last week – swaying is how I detect a good ballad). It might not be as stunning at the ballad just before this one (see review above), but Someday is still a good one. (8/10)
Aloha (아로하) – Jo Jung Seok Drama: Hospital Playlist Release: 27 March 2020
The next OST I had chosen to review is Jo Jung Seok’s own Aloha, which was released for Hospital Playlist Jo Jung Seok, who is an actor, plays one of the main characters in the drama. Given his status as one of the most popular actors in the Korean acting industry and the popularity that I saw Hospital Playlist got, Aloha was going to hit the top of the charts (which it did). It is a pop ballad that really brings a smile to your face. The cheerfulness comes from Jo Jung Seok himself, who sounds like he was smiling whilst recording the song. The instrumental isn’t really a standout and felt standard at best. But I love how it complimented Jo Jung Seok’s vocals and helped amplify the sweetness of the song and the actor’s voice. His voice was really good and I really liked how the English instantly becomes the strongest and most memorable lines in the song (and his pronunciation is super clear). Interestingly enough, this isn’t the first time to the recording booth for Jo Jung Seok, who as previously sung an OST with EXO’s D.O and has also worked in theatre before. I definitely would like to hear another OST from him in the future. (8/10)
Start Over – GAHO Drama: Itaewon Class Release: 1 February 2020
The last OST to be reviewed in this post this week (yes, another one is coming your way next week )is probably the biggest OST release of 2020. With a star studded cast and rave reviews, any OST associated with this drama was going to be elevated. And with such an easygoing vibe and really simple melodies that basically appeals to anyone, Start Over really is a prime candidate for that top spot on the charts. And I totally agree with its top spot ranking on all of the charts. It is another OST that has a sound that makes you want to smile and cuts any tension in your personal life. And since I already mentioned that the melodies were simple and easy to get into, this helped make Start Over very memorable. I really liked the upbeat vibes of the pop instrumentation and enjoyed how engaging the consistent beat in the chorus was. Gaho’s voice was very suitable for the song and empowering to listen to. Overall, I don’t have much else to say about the song. It’s top rank on the chart is justified and it is an OST that I keep on coming back to because it just works and sounds wonderfully.. (10/10)
The album review that was supposed to be posted yesterday was meant to be WEi’s debut mini-album, IDENTITY: FIRST SIGHT. The mini-album features Twilight as the lead title track and four other side tracks – some of which were composed by the members themselves. The reason why I decided to review this particular album is because it establishes WEi’s presence in the industry in a very consistent manner. While I have mentioned that consistency can be a flaw in other reviews in the past, there have been times where I have praised consistency, with this album (and its songs) being another example of those times. There is a spin at the end of this mini-album, so keep you ears peeled for that.
2. DOREMIFA – DOREMIFA instantly has a chirpier vibe than compared to the title track. I feel that that DOREMIFA is quite similar to Twilight already in terms of style, so they aren’t really reinventing themselves with this song. I just enjoyed the song’s brighter persona, which fits in with the group’s youthfulness (since they are a newly debuted group). It also takes on board a more electronic synth approach with its instrumentation, which always has a tinge of refreshment. Like how they aren’t reinventing themselves, the song doesn’t really feature anything that might surprise you or catch you guard. It is straightforward and pleasant overall. (7.5/10)
3. Timeless(꼬리별) – Once again, they really don’t show a new side to themselves character or music-wise. It still has that bright energy that makes you smile / sounds like they smiling and it takes on a typical pop ballad sound. But what I really enjoyed in Timeless was the chorus. As a package, it was super catchy and the melody they used really memorable for me. I really like their display of vocals (that falsetto at the end of the bridge was perfect) and the rapping impressed me. I liked the instrumentation for the same pleasantry and enjoyable reasons above. The combination of the synths and the piano works really well and helps convey the happiness of finally being with their lover. (9/10)
4. Hug You(안고 싶어) – Hug You is similar to Timeless in the sense that it falls within the pop realm. There honestly isn’t much of a difference between the two songs if you were to glance briefly throughout the tracklist. What does set Hug You apart from the preceding track is the drop in the chorus, which enables the song to become more a dance track for a brief moment. It isn’t a new dynamic in KPOP, but it helps gives the song momentum and some heft to it. Hug You does a really good job of portraying WEi’s vocals once again. They were solid vocals and that high note that the end is icing on the Hug You cake. The rapping was also quite good, but the vocals have the edge. Overall, Hug You continues to keep the album consistent thus far and does a pretty good job to impress. (9/10)
5. Fuze(도화선) – So far, the album has been quite consistent in the song style, vibes and artist profile. We haven’t seen anything ‘different’ from the group over the past four songs. Interestingly, Fuze attempts to change this dynamic by opting for a dance track that has power, edge and intensity. And this can be applied for all elements (melodies, vocals, rapping and instrumental). It isn’t really be groundbreaking if you were to compare it to other male groups. But it is definitely a nice change up given their consistent sound so far. I really liked the abrasiveness of the EDM, how suited the rappers were for this style, the soaring nature of the vocals in the chorus and how the energy just doesn’t let up. Fuze really a powerful and dominant tone that puts a spin on WEi and their music, keeping the excitement up for their future releases. (9.5/10)
BTS continues to reach new heights with their latest comeback. Earlier today, the iconic male group made their comeback with Life Goes On (the title track) and Be (the title of their fifth studio album). It comes after BTS released their fourth studio album, Map of the Soul: 7 (headlined by On and Black Swan), their Japanese comeback single Stay Gold and their super catchy all-English track Dynamite. The group has also featured on Lauv’s Who and a remixed version of Jawsh 365 and Jason Derulo’s Savage Love. They have definitely had a busy year.
I was low key expecting a dance track for this comeback. Or even better, a darker and maturer song that takes further steps towards that style direction than On and Black Swan did! But after listing all their comebacks and releases throughout 2020 thus far (and this list does not even consider their solo works), I feel like a mellowed out and softer approach is more appropriate and less overwhelming for them at this current point in time. Life Goes On is still a fantastic song. It features an alternative hip-hop sound that relies heavily on really comforting and soothing guitars. While the song is softer than their previous title tracks, the music actually still fills hefty thanks to the heaviness that And this softer approach allows for the members to really focus on their vocal and rapping work. RM is the only member to actually rap in Life Goes On and his part was well tweaked for this alternative sound. Suga and J-Hope rap-sing their parts and they bring a nice energy in their respective parts. The rest of the members sing wonderfully throughout the song, helping drive forward that comforting and sentimental vibe and message. Jimin stands out with his higher pitched vocals and based on the way he starts the chorus, while V’s ad-libs shine thanks to the huskiness in his voice. I thought the autotune for the final chorus was a nice textural change, which helps keeps interesting from how I see it. Overall, Life Goes On was not what I had expected from BTS as a title track. But nonetheless, I still enjoyed it.
Based on what I am seeing for this music video, BTS and Big Hit had stepped away from their complicated and gripping storylines that require a lot of time to interpret. Life Goes On is shot in a more relaxed manner, feeling almost like a home-video style. It practically shows the members going about a day in their life where they get to hang out and travel, which suits their message that ‘Life Goes On‘ even in the most difficult of circumstances. I did like the ending, where the video applies a black and white filter and we see the member sing with microphones with their backs to the empty audience. That scene looks really pretty and aesthetic despite being so simple.
Song – 9/10 Music Video – 9/10 Overall Rating – 9/10
I ended the song portion of my Love Me Harder with the statement that WOODZ’s debut song had popped him on my radar. And news of his new release was purely exciting for me. It is just unfortunate that my poor planning and tired state lately prevented me from getting to review his comeback song. WOODZ returned on Tuesday with his new single, BUMP BUMP. This new single is the lead from his second mini-album, WOOPS, which also dropped on the same day. WOODZ (otherwise known as Cha Seung Youn and former member of UNIQ/X1) made his solo debut earlier this year with.
My first impression of BUMP BUMP is that the song is quite bright and cheerful, unlike his debut track and mini-album. It is a completely different energy and dynamic that WOODZ completely nails. BUMP BUMP is a track that I thoroughly enjoy. It definitely shows me that he is capable of variety and versatile, which further excites me for future releases. I really like the alternative rock influences that are mixed into the pop song. And it is because of these influence that I cannot help but nod my head along to it every time the song has appeared on my playlist this past week. It helps makes the song more explosive and pop out when it comes to the catchy chorus. It also helps drive the relentless energy we get in the same section, which makes the sudden launch from bridge (which literally continues the same energy as the preceding chorus) into the third and final chorus even stronger. I may not not like sudden changes like so that often, but it done really well in BUMP BUMP. So much that it probably my favourite part of the song. The alternative rock energy also carries WOODZ’s vocals effortlessly. He sounds so good in this song, especially with the slight raspiness giving the song that extra bit of depth and character. His rapping is also as strong and powerful as the instrumentation. Overall, BUMP BUMP is an excellent addition to his discography and I really can’t wait to see what he has in store next for us.
Personally, I am not digging his curly hair style that is shown at the start of the video. I just don’t think it suits as well. I prefer the straighter hair style that he also dons in the video. I liked that the music video captured a carefree vibe that I didn’t initially register with the song. The video keeps it chill by showing WOODZ and his group of friends having fun. It may not fit the lyrics persay, but I think that is fine. Though I think the fighting scenes in this video (i.e. WOODZ smashing the red balloons, peering over his partner who had fallen down) were cleverly hidden throughout the video and blended very well with the fun and happier scenes of the video. But that might just be overthinking and overanalyzing the video. Otherwise, that carefree vibe would not be as strong and exciting if the video was to match the lyrics or those possible fight scenes were more upfront fight scenes.
Í really like how creative the start of the performance was with the passing of the microphone to WOODZ. Very unique. As for the rest of the choreography, it definitely looks like WOODZ is participating more than he did in his debut stage performances. But you can still tell that he isn’t going full on so that his can perform his new song live on stage with actual vocals and rapping. I would like more of a balance, but the direction we are going in is a good sign.
Song – 10/10 Music Video – 8/10 Performance – 8/10 Overall Rating – 9/10
On Tuesday, we saw the comeback of KPOP groups/bands from two different time extremities. Tuesday’s review was for CN BLUE, who made their comeback 11 years ago in 2009. Today, I will be reviewing a brand new female group, aespa. The new female group comes from the legendary SM Entertainment, the home of well known groups such as BoA, TVXQ, Super Junior, SNSD, EXO, SHINee, Red Velvet and NCT. Four members currently make up this group’s lineup, Karina, Giselle, Winter and Ningning. They debut yesterday with Black Mamba.
One thing that I have continuously mentioned when it comes to debuting acts is that the song they are debuting with needs to be bold enough to get the attention of the industry and kickstart building that fanbase. Most of the time, both female and male groups start their careers with a very generic or standard track that isn’t their best foot forward. Many don’t make it past that first track and very few actually ‘make it’ down the track if they are fortunate to pass a second track. When I listen to Black Mamba, I feel that aespa nails the brief within just this song. It might simply be due to the fact they are under one of the biggest companies in the KPOP industry. But Black Mamba is groundbreaking for the company in terms of a debut track. I really like the dark and mature feel that this dance track brings to the table, giving off a EVERGLOW type of feel for me. I like the song’s grumbling bass and the explosive pow that the chorus brings when we are launched into the chorus. I like the thundering drums, combined with the various synths that make the chorus so dynamic. Vocally, aespa impresses. Catchy hooks that really highlight an appealing side to the group and the song. Both Winter and Ningning’s vocals during the bridge were superb, and the latter’s high note leaves an impression. The rapping could have been a little more punchy, if I was to be critical about something in this song. But overall, Black Mamba ticks the boxes for a solid debut from this up-and-coming female group.
aespa is a unique group, given the fact that the group actually consist of human and virtual members. Each member has an ‘æ’ version of themselves, who also make a presence in this music video. And this idea of virtual members gives way for a new era of music videos and storylines that I am sure SM Entertainment and aespa will indulge us with in the future. For Black Mamba, the video is very digitally aesthetic, colourful in a punk-ish way and almost felt like a futuristic landscape, similar to Avatar (the movie of blue aliens) – just a lot more purple and pink. There is also seems to be a new trend with SM music videos. At the end of the music video, we see a figure emerge from the visual glitchiness and this figure resembles a male person. Fans assume this is Kai, who is due to make his solo debut later this month. Something similar happened at the end of SuperM’s One music video, where aespa’s logo made an appearance at the very end. Interesting to see whether SM will be linking the videos in the future, as I don’t think any company has gone down that route before.
Performance-wise, aespa carries over that boldness from the song to the choreography. Definitely a show-stopping element to the choreography are those drops that they do at the start the chorus and lunging to the other side. The choreography, overall, also matches the mature and darker feel of the song.
Song – 9/10 Music Video – 10/10 Performance – 9/10 Overall Rating – 9.3/10
Many of the male groups that I ham a fan of are currently in their mandatory military enlistment phase. However, some of them are re-emerging in the industry after completing their enlistments, which is the case for the artist of focus for this review. CN BLUE has been inactive since 2017, which was when they released their last mini-album and title track, 7CN and Between Us. Military enlistment was not the only thing they experienced since 2017. They also underwent a lineup change, after Jonghyun withdrew from the group due to the chatroom scandal. Thus, this leaves Yonghwa, Minhyuk and Jungshin as the three members to continue the CN BLUE with Then, Now and Forever.
Firstly, it is super exciting to hear CN BLUE once again. There is definitely a lack of bands in KPOP. And while there has been a slight increase in the amount, I sometimes need that sense of nostalgia that only two bands in Korea can bring (i.e. CN BLUE and FT ISLAND) as two bands are the ones that I grew up with. Hearing Yonghwa’s voice is enough to fulfil that craving. Secondly, Then, Now and Forever is an alternative rock track that sounds blissful and captivating. Yonghwa’s vocals compliment the alternative style of the instruments played by all three members. I particularly really liked the peak of the song, which gives Jungshin and Minhyuk an opportunity to shine. They could have stuck with the alternative side of the track for the entirety of the song (which would have been fine), but I would have made a comment about it being plain or ‘is stuck in a neutral gear’. The peak just gives the song that icing on top to make it feel more satisfying to listen to. I liked how the sound helps shows themselves off as mature and refined, which works well with the lyrics. The song itself expresses the emotions one experiences and deals with when a person they love is no longer around. Hopefully, one day the trio will return with a more hard hitting promotional track. But in the meanwhile, Then, Now and Forever is a nice comeback for the band and satisfy my specific craving for nostalgia.
It is a nice video to watch. Not exactly the most attention grabbing or outrageous video there is, but it does the job complimenting the song’s mature and emotional sound. We see the members are quite expressionless with their lives, now that their special someone had left. And even with the changes in their lives (which I am assuming the colour blue represents), their emotions still take hold of them. I did like the transition between white and blue. It is a strong contrast and really sends off an impression to the viewer. I do have questions about Yonghwa’s milk though. It seemed a bit random to me (and I think alcohol would have been a more appropriate prop for the video’s intention). But then again, how do you show the transition to blue clearly and aesthetically. I also liked the ‘stage’ they performed in and the three rooms hidden by the curtains were their individual sets. I thought that was smart and provided a physical connection to everything to help give that a ‘whole’ feeling to the video.
Song – 8/10 Music Video – 8.5/10 Overall Rating – 8.2/10
SF9 returned with a special album last month to celebrate their fourth year in the industry. The special album, titled SPECIAL HISTORY BOOK, is the focus of this album review and features Shine Together as the lead title track, along with two other new songs which I have reviewed below. This release also follows SF9’s 2020 comebacks, Good Guy and Summer Breeze.
2. Forever(오래 오래) – Forever is a mixture of genres that comes off quite refined and polished. It is an interesting piece, given that you don’t think the extremities (EDM and ballad) would blend well together yet they work surprisingly well with one another. To be fair, it isn’t an extreme form of either genres, which probably helps make the combination work. The EDM comes through the instrumental. There is your usual beat drop and the synthetic nature in the song. However, it is quite breezy and airy, which compliments the ballad style. The vocals and melodies bring the balladry elements to Forever and they felt similar to Shine Together’s vocals/melodies. Soothing and light are the words I would use to describe their delivery, which again, compliments the EDM style for this song. (8/10)
3. Love No. 5 – Love No. 5 needs a stage performance as soon as possible. The beat drop in the chorus is definitely a highlight and drawing point to the song. It is intense and on par with SF9’s more powerful releases like RPM. The vocal part of the chorus that precedes the drop is quite consistent and I am digging how it just keeps coming at you. The vocals added a certain smoothness to the song, while the rapping added some additional edge and had nice delivery, both of which I really enjoyed. I would have liked the final chorus to be amped up a little more to help drive a more epic closure to the song. On a side note, I would like to know what Love No. 5 actually means as the concept sounds rather intriguing. (9/10)
It has been a while since we heard from BTOB. All the members (with the exception of Peniel) over the last two years enlisted in the military. Some members have completed their enlistment while other are close to finishing. For those who have completed their enlistment (Eunkwang, Minhyuk and Changsub), they have regrouped (with Peniel) for unit promotions under the new name BTOB 4U with the new single, Show Your Love. The new single is also the title track off the unit’s first mini-album, INSIDE.
Show Your Love is a moombahton dance track that (fun fact!!) fellow member Hyunsik wrote prior to his enlistment. I have to admit the backing of Show Your Love is a typical for this era of music. But it was still refreshing and enjoyable to listen to. And it also gives us a BTOB fix. It is a nice change up to BTOB’s usual works, which have focused primarily on vocal centric tracks and ballads pre-military. Obviously, a subunit is able to explore and experiment with different sounds and genres. But this doesn’t feel like a unit release. Show Your Love feels very BTOB to me. I am instantly taken back to Only One For You thanks to the song’s melody. Show Your Love is just a more energetic and upbeat version of the mentioned title track, with an instrumental that really knows how to amplify the vocals and melodies. Eunkwang and Changsub handle this department with ease and the combination of the vocals and instrumentations makes the song sound explosive. Peniel and Minhyuk focus more on the rapping. Their rhythm was really good and they add some intensity to the song. If I were to pick a singular member who shined the most in Show Your Love, my pick would be Peniel because he has more opportunity to shine and his rapping was probably the most memorable in the midst of the other three members. But that doesn’t mean the others didn’t shine, given that Show Your Love comes together really well and fulfils that BTOB craving that I am sure we have all experienced over the last two years.
Based on the comments section of the music video, the members portray the different forms of love that can exist. Other fans have also noted that each member is portraying a character who experiences love in some form in their movie (given that Minhyuk’s is clearly representing the very infamous story of Romeo and Juliet). I do prefer the former option as I cannot pinpoint what the original movies Eunkwang, Changsub and Peniel are showing. Changsub is showing a toxic relationship, Peniel is showing self-love, Minhyuk tells us the story about willingness to die for a lover and Eunkwang portrays a same-sex love story. Each of these stories have ‘love’ as the running theme, fitting in with the song’s call to ‘Show Your Love‘. The end of the video shows the four member reuniting thanks to a simple card. They walk to an old warehouse and we are left with the image of the four members smiling over a glowing golden light. We aren’t shown exactly what they see. But my guess is we might be seeing the remaining members, who might be forming their own subunit when they return and they would reunite with BTOB 4U at the end of their video. Who knows…
The added bonus of an upbeat song is that BTOB 4U is able to show off more dance moves. I really like the start of the performance with the three lines of dancers/members. I feel like that is made to be an optical illusion as I could only see Peniel move to the middle line and when Minhyuk/Eunkwang appeared, my mind was blow. I also liked the part when Minhyuk suddenly kneels (it had an epic feel) and the cute little ‘LOVE’ letters they made with their hands at the end of the video.
Song – 8.5/10 Music Video – 9/10 Performance – 8/10 Overall Rating – 8.6/10
KPOPREVIEWED 