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.
We are almost at the end of the craziest year ever! Only eight weeks remain in 2020. And KPOP is going to be jamming a lot in the next eight weeks without a doubt. November is already tracking to be an intense month, with comebacks and debuts lined up. And without a doubt, December is going to be as busy as it ever has been. November is a particularly a busy month for this blog as I am rushing to get reviews out before the November 30 deadline. How come? Well, you will find out in a little over a week. Until then, here are the Weekly KPOP Charts for the 1st Week of November 2020.
As per the Weekly Charts segment, we must run through the big jumps of the week. Why do I cover these big jumps? Well, they jumped more than 30 positions for multiple reasons and deserve a shout out for their appeal and power for being able to achieve such a jump. This week, the biggest jump is experienced by DKB’s Work Hard, which jumped from the bottom of last weeks chart to the 13th position this week. The only other big jump this week was Mamamoo’s Dingga, which jumped for the same reasons.
And now, the breakdown of this week’s Top 5. Starting from the bottom of this arrangement, we have TXT’s Blue Hour, which was the song in the fourth position last week. WEi’s Twilight rises into the Top 5 this week into the fourth position, while Park Ji Hoon’s GOTCHA debuts in the third position. Another new release in the Top 5 this week is AB6IX’s Salute, which debuted in the second position. And for this week’s number 1 song, we have Pentagon’s Daisy, which is very familiar with the top spot as they have previously sat at the top of the charts for two weeks already. For more of the charts, scroll down below.
1st Nov – 7th Nov 2020
Title
Artist
Status
1
Daisy
Pentagon
(▲ 1)
2
SALUTE
AB6IX
(new)
3
GOTCHA
Park Ji Hoon
(new)
4
Twilight
WEi
(▲ 14)
5
Blue Hour
TXT
(▼ 1)
6
AYA
Mamamoo
(new)
7
Love Killa
MONSTA X
(new)
8
MMM
TREASURE
(new)
9
Pump It Up
Golden Child
(▲ 1)
10
Light
UP10TION
(▲ 21)
11
Back Door
Stray Kids
(▼ 6)
12
I LOVE YOU
TREASURE
(▲ 3)
13
Work Hard
DKB
(▲ 44)
14
Siren
P1Harmony
(▼ 1)
15
I Can’t Stop Me
TWICE
(▼ 9)
16
Shoot The Moon
BDC
(▼ 13)
17
HOME:RUN
SEVENTEEN
(▼ 16)
18
Criminal
Taemin (SHINee)
(▲ 19)
19
Make A Wish (Birthday Song)
NCT U
(▲ 1)
20
Nostalgia
DRIPPIN
(▼ 6)
21
Jungle
CIX
(▼ 15)
22
Like A Movie
B1A4
(▼ 6)
23
Dingga
MAMAMOO
(▲ 32)
24
The Stealer
The Boyz
(=)
25
La Di Da
EVERGLOW
(=)
26
No Love
Super Junior-D&E
(▲ 29)
27
Every Day
MVP
(▲ 21)
28
Why Not?
LOONA
(▲ 15)
29
Alien
Suhyun (AKMU)
(▲ 16)
30
Bad Idea
MOONBIN & SANHA (ASTRO)
(▼ 9)
The songs leaving the charts this week as they have wrapped up their nine week run on the KPOPREVIEWED Weekly Chart are:
Criminal – Taemin (SHINee)
Bon Voyage – YooA (Oh My Girl)
Bird – Kim Nam Joo (APINK)
WANNA BE MYSELF – Mamamoo
OURS – B1A4, Oh My Girl, ONF
Thanks once again and I will see you shortly in the next review!
The next album that I am going to be doing a deeper listen for is BDC’s first mini-album, The Intersection: Belief. This particular mini-album was released at the end of September (another really late album review) and follows the trio’s debut single, Remember Me, which was released in December 2019. Featured on the mini-album is SHOOT THE MOON as the title track and four other tracks. One of the four songs features Lee Eun Sang, who recently made his solo debut. If you haven’t checked out the album yet, keep on scroll to see what I thought and have a listen to each song to see if you agree! Then, check out SHOOT THE MOON!
The Intersection: Belief Album Cover
1. DUMP– First up on the album is DUMP. What really draws me into the song are two things. The first has to be their vocals. All three members sounds very really good throughout the song. The chorus was probably their best showing, as their vocals compliment the striking nature of the chorus extremely well. The instrumental was the second aspect that drew me into the song. I am digging the heft the bass brings to the song. The rest of the background of the song felt, admittedly, a little plain. But it worked extremely well with their vocals and had a nice consistency that makes the song appealing. (8/10)
3. DROWNING – DROWNING is another great song. The verses opt for a smooth R&B texture, while the chorus has more of an upbeat kick to it, courtesy to the bouncy synths we get. There is a very satisfying level of energy that comes off the song that I really enjoy. To me, the best part of the song is when they bring some falsetto to the chorus. The rapping sequence in the second verse comes a close second, with a groovy electronic backing that sets it a part from other KPOP releases. It is another song that I felt is more aligned with Summer, but it works on this album. (9/10)
4. I’ll BE A STAR (별이 될게) – The next song on the album is a pop ballad, featuring band instrumentation and an electric guitar solo during the bridge. It is soothing and calming number to listen to. It also shows off their vocals, which have already been highlighted earlier on in the album. But I am not going to complain that there is another ‘great vocals’ song on the album because more is merrier in this instance. It is a pleasant listen, but it isn’t really a song that pulls me in. Usually I’LL BE A STAR is my style, but I feel that BDC’s forte is more with dance tracks such as the preceding track or their title track. (8/10)
5. GO GET HER (ft. Lee Eun Sang) – Looking at the tracklist, GO GET HER is the most anticipated track, as it features Lee Eun Sang. The way I wrote the first bit sounds like I have never heard the song, which is the case. But fans of both the group or soloist may recognize the song as their ‘audition’ song for Produce X 101. It is cheerful, bright and pop. What I really like the most about GO GET HER is that the song brings me back to what KPOP felt like initially. Even the melodies and rap segment have a nostalgic ring. (9/10)
Overall Album Rating – 8.6/10
SHOOT THE MOON / The Intersection: Belief Teaser Image
TREASURE is back with their final release of 2020. The group has definitely been quite busy since they made their debut in August of this year with BOY. They followed up their debut single with I LOVE YOU in September. Once promotions for the second single was wrapped, the group was confirmed for a third single (MMM, the focus of this review) which dropped earlier today and a full-length studio album in January next year. For those who are wonder, December won’t be a month off for these guys as they prepare for and perform at a number of award nights and those end of year music festivals.
TREASURE has so far stepped away from YG Entertainment’s association with hip-hop. BOY was more of a departure than I LOVE YOU was, but both felt to be outside the common hip-hop bubble. MMM, on the other hand, pretty much steps back into that bubble. While I do like their individuality, I also liked that MMM plugged themselves back into the roots of their company. It says that they are still a YG group despite the different musical influences that they are drawing upon. MMM retains the modern KPOP hip-hop influenced structure (rap intensive verse, followed by a vocal-heavy pre-chorus, which leads into the chorus – a typical structure nowadays from how I see it), whilst also incorporating the EDM that they have really embraced in all their releases thus far. The peak of the EDM in the chorus was a very interesting centerpiece to the song. It works really well with the more serious nature of the song and it seems to add a bit of dramatic flair to the song. For the hooks during this part of the song, I thought they were weak at first. But those ‘Mmms’ and ‘Treasure you‘ whispers ended up feeling quite substantial for the song in retrospect. To me, the chorus was probably the only impressive part of the song. Everything else felt a little hit and miss for me this time. The instrumental had a nice Middle Eastern flair, but it failed to excite me for the most part. MMM manages to change it up by throwing some energy at us and keeping the EDM more consistent for the final chorus. It was a needed move, but I wanted more oomph to really get out of the repetitive loop that the song felt like it was stuck in. Similar ‘repetitive loop’ comments can be made in regards to their vocals and rapping. MMM doesn’t feel like their most impressive foot forward, in my opinion, and I will be picking their earlier singles over MMM any day.
The music video looks quite good. I like their use of the industrial look of their setting and the use of black and white throughout the video. It gives off a stylish look and adds a bit of simplicity to the music video. This also make the choreography scenes that feature their more colourful outfits feel like a ‘splash of colour’ and thus stand out a bit more. They do opt for the choreography and closeup formula, but it isn’t really that noticeable to me. I only realized it when I was typing out their review. Some fans mentioned that the video features YG Entertainment’s new building, which I thought was a little fun fact to add to the review. I think you can definitely say that this is a YG video. Hahaha… 🤣
The choreography for this comeback is definitely a highlight. Let’s definitely talk about the choreography they had for the EDM centrepiece. It looks amazing, complicated but very sophisticated. I didn’t want to say this before in the song review section, but those ‘Mmms’ had a sensual sound to them. And it looks like the choreography had that effect as well!
Song – 6/10 Music Video – 8/10 Performance – 9/10 Overall Rating – 7.2/10
Also on the reviewing block today is Park Ji Hoon’s latest comeback, GOTCHA. How odd of me to be writing a review on the day of the song’s release. GOTCHA is the title track of Park Ji Hoon’s first studio album, Message, which also dropped today. This comeback comes after Park Ji Hoon’s earlier music release in the year, Wing, and another web drama for the actor side of Park Ji Hoon.
GOTCHA is a slight mashup of genres that end up coming together quite nicely. It is described as a ‘refreshing Latin rhythm as well as an 808 bass and trap rhythm’ (taken from SOOMPI). Some of the song might be overwhelming, namely the post-chorus hook that follows the first and final chorus, as it does appear out of nowhere and is more abrasive on the ears that any other part of the song. However, I heard it as an exciting change up that kept me on my toes. The Latin influence keeps the song very upbeat, bright and adds a very nice colour to the song. It did make me wonder whether GOTCHA would have more successful as a Summer track, as the Latin flair does seem to give off that impression. And I think it might of. However, I think KPOP has been blurring the lines between seasons as a number of releases I felt have been better suited for the Summer season have been released during what was supposed to be the ‘Autumn’ season in Korea, so Park Ji Hoon’s release isn’t really an outlier by any means. His vocals have gotten a lot stronger and they impressed me throughout the song. The melodies that his vocals had carried were quite strong and alluring. He also throws in a bit of a high note (though it was rudely interrupted by that rewind effect). His rapping was also quite interesting, adding some additional energy into the already quite upbeat song. I particularly liked the switch up between rapping and rap-speak he does in the first verse. Overall, GOTCHA was a really enjoyable track and highlights improvements in Park Ji Hoon’s skills.
Park Ji Hoon embraces his inner bad side for this comeback. Fans will definitely enjoy this darker side of Park Ji Hoon. This evil side of him is actually quite captivating and he was very alluring with his facial expressions throughout the video. His blonde hair was definitely ‘icing on the cake’ for this music video and concept. The producer and director did a pretty good job of pulling this video together and making sure Park Ji Hoon looks good. I also feel that the music video also gives us a taster to what the artist could do as an actor. If he is playing a character with evil intentions and the storyline is good, sign me up as part of the audience!
A big part of the performance that I don’t tend to mention as much are the outfits. And for his showcase stage, I felt Park Ji Hoon felt quite overdressed in comparison to his dancers. I hope that this doesn’t happen on the actual comeback stages. Apart from that, the choreography looks quite cool. I like the slight popping (at least, that is what I think it is) he does for that more abrasive post-chorus hook sequence and how he (as a solo artist) basically carries the entire second verse on stage.
Song – 9/10 Music Video – 9/10 Performance – 8/10 Overall Rating – 8.8/10
Another day late review! This time the review is for Mamamoo, who have made their first comeback as a full group since HIP (which was released around the time last year). Headlining this comeback is AYA, the title track from their tenth mini-album, Travel, and it follows the release of their pre-release track, Dingga two weeks ago. It may have been the first group comeback for the ladies, but it isn’t really the first time we have seen each of the members. Solar made her solo debut with Spit It Out, while Moonbyul and Hwasa made their solo comebacks with Eclipse and Maria. So it has been a busy year for the group since their last comeback, nonetheless.
Since HIP was such a successful song for the group, I was wondering how they were going to top that release. It was going to be one difficult feat. After many repeats of their new title track, I don’t think AYA even comes anywhere close to overthrowing HIP as one of their best tracks ever, if I was to be completely honest. This is because AYA noticeably lacks hooks. I was dying to hear a catchy moment but that was never delivered. That is what made HIP so addictive. Here AYA just keeps on giving us really nice melodies and vocal work. But it never went back to a central line to really establish itself, if you know what I mean. Likewise, it lacked a chorus that could have acted as a central point to return to. The pan-flute sequence is probably the closest form we get to a chorus in this song. By all means, that the lack of chorus or hooks wasn’t frustrating. The member did manage to give us another stunning song. But it just needed that foundation or ‘safety net’ as I might call it to go back to. So what makes AYA stunning? Well the vocal work was quite nice. It isn’t their most vocally charged song nor does it feel much of a statement. But the vocal work compliments the exotic nature of AYA. I like how Moonbyul’s rapping adds stability to the song. And this exotic nature was definitely a really captivating piece of music to listen to. The change up for the last half a minute of the song was very interesting. If you were becoming bored of the exotic flair that AYA had going on in the first three minutes, then they will surprise you with the change in tone. Overall, the song lacks a fundamental element. This impacts the song, but Mamamoo still manages to make do.
To match the exotic flair of the song, the music video goes with a visual concept of the same calibre. I am wondering if each of the characters that the members play in the music video are there for a distinct meaning. I have yet to find a theory explaining the music video or the characters, as I feel that the outfits Wheein is wearing during some parts of the video, Moonbyul’s archery shooting character, Solar’s monobrow character and Hwasa’s character decked out in leather and knocking out teeth are there for a reason (I do note that the latter was mentioned briefly in the lyrics). Other than that, I enjoyed the detailed sets and the emphasis on the golden hue throughout the video. Definitely fitting for the concept and these Queens.
The choreography for this comeback is definitely elegant and looks quite stylish. I really like how the member embraced their sensuality in this performance, which makes everything a lot more captivating. I also liked that despite how intense the final moments of the song got, the performance still went in well with the rest of the choreography and retained that exotic and sensual flair.
Song – 6/10 Music Video – 8/10 Performance – 8.5/10 Overall Rating – 7.1/10
The second comeback that occurred yesterday was by MONSTA X! Once again, apologies for the day late review (I explained why I am a day late in my last review). MONSTA X’s latest comeback comes in the form of their third studio album, Fatal Love, and the title track, Love Killa. This is the group’s first comeback since the release of FANTASIA and FANTASIA X this past May.
One of my complaints with MONSTA X’s previous comeback was that their sound was possibly encroaching into an overwhelming feeling with their heavy reliance on powerful EDM as their instrumental. And I am glad to hear that MONSTA X has diverted from that possibly overwhelming and overpowering version of EDM. Love Killa opts for an electro-bass instrumental that knows to when to hold itself back to make the song more impactful. It is a super addictive beat that I am enjoying and I feel that it enables for stronger melodies in the song. Take the chorus, particularly Kihyun’s opening line, which feels smoother and has more character. And as a result, I feel that Love Killa lands itself on the top end of ‘Best MONSTA X’ tracks for me. The presence of stronger melodies end up allowing the rest of the members to stand out, particularly those who are not as vocally as strong as Kihyun (the group’s main vocalist). It also allows the lines to stick a bit more. What I particularly like about Love Killa is that while it allows the vocalists to shine more, it doesn’t forsake the rappers. Love Killa has awesome rapping sequences in my opinion, with both I.M and Jooheon delivering some of the most impressive lines of 2020 KPOP. “That’s right, you look at my eyes. Straight into my eyes and just say…“, “Got room for one more. Oh I’m sorry, did I make you anxious?” and “Imma slay, Imma chill, Imma kill” just to name a few. I also like how the members echoes the lines in the first half of the chorus, giving the song more effect and impact. Overall, Love Killa ticks many boxes for me when it comes to MONSTA X.
One of the things that had me hyped up for this particular comeback was their alluring teaser images. But those did not prepare me for the music video, which seems to have a murderer concept (and it is probably one of my favourite concepts to date – cause I have an affinity towards this type of stuff). Based on comments in the YouTube comments, fans noted that each member was portraying a character that seems to be inspired by infamous movie killers. Jooheon’s character is similar to the Joker (and his smile and sudden change at the start of the video will forever haunt me), Minhyuk’s character seems to be inspired by American Psycho, Kihyun’s character is inspired by Hannibal Lecter, Hyungwon’s was another obvious one with Fight Club, I.M’s character is inspired by Drive and Shownu is inspired by Kingsman (or other since fans are still debating this one). Aside from an awesome concept, I also really liked the dominance of the red and black in the sets, depending on the colour suit they are wearing for the scene. Also Hyungwon’s hairstyling is on point in this video! Just thought I put that out there.
The choreography looks awesome. I liked the angst and (once again) fierceness that the members bring to the choreography and performance. I also loved how they nailed the sleekness at the start and end of the choreography.
Song – 9/10 Music Video – 9/10 Performance – 9/10 Overall Rating – 9/10
Yesterday, we saw the return of two groups. And I will be reviewing both releases today (Sorry once again for the day late reviews – I may have overnapped yesterday…). First up on the reviewing block is AB6IX’s latest release, SALUTE, which is featured on their third mini-album of the same name. This comeback comes after the group moved to a four-member lineup and released The Answer and Vivid.
Opening SALUTE up is this very epic thumping marching band sequence that hypes the song up. Unfortunately, it felt like a standalone piece when it was followed by the trap-based first verse. All that energy that the introductory sequence had managed to create within the opening sequence had dissipated suddenly into thin air and in place was a generic first verse that had no momentum. It would have been nice if they continued to channel that energy somehow. I did feel that the introductory sequence matched up with the brass-heavy chorus nicely, both working hand-in-hand with their own epic vibes. I liked the theatrics that they used and the simplicity of the ‘SALUTE‘ and ‘Come and get me. Come get it‘ repetition. They followed up the chorus with another generic second verse, but it contained a really pleasant surprise. That surprise was Lee Dae Hwi rapping, which was a standout moment for the song. The rest of the members didn’t seem to stand out as much, which is slightly disappointing. To me, the instrumental (bad or good sides) overpowered their presence in the song. So far, it seems like I have a mixed view on the song. SALUTE ends in a more positive manner, with the final chorus changing up the momentum by mixing in some more EDM with the brass-heavy chorus. Overall, I feel that AB6IX was going in an epic direction with SALUTE. It felt lacking in some reasons, which dulled the potential epciness of the song.
What the group did nail were those decorated military-like outfits and use of the marching band in the video, which seemed very fitting for both the introductory sequence and chorus. It also works with their fierce and confrontational visuals, which does compliment the song. It definitely makes for an awesome concept. I liked how clean the sets felt (not visually, but aesthetically). I personally didn’t like their use of the upward perspective. I know many groups do use it in their videos, but I felt that there was too much of it in this video.
And like the music video, the choreography has their fierceness to it that I am sure will make other groups very jealous. The concept suits ABI6X so well, which was most evident during the performance. I really like their military-like transition to get into formation during the chorus and the entire ending-sequence definitely had this powerful energy to it that I really enjoyed.
Song – 7/10 Music Video – 8/10 Performance – 8/10 Overall Rating – 7.5/10
The album review that I intended to post on the Friday that we just passed was The Boyz’s CHASER mini-album. The album was released back in September and (like the state of this segment) the album review comes after the group had wrapped up promotions for the title track, The Stealer. The group is currently in follow up promotions with Whiplash, though I suspect that might have ended. Also featured on the mini-album are four new tracks and CHECKMATE, the group’s final song on Road To Kingdom. This also helped the group win their one-way ticket to Kingdom, which has recently been confirmed to begin shooting in January 2021. While I am sure that many people are super excited for this, we just need to wait a little longer. In the meanwhile, here is my album review for CHASER.
CHASER Album Cover
1. Shine Shine – If you are judging the song by the title (like I did) and are expecting something with sunshine and flowers (similar to The Boyz’s Bloom Bloom), then you need to look elsewhere. Shine Shine kicks off CHASE with a much darker tone and heavier sounds. It features a very sleek dance instrumentation that will make the members look good on stage without a doubt. The vocals, rapping and hooks were all quite smooth to compliment the instrumental. I also liked the subtle intensity that comes from the song. Overall, a strong starter to this new side of The Boyz. (9/10)
3. Insanity – Insanity begins with a sequence that felt like a mix of Taemin’s Danger (which the group covered on Road To Kingdom) and something of their style. And it is a very intriguing start. What comes after that introductory sequence does not disappoint as well. Their vocals are definitely what I am referring to, especially Sunwoo’s lines throughout the song. He was so smooth, alluring and the standout member in this song. That being said, the rest of the members do an amazing job as well. It is interesting to note that the song relied purely on vocals to delivery the song’s polished melody. I liked this stylistic choice, allowing the vocals to be emphasized throughout the track in a matter that wouldn’t have been achieved if there were some strong rap sequences incorporated into the song. (9/10)
4. Whiplash– Whiplash inserts some lighthearted and cheerfulness to the album. And I felt this break from the seriousness of CHASE thus far really makes the song standout. To the point where I think it edges ahead of the rest of the album. The song actually reminds me of Super Junior’s Devil. I didn’t like that particular song when I reviewed it, but it is another song that grew on me over time. I love the pop rock instrumentation in Whiplash and the guitar riffs throughout the song. It enables the cool melodies that makes Whiplash so appealing to me. Once again, their vocal work is superb, and they felt quite classy throughout this pop track. The rapping gave the song some punch and complimented the higher tone the vocalists sing at. The song itself was quite catchy and it had me humming along for days. (10/10)
5. Make or Break – Make or Break continues the upbeat energy from the preceding track. It brings me back to The Boyz’s chirpier and energetic tracks that they used to promote. Come to the think of it, Make or Break would have been an excellent sidetrack for Bloom Bloom, if it wasn’t just a digital single. It features great instrumentals that also reminds me of 90s hip-hop, to a degree. It is a solid track. While I think the singing was great in the song, I wanted more from the rapping. They could have gone harder with the rapping, which would have suited the 90s style really well. What we got was pretty decent, but it would have been nice to hear them go that extra bit further. (8/10)
Welcome to the Weekly KPOP Charts for the 5th Week of October 2020. It is crazy that October is now officially over and we are officially in November. Within a few blinks or a few Christmas carols, 2020 will be wrapping up and we will be in 2021. It is very scary to think that, isn’t it? But then again, we will all be glad it is come fast given how crap 2020 has been to the entire world. In the meanwhile, there are a lot more KPOP releases coming your way, so I guess we all should buckle our seatbelts and prepare ourselves for the influx of comebacks – November is looking jam packed!
As per the recent Weekly KPOP Charts, here are the big jumps of the week. H&D’s Umbrella experienced the biggest jump of 41 positions, thanks to its review last weekend. Crush’s Let Me Go (feat. Taeyeon) and Song Ji Eun’s Bloom are two releases who experienced big jumps as well from the very bottom of the charts last week (as I recorded no listens to either song last week). Other than those three songs, BDC’s Shoot The Moon and CRAVITY’s Ooh Aah are the other songs that had big jumps this weeks.
And now the Top 5 of the past week! The new song at the top end of the charts is SEVENTEEN’s HOME;RUN. It switches places with last week’s top song, Pentagon’s Daisy, which is now in the second position this week. In the third position this week was the unexpecting Shoot The Moon by BDC, followed by TXT’s new release, Blue Hour. And finally, wrapping up the Top 5 this week is Stray Kids’ Back Door, which rose back into the Top 5 this week. For more of the charts, scroll down below.
25th Oct – 31st Oct 2020
Title
Artist
Status
1
HOME:RUN
SEVENTEEN
(▲ 1)
2
Daisy
Pentagon
(▼ 1)
3
Shoot The Moon
BDC
(▲ 31)
4
Blue Hour
TXT
(new)
5
Back Door
Stray Kids
(▲ 2)
6
I Can’t Stop Me
TWICE
(new)
7
Jasmin
JBJ95
(new)
8
Jungle
CIX
(new)
9
Ooh Ahh
CRAVITY
(▲ 32)
10
Pump It Up
Golden Child
(▼ 2)
11
Umbrella
H&D
(▲ 41)
12
Zig Zag
Weeekly
(▼ 3)
13
Siren
P1Harmony
(new)
14
Nostalgia
DRIPPIN
(new)
15
I LOVE YOU
TREASURE
(▼ 3)
16
Like A Movie
B1A4
(▼ 12)
17
Feel Good (SECRET CODE)
fromis_9
(▲ 1)
18
Twilight
WEi
(▼ 4)
19
Let Me Go
Crush ft. Taeyeon (SNSD)
(▲ 34)
20
Make A Wish (Birthday Song)
NCT U
(▲ 3)
21
Bad Idea
MOONBIN & SANHA (ASTRO)
(▲ 4)
22
BLOOM
Song Ji Eun
(▲ 30)
23
Cool
Weki Meki
(▼ 1)
24
The Stealer
The Boyz
(▲ 15)
25
La Di Da
EVERGLOW
(▼ 8)
26
Shine Together
SF9
(▼ 5)
27
Helicopter
CLC
(▲ 9)
28
Hello
Chen (EXO)
(▲ 18)
29
Goblin (Favorite Boy)
A.C.E
(▼ 14)
30
From Home
NCT U
(▼ 20)
Songs leaving the charts this week include:
Hey There – Seven O’Clock
Where The Sea Sleeps – Even of Day (DAY6)
Obliviate – Lovelyz
Tiger Inside – SuperM
Helicopter – CLC
Goblin (Favorite Boy) – A.C.E
B.A.D – Super Junior-D&E
Beautiful Scar – Lee Eun Sang ft. Park Woo Jin (AB6IX)
Open Mind – Wonho
Oh Ya Ya Ya – LUNARSOLAR
Thank you once again for visiting this blog and I will catch you in the next review!
A week ago, I wrote a review for five international songs by Korean artists. In that post, I revealed that had another five reviews coming your way. And as promised, here is the next edition of the International Song Review. TTo be honest, the last post is probably more fitting for the term ‘international’, as this post focuses more the Japanese music industry as that is where KPOP has an obvious stronghold and market power. And this is something expected as many more artists have made their debut in the Japanese music industry compared to the Chinese or Western music industry. Moving away from that little ‘analysis’, this post contains brief reviews for five Japanese tracks from Stray Kids, IZ*ONE, FT Island, N.Flying (though this is more of a cover) and Super Junior KRY.
All In – Stray Kids
2020 has been one busy year for Stray Kids. Their 2020 resume consist of a mixtape release, one Japanese single, a Korean OST and back-to-back Korean comebacks. And if you deemed any of the releases for the group as ‘the best’ according to your personal taste, then you probably have not heard All In yet. It builds itself around an epic brass piece that reminds me of primetime sporting events and prestigious award shows. In this song, it makes the atmosphere feel adventurous, theatrical and playful at the same time. Per Stray Kids’ forte, the song is very rap centric, adding to the powerful nature of the song. There are small vocal moments throughout the song, but it is the rappers (and rap sequences) that really steal my attention in this song. Adding more to that playful vibe I mentioned earlier, All In features a hilarious ‘WHAT?‘ from Jisung just before each chorus, which are preceded with the female spoken line ‘There is no search results for STOP‘, which I thought makes perfect sense with the continuous energy that comes from the song.
All In‘s music video takes a page out of their God’s Menu and Back Door music videos by incorporating a similar concept. I wouldn’t be surprised if the music videos are linked. There are background figures standing around the members doing nothing, whilst the same suited older men appear at the table. If you watch the music video carefully, you will see the members interact with the background figures, which I think is a first for the members and this concept. The video also matches the epic vibes of the song with that very bold burning billboard. For the choreography, the dance is equally as powerful, energy driven and epic as the song. For my favourite bit, it has to be the chorus routine, which I am digging very much.
Overall Rating – 10/10
Beware – IZ*ONE
IZ*ONE’s schedule in both Korea and Japan were put on hold due to the controversy that embroiled the Produce series and left an equivalent group disbanded well ahead of their contract ending. But IZ*ONE has managed to bounce back, with all members returning for two Korean comebacks so far this year. And now, IZ*ONE makes their long awaited comeback in Japan with Beware. Aside from their debut single in Japan, all of their Japanese singles have been terrible (harsh, but the honest truth) or forgettable (which is mildly better). Beware doesn’t have the ability to overtake their I Want To Say I Love You debut single. And if I was being honest, I foresee the song falling into the ‘forgotten’ category over time. Beware is delivered to us in a high pitch cutesy manner. Personally, I wished they grounded their vocals in some form and hadn’t gone head first into the cutesy sound. Their melody did help make the song appealing to a degree. It was flat for the most part, though it had its moments and had a nice ring to it. The strongest aspect has to be the song’s electronic synth-based instrumental. It did overpower some parts and did feel somewhat typical, but overall it brought great energy to the song.
With a cutesy sound comes a colourful music video. It is what makes the most sense. For Beware, the colourful video is saturated with pink and some yellow. I like the concept, where IZ*ONE is in in their own world in that suitcase. It isn’t new, but IZ*ONE’s take on it is pretty refreshing. For the performance, I like the energy that comes from the dance. It is fitting for the song and their youthful charms. I really like Chaewon and Minju’s little part during the bridge.
Overall Rating – 6.7/10
Sunrise Yellow – FT Island
It has been a while since we have heard from FT Island, who have reached that point of their careers where they are currently enlisting in the military. But that doesn’t stop them from releasing a single. FT Island current lineup only consist of 3 members (Hongki, Jaejin and Minhwan), with Jonghoon leaving the group/retiring from the industry when he was implicated in a scandal, while Seunghyun left the group to continue his acting career. Sunrise Yellow is the most recent FT Island and it features Seunghyun as his final FT Island release. It is a feel good song dedicated to their fans, with the Sunrise Yellow title referring to their Sunshine Yellow fanclub colour. When it comes to my reviews, I tend to say I love the energy that comes from a particular song. And it is true. But it feels completely different when real instruments are at play and it releases that energetic charge. Sunrise Yellow, hence, blows me away when we enter the chorus territory, with the fast paced energy and unrelenting momentum coming at you. Hongki’s vocals are quite nice, but I love the unique texture that Jaejin gives the verses in this parts. There is a punch to it, which I enjoyed. I wished Seunghyun and Minhwan had a part in this song, which would have increased the impact factor for fans and made Sunrise Yellow extra special.
The song is released as part of their 10 year anniversary for Japanese promotions and there is no other way to make the video special by including their fans in it. The music video simply consists of a mixture of close ups that I assume they shot prior to their concert (so that they don’t ruin the live performance with a cameraperson walking in front of them to film the closeups) and live footage of them performing on stage in front of their fans. Seunghyun is also featured alongside the other three members, making the whole video a little more special for fans. Overall, a fitting video for the group and their fans.
Overall Rating – 9/10
Amnesia – N.Flying
Released back in July of this year. N.Flying made their Japanese comeback with Amnesia. It is also the first Japanese comeback to feature Seo Dongsung, who was officially inducted as a member of the group ahead of their Oh Really Korean comeback. I loved that the group returned to something within the rock genre. It is something that I am yearning for in the KPOP industry and I am hoping that N.Flying returns in the future with something similar to this song in Korea, as Amnesia tells me that they can handle the intensity of the rock genre. In the meanwhile, Amnesia fulfils my rock craving. Once again, Amnesia has really epic energy coming from it. The appeal of Amnesia is slightly different to FT Island’s release (reviewed above) because the energy take shape as more of a head-banging form than ‘feel good’. It was intense and it definitely ‘hits hard’ as some might say nowadays (look at me using young people speak). Vocally, both Seunghyub and Hwesung are powerful vocalists and Amnesia proves that they can handle the genre flawlessly. The slowdown in the bridge comes in at the right time, providing a moment of relief if you think the song is overwhelming. I didn’t, but I still found it fitting for the song.
The music video is made of black and white closeups of the members being emotional. But the good stuff is when the group are performing their instruments in front of that very large screen/projection. The visuals we see are amazing, due to their large size and how they come into play at the right moments. The explosions of coloured dusts and flowers were all timed really well to match the explosion of energy we get in the song. It was something simple, yet they magnified it in a way that made the video so much more monumental.
Overall Rating – 9.6/10
Traveler – Super Junior KRY
It is time this review post goes on a slightly different path. So far, we have two dance tracks and two band tracks. It is time to step into the ballad domain, with Super Junior’s experts – Super Junior KRY. This follows their Korean comeback earlier this year and is their first Japanese release in over five years. However, don’t mistaken the term ballad in this review for something emotional or a track to ball your eyes out. Traveler is a more of a pop-ballad with an upbeat instrumental background. I was caught off guard with this direction, as I had expected something of that emotional route from the trio. I am not complaining, as it does mean that I am not ending this review post on a sad note! I really liked that acoustic guitar solo during the bridge of the song, though it could have easily been missed. It was a subtle change and wasn’t something in the foreground. Aside from the change in sound, Traveler captivates the audience with the trio’s vocals. Their singing is super powerful over the pop instrumentation and their harmonies during the chorus really make the song so much better. Their ad-libs towards the end was extra icing on top. Definitely a vocally charged song in its own right.
Traveler‘s music video was quite simple. The members sat in a chair on a platform singing their lines into a microphone. The camera panned around them. In the surrounding vicinity, we saw coloured balls, three floating light rings and a few pillars to add some colour, lighting and something to fill up the space around them, otherwise the video would have been too plain. Smart move there.
It seems like FNC Entertainment, once the home of famous KPOP bands, have moved onto producing KPOP groups. P1Harmony is the latest addition to the company’s lineup, which includes AOA, SF9, Cherry Bullet (the KPOP groups), N.Flying, CN Blue and FT Island (the KPOP bands). The new group is a six-member male group consisting of Keeho, Theo, Jiung, Intak, Soul, and Jongseob. Based on their profile (I get all the details of various KPOP groups from KProfiles), it seems like P1Harmony is one of the few new groups nowadays that are not connected to the Produce series or any other trainee survival show in some way. Just a little observation I made while looking them up for this review. The group also made their debut on Wednesday with Siren and the mini-album, Disharmony: Stand Out.
P1Harmony’s Siren is a hip-hop centric dance track, something quite different from their labelmates’ sounds. The verses could have used some oomph in the instrumental department. The background was bland for my taste. One good thing about the instrumentation during the verses was how it contrasted with the chorus, making the latter standout by miles. The chorus instrumental is very dynamic and robust, with the brass-like synths comes together to form an edgy and energetic punch. For those who may know, hip-hop centric sounds are not really my jam. But there is something very alluring about Siren that has me excited to see what is next for the group. It might be due to the fact that Siren really shows off some edgy flair and showcases a lot of potential. As it is a hip-hop sound, the song is mainly focused on the rapping. And boy, the members’ rap all added a lot of energy and intensity into the song, especially during the verses where I made an earlier comment about it being bland. The standout moment has to be the member that pulled that insanely fast paced delivery just before the final chorus. That really shocked me, but in a good way. Between the rapping, there was really good vocal moments. They don’t necessarily steal the limelight, but do help bring some balance to the song. The anthem-like delivery when it came to the chorus made everything in that section catchy and uplifted the energy to even more dynamic levels. Overall, another strong debut and one that puts P1Harmony on my radar!
The group and the producers of this music video were quite ballsy having so many people in one particular place, given the current circumstances worldwide. I was a bit nervous watching the music video because of this. Hopefully all people involved are okay. The graphics and post-production of this music video is definitely on another level. The apocalyptic scenes that kicked off the video was so intriguing. I wanted more of that in the actual music video, but it seems like that would be far too complicated to infuse into the rest of the video. But hey, those opening scenes made me stay and brought my attention to the members and song.
This group definitely has some performance skills up their sleeves. There was twist and turns, footwork and syncness to really help the group standout. The energy that come off from their choreography is something many other groups would envy. Even their facial expressions seemed relaxed and didn’t give off any newly debut feels. Definitely a strong impression was left on me by this group.
Song – 9/10 Music Video – 9/10 Performance – 10/10 Overall Rating – 9.2/10
It is time to have a deep dive into those Wednesday debuts. First up is the latest group to join the ranks of Woolim Entertainment’s roster – DRIPPIN. Personally, I don’t like their name. But there is nothing I can do about it. And who knows, it may grow on me in the future. The seven-member male group is made up of Hyeop, Yunseong, Changuk, Dongyun, Minseo, Junho, and Alex. Six of the members participated in Produce X 101. Five the members (aside from Junho, who made into the final lineup of X1, and Alex, the hidden member of the group) promoted under the name W Project 4 post-Produce X 101 last year. On Wednesday, the group made their debut with Nostalgia and the mini-album, BOYAGER.
What Nostalgia nails at first glance is its explosive and powerful nature. And I feel that this is always an appropriate way of making an entrance into the KPOP scene, given the massive influx of KPOP acts nowadays. You want to leave an impression and Nostalgia does just that for DRIPPIN. The song opens up to a pretty decent first verse. It felt very clean and the pre-chorus provided a great buildup to the first ‘explosion’, that is otherwise known as the chorus. My pick for the highlight of the song has to be the way they style the word ‘melody’ at the very end of the pre-chorus sequence by cutting it into syllables and taking away the instrumental for a brief moment. As already mentioned, the chorus is momentous with the way it is styled. The synths gave the song an electrifying effect and some zing to add appeal to the song. There is a subtle groove to it mixed in between the synths and intensity. And I also liked how the energy and intensity never lets up, even as the song moves into the catchy post-chorus ‘La La La… Nostalgia‘ hook. The second verse seems to be taken out of the book of all KPOP release and it doesn’t offer anything new. Glad it is followed up by another round of that explosive chorus. The rest of the song isn’t as cliche. I really enjoyed the more concentrated buildup to the dance break in the bridge and the added grooviness that followed in the dance/instrumental break, before returning to another and final chorus round. What I have yet to mentioned so far the members. Their vocal line is really good and their raps were pretty decent. I did have a craving for move ad-libs towards the end and even more rapping (away from the cliche second verse) to really bump up the song. But regardless, Nostalgia was a great first step for DRIPPIN.
The song is about wanting to return to the past with their lover. My guess when it comes to the storyline of the video is that the members want to recreate the scenery with the tree, as it has a sense of nostalgia for the members. One of the members plant the bare tree branch into the sand in the abandoned plane crash site, in hopes that it will grow to become that tree (which I assume they did). I may have gotten the story the wrong way around, but that is how I made sense of the music video with the lyrics. I really like the pale yellow that seems to be featured throughout the video in one way or another. It was a really nice colour to allow the members to pop, regardless of the white or black outfits that they wore throughout the video. It also felt pleasant, offsetting any harshness from the music/choreography that may have come about.
It seems like to be able to debut under Woolim Entertainment, your dance skills must be really good as they choreography some of the most intense routines ever that the idol must be able to perform in sync with everyone else. That is a particularly big ask and DRIPPIN definitely nailed it. The moves aren’t anything new, but the intensity and power that is placed behind each move is quite impressive. The ending of the bridge with the floating member seems quite cool, as well.
Song – 9/10 Music Video – 9/10 Performance – 9/10 Overall Rating – 9/10
The other day, there was a bit of a debut frenzy with new groups making their grand entrance into the KPOP scene. But we also saw the comeback of JBJ95 the other day. It has been a while since we last heard from the pair (Kenta Takada and Kim Sang-gyun), with Only One being their last release and that dates back to December of last year. Their comeback consist of the title track and mini-album of the same name, Jasmin.
It is clear that retro trend is in full effect in KPOP. Majority of the best tracks over the past few weeks (and possibly months) have had some sort of retro effect incorporated into it. I am not complaining, as some of the best KPOP songs ever have stemmed from retro and funky sounds. Jasmin is described to be a disco-based dance track and that is practically what we get. While I would have preferred something with a little more disco upfront, Jasmin manages to stay refined and feel classy. The guitars brings the initial funky influence to the song, which is then followed up with a great foot-tapping induced beat that really adds some depth to the song. I particularly liked how they accented the end of each line in the pre-chorus. The chorus feels like an extension of how the song starts. This isn’t necessarily a bad thing, as the chorus is quite pleasant. I really like the falsetto tone that the pair opted for during the chorus. It keeps the song light and it seems to had to the upbeat nature of the song. I feel like this is where the song could have been more upfront with the disco influences that I mentioned earlier, but what we got from the pair and the producers was definitely quite satisfying to listen to. They continue Jasmin with a catchy post-chorus harmonies, forming into a hook that is probably my pick for the best part of the song. The rapping that slides in effortlessly into the second verse fits in perfectly. For the bridge, they practically took away all of the music, highlighting their vocals before bringing the instrumentation back into play to wrap up the song. It all works out really well and the song literally wraps up with me feeling good. This is a great effect to end with. And especially with a song that is so easy going and impressive like this, Jasmin is a success.
The video was okay. I really liked the bar setting of the video and felt that was quite fitting for the song’s lyrics, which essentially compared someone to be as seductive as the scent of jasmine. Definitely classy setting for a classy idea behind the lyrics. There is a bit of a plotline that felt cheesy to me and I wished they did something better with it. I am talking about the very brief scene where the pair go to save the lady they are interested in (who is kidnapped and bound by ropes). Two things about this story line. One – it never resolved and we actually didn’t see her again after it was revealed she was kidnapped. And two – when they go for the big jump from the building right after shooting all those balloons, they landed on a cloud. That was where the cheese mostly came from and practically distracted me from the video for the remainder of it that followed.
I liked the slight funkiness that the music video brought to the performance, especially in the pre-chorus and post-chorus sections of the song. I also like their duo moments with the female dance just before the second chorus. Overall, a nice performance to compliment the song.
Song – 8.5/10 Music Video – 7/10 Performance – 8/10 Overall Rating – 8/10
Reviews for this week are coming a day late, as you can already tell. The first song that I am reviewing today is CIX’s Jungle, which is featured on the group’s third mini-album, Hello Chapter 3: Hello, Strange Time. Originally, this comeback was scheduled for the end of June this year. However, Bae Jin Young became injured in the lead up to the comeback and their company decided to postpone the comeback til yesterday. Regardless of when the group was due to make this Jungle comeback, it was still their first comeback of 2020 and their first comeback since the release of Numb.
Jungle continues the groups intense style in a very unexpected and unconventional manner. The song starts off with a mixture of piano and organs for the background. It is chilling, haunting and just downright atmospheric. It also doubles as a unique start to a song and it impresses. The instrumental proceeds to add in a simple beat to the first chorus. It adds a calculated amount of definition to the song to keep it interesting. Not too much that it throws the rest of the song off balance or changes the song’s momentum. But not too little that it practically added nothing to the song. The chorus is then followed up with a brief pop instrumentation (that was also well calculated) that adds even more intensity to the song before leading into the second verse. The second verse is more so a continuation of the developments thus far and the momentum doesn’t really change until we get to the second chorus. It does manage to incorporate a pre-chorus, which brings back some of that organ from the first verse. For the second chorus, they bolster the first bit of the chorus by adding a more dynamic and bouncier beat to the mix. Yet it still keeps everything in frame and doesn’t change up the song too much. The bridge features the rap, which is played over top that dynamic beat that featured briefly at the start of the second chorus. I liked that they didn’t change the rapping ‘fit the song’. Instead, they made the instrumental fit the rapping, allowing the rapping to add a kick ahead of the final moments of the song. When it comes to the final chorus, I felt they missed the opportunity to amplify the chorus one more time to really bring Jungle to a dynamic and fulfilling close. One thing I have touched on yet are the vocals. I felt that the vocals as a whole was stealthy and artful, fitting perfectly with the subtle intensity that oozes from Jungle.
This is another elaborate video that I just can’t wrap my head around. There seems to be a lot of symbolism throughout the video. The entire video had these creepy yet captivating scenes and images that draws you into the music video. Below this section of the review is quite a lengthy explanation of the concept, connecting both the music video and teasers released prior to the actual comeback to Dante’s Inferno. It was quite interesting and helped me put a lot of context to the video. It also provides a few connections to their previous music videos. Aside from the plot, big ticks for the choreography and post-production scenes as well.
I am not too sure if the music video didn’t do a good job of showcasing the performance, but the moves looked overly powerful for the first chorus. It was such a distinct and noticeable mismatch. I guess we will find out tomorrow once they perform their comeback stage. As the performance progressed, the moves fitted in with the music more neatly and felt appropriate. It is just that first part I wasn’t keen on. The setup for the rap sequence also looks really cool.
Song – 8.5/10 Music Video – 8.5/10 Performance – 7/10 Overall Rating – 8.2/10
Also making their comeback on Monday is TXT, with Blue Hour. This is featured on the group’s third mini-album, minisode1: Blue Hour. This comeback follows the completion of their The Dream Chapter trilogy, which ended with their third mini-album (The Dream Chapter: Eternity) and the title track, Can’t You See Me. And TXT has been proven to be getting popular as the days go by, with reports suggesting that the group has managed to crush personal album sales records. That is a little statistic that I will share once I get around to an album review. In the meanwhile, here is the review for the Blue Hour comeback.
TXT is another group to follow the ongoing retro trends of KPOP. Or possibly, they are taking a page out of their labelmate’s recent release, BTS’ Dynamite. But either way, it is a really great move for TXT. Given their young age, they really should capitalize their youthful charms now before they inevitably move to more mature releases to fit their age. A mature concept now and then is okay (such as their previous comeback), but there is just a lot of unexplored territory if they don’t embrace that youthful side earlier on. The way Blue Hour started with the female voice going ‘boom boom…‘ (I think this was the lyrics that female voice was singing) was very intriguing. We then move into a more upbeat pop territory, with impressive vocals from Soobin and Beomgyu. The chorus confirms the Blue Hour‘s final form of disco pop. And paired with melodies like the ‘Cuz of imagination‘ (that starts off the chorus) just makes everything so much more appealing. The ‘Can’t you feel the rush‘ line was super catchy and this make the post-chorus hook my favourite part of the song, without a doubt. When it came to the second verse, I wasn’t impressed with Yeonjun’s rapping line. It just felt incoherent with the rest of the song. I did like Soonbin’s follow-up line that goes into falsetto mode. Taehyun’s husky voice that really makes ‘The sun is down...’ so much more impactful and Heuning Kai’s vocal rap line was a better form of rapping in the song. I did lowkey expect a rap sequence with a little more heft somewhere in the song and felt a little disappointed that didn’t actually occur once the song wrapped up. But overall, Blue Hour is fun, energetic and very enjoyable.
Once again, TXT’s music video features a story. And it seems to be an elaborate story that might connect to future music videos, based on the final scene alone where Beomgyu walks away from the tree and steps on the book that fell to the ground earlier. Likewise, where did the rest of the members go, as they were all sitting in the tree at the start of the video? And what the significance behind turning off the merry-go-round? Many questions to ponder and most likely answered in future videos. Unfortunately, I don’t have time to theorise what the video means, so I am making a bunch of assumptions for my ‘first take’ of the video. I liked the fun and youthful side of the music video (for the reasons I mentioned arlier on in the review.). I also liked the ‘imagination’ setting that I assumed the members had come up for the video. And those squirrels looked so cute (this last point is not an assumption, but a fact!).
The choreography looks light and fitting for the song. But it still looks complicated. I liked how there was a dance break version, which I assume included a few extra lines (as I don’t recall hearing some of the bridge in the Spotify version, which is what I based my song review on, though I do recall them appearing in the music video). The dance break version I reckon should be the default version as it added a layer of lighthearted coolness to the performance that I thought was unique.
Song – 8.5/10 Music Video – 8.5/10 Performance – 9/10 Overall Rating – 8.6/10
One of the groups kickstarting the final week of October is TWICE, with their highly anticipating comeback, I Can’t Stop Me (the title track) and Eyes Wide Open (the title of their second studio album). It follows on from their More & More comeback from earlier in the year. While this is great news for ONCEs, unfortunately promotions for their new song and album will not feature Jeongyeon (my favourite member of the group) for health reasons. Hopefully we will see her soon! But in the meanwhile, here is my review for I Can’t Stop Me.
I might be in the minority when I say this about I Can’t Stop Me, but I don’t see anything special with this track. For me, TWICE is renowned for their really catchy hooks in their song and these hooks usually employ a vibrant kick in the instrumentation and/or some really addictive repetition. I Can’t Stop Me doesn’t have any of that and hence it just feels flat. This might be a perspective of style, given that the producers opted for a mature take on the retro trend that has re-emerged in KPOP this year. I really liked this aspect of the song, given that it was a logical choice for TWICE and that the song did come off somewhat refreshing. Not only does retro and TWICE click together in your mind without any issues, but I Can’t Stop Me intersects with their continuation of mature sounding songs. But the KPOP industry has very creative minds throughout (as evident by the quality of music that we listen to everyday and I review) and I am sure someone could have come up with a catchier hook that allows TWICE to maintain their well-known techniques, but also embrace their new sound. What we did get was decent and had potential but I wished they somehow amplified the retro instrumentation a bit more to make the song a tad stronger. And I feel that the hooks may have benefited from this. Vocal wise, it seems like they didn’t push themselves hard enough and it felt a little dull for my taste. On the flip side, they might have pushed too hard when it came to the ad-libs, as they felt strained. Likewise, the rapping had the same issue. Together, they might have done this intentionally to fit the style of the song, so this might go back to stronger instrumentation to amplify everything else in I Can’t Stop Me.
I think JYP Entertainment outdid themselves with the green screen this time around. I mentioned in the music video review for More & More that JYP Entertainment made magnificent music video with the use of sets and green screens. This time around, I was wowed by the blooming flower at the start of the video, revealing the members within the blooming flower. The galaxy background for that part was captivating. The members closeups all looked stunning and I really enjoyed that hexagonal pattern for the second verse. I felt like the music video featured two sets that felt similar to other music videos – namely the train station platform from BLACKPINK’s As If Its Your Last and the mountains from Red Velvet’s Bad Boy. I am not saying they are copied, but they felt familiar. The ending was also pretty interesting with the cliffhanger of the train at the edge of the cliff.
The choreography was excellent. I really liked the energy they put into moves, particularly when it came to the chorus. I also liked their instrumental break that follows the first and final choruses. I also liked that they carried over the flower formation from the start of the video.
Song – 6/10 Music Video – 9/10 Performance – 8/10 Overall Rating – 7.3/10
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