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.
It has been a while since we have heard from Secret, one of my favourite female groups in the KPOP industry. The most recent news of Secret (as a group) was the unfortunate news of their disbandment, which occurred in 2018 when Song Ji Eun (and fellow member Jun Hyo Sung) left TS Entertainment. Since the news of her departure and the group’s disbandment, Song Ji Eun has been active as an actress. For the most part, she has been absent from the music scene, with her last release being the 2016 Bobby Doll. However, that all changed yesterday with Song Ji Eun returning as a solo artists yesterday with the title track MIL (Make It Love) and her third mini-album, Dream.
If you travel back in time on this blog, you will notice that I was a super duper big fan of Song Ji Eun’s solo releases. My personal favorites have to be Hope Torture and Don’t Look At Me Like That, while Pretty 25 (which I reviewed as a bad song initially) has grown tremendously on me. But that’s a brief trip down my memory lane. With her most recent release, all I can do is yawn at MIL. MIL lacks all character that she had built up previously. Sure, she may have decided that she needs a new sound, since those previous releases are quite dated (going back in 2013). But she could have picked genres that are a lot more exciting and different, as her previous releases have been just that. Instead, she opts for an overused tropical synth based instrumental. It is something that feels very mid to late last decade. On a slightly more positive note, MIL has nice and easy to follow melodies. And the hooks were catchy. However, I do feel that the instrumental weighs these more positive comments down. The most positive comment I can give regarding this song (that is untouched by the instrumental) is that I like her voice. Personally, I miss her voice and MIL gives a nice dosage of her voice.
The lack of choreography in the music video suggests to me that Song Ji Eun isn’t promoting this song. That kind of stuck out at me, as I was hoping to see more of her in the coming weeks (so I can admire her beauty and continually remind myself of the good old days of teenage me fanboying over her). Instead, MIL features a bunch of cute shots of her singing and having a bit of fun. But this music video is a good opportunity to refamiliarise ourselves with the solo artist and her good looks (she literally doesn’t look like she has aged), it felt dry to watch. I wanted more people to be in the video to make the fun look more convincing. I wanted a memorable atmosphere to be created and help compensate the lacking points of the song. For example, a poolside party concept would be suitable. It works with what she already has planned here and it creates a more enjoyable and fun atmosphere. And a poolside party would compliment the tropical synths we had heard in the song. Don’t misunderstand, there isn’t really any issue with a music video of just her. I am just extending the idea of the video to make it go one step further.
Song – 5/10 Music Video – 6/10 Overall Rating – 5.4/10
A month ago, WOODZ (aka. Cho Seung Youn) returned as a solo artist with his first mini-album, Equal. It featured the title track Love Me Harder (link for it down below). And now a month from its release, it is time for its album review. I hope this comeback has not been swept under a rug. Both the song and album (which I can say from today) is very underrated and needs more attention! But for those who may still be unfamiliar with WOODZ, here is a quick introduction. He is a member of UNIQ (the group currently on hiatus, and each member is focusing on solo activities) and was formerly apart of X1 (which has now disbanded). He has been active previously as a solo artist during the time between UNIQ and his appearance on Produce X 101, where he placed 5th overall. But the difference now is that his popularity has skyrocketed as a result to Produce X 101 and X1. And now, here is the review!
Equal Album Cover
1. Lift Up – For an opening track, Lift Up basically holds my attention hostage from whatever I was doing prior to listening to the song. I find that to be a very positive feature of the song, as that is what I want with the first track on the album. The start features a heavily autotuned deep voice, breathy sounds and dramatic strikes of instrumentation. We then move into the verses, which is probably what I want to describe as the ‘calm before the storm’, with the storm being the shouty chorus we get in Lift Up. It might be overwhelming the first time around for some, but I really like the thrilling nature. I liked the rough texture his voice brings to the song and the different textures we get in the background throughout the song, as well (such as the barking dogs and the flute in the second verse). It adds something different and captivating around each corner. I would have liked it if his pronunciation was a little clearer in the chorus. It didn’t occur to me that he was singing/shouting English lyrics until I searched up the lyrics. This was the only issue I had with Lift Up, otherwise it would have been deemed a 10/10 song. (9.5/10)
2. Accident – Accident is a smooth R&B track, placed cleverly after the intense and possibly overwhelming start to this album. It provides relief but does so in a way that continues the R&B momentum of the album. It starts off with a rock sound and it brews with that mindset. But it settles for the R&B as it progresses and loses that idea of going in a rock direction. Sure, this track may not be as powerful sounding song. But the lyrics are definitely quite heavy and may be as abrasive as how the preceding track sounds. Based on what I can understand, it seems like there is a toxic relationship, where pain is inflicted by one side and the other side accepts the pain as an ‘accident’. Not really a good message to put forward but it shows how willing one would go to get to know someone (but alas, in a twisted way). Aside from that, Accident show WOODZ’s vocals in a very memorable and epic manner. You can sense desperation and willingness in this voice, which would suit the twisted message that the song has. (9/10)
4. NOID – For some reason, the start of this song takes me back to Mamamoo’s HIP. Though, NOID is a lot darker and sinister. Once again, it delves into the R&B genre. But there is a groovy and subtle upbeat energy to the song. What the song does best is it shows off WOODZ’s vocals in an impressive manner. It compliments that subtle upbeat nature that I had mentioned just before as his vocals provide a slight kick to the song as well. And altogether, it is a good song. But in comparison to the rest of the album, I felt NOID was a little safe. This is more of an observation and I personally don’t mind this ‘safe’ connotation. It helps keeps the album grounded and doesn’t overload us with sounds or songs that could overwhelm us. (8/10)
5. Waikiki (ft. Colde) – With R&B being the main genre on this album, I was wondering when the sensual R&B vibes would kick in. Well, Waikiki answers that question. There isn’t much to the instrumental other than the clapping percussion and that very low humming we get in the background. We get more instrumentals added to the song as its progresses, but it isn’t really a massive difference. Despite its minimalist sounds, it is the artists that give the song its sensual vibes. Waikiki is driven by the melody that both WOODZ and Colde brings to the song via their delivery of their lines. I also found the contrast between the two artists to be very intriguing. WOODZ was at a somewhat higher pitch, while Colde stayed relatively low with his autotuned voice. It gives the song stability and really compliments the minimalist vibes. It isn’t my personal cup of tea, but it was very well executed. (8/10)
6. Buck(ft. Punchnello) – Buck is very different to what we have heard so far on this album. It is very energetic and packs a subtle punch. It also feels quite experimental. It takes more of a hip-hop profile rather than the R&B we heard on this album. It feels playful and carefree, in a way. The beat also seems very jabby. Nothing feels elongated or lasts for a substantial amount of time (relative to the length of the track). And I quite like this effect. Buck also features Punchnello and he brings a fast tempo to the song with his delivery, whereas WOODZ sounded mid-tempo. I also like it when they reach the back end of their verses, which featured a little more energy and urgency in their delivery. It adds more energy to the song in a way that compliments their rapping delivery. It may not be everyone’s cup of tea, but I find Buck to be a hidden gem on this album. (10/10)
7. Memories – WOODZ continues the divergence from the heavy R&B nature of the album with Memories. It is a ballad, as I had somehow expected from the title. I just had a feeling with such a sentimental title. What Memories (and this album, at large) has proven to me is how versatile WOODZ is. And this isn’t an observation of the songs. Even his voices have changed in each song, showing that he is fitting for many styles. In Memories, he sounds very blissful and his harmonies are breathtaking. Especially since he is rapper in both his previous groups. The instrumental is a little typical, going with a piano and drum set up. What I also enjoyed is the use of electric guitar throughout. It doesn’t make Memories unique, but I find it as a centerpiece to be quite refreshing. (9/10)
Today is Sunday and therefore it is time to look back on the past week via the Weekly KPOP Charts segment. It has been a relatively light week in terms of releases this week. I had plans to write reviews for some releases that I have missed out on. I even tweeted about it. I did make a start but didn’t get too far. Hopefully, I can continue into this week. Don’t worry, I will get to them eventually.
Before we get to the Top 5 and the actual charts, I would like to point out a number of big jumps on the charts this week. I like to draw attention to these as the jump signifies that the song is growing on me or attracting my attention (It may also provide evidence against my erratic listening patterns as well, but let’s not talk about that :)). The biggest jump we saw this week was GreatGuys’ RUN, which leapt a massive 59 positions from one end of the charts to the other end. Jumping 54 spots were Hwasa’s sidetrack, LMM. SF9 (Summer Breeze), Red Velvet – Irene & Seulgi (Monster), BLACKPINK (How You Like That), N.Flying (Oh Really), Moonbyul (Absence), DONGKIZ I:KAN (Y.O.U) and D-CRUNCH (Perriot) also experienced big jumps.
Now with that out of the way, here is this week’s Top 5. Earlier this week, I expressed my amazement for Red Velvet – Irene & Seulgi’s Naughty. And that amazement continued throughout the week, which helped land the song in the top spot this week. Following the subunit this week is last week’s number 1 song, Apple by GFriend. TOO’s Count 1,2, SF9’s Summer Breeze and WOODZ’s Love Me Harder each rose into the Top 5 this week as well. And thus, this ends the Top 5 wrap for this week. For more of the charts, scroll down below.
19th Jul – 25th Jul 2020
Title
Artist
Status
1
Naughty
Red Velvet – Irene & Seulgi
(new)
2
Apple
Gfriend
(▼ 1)
3
Count 1,2
TOO
(▲ 3)
4
Summer Breeze
SF9
(▲ 28)
5
Love Me Harder
WOODZ
(▲ 2)
6
Left & Right
Seventeen
(▼ 4)
7
RUN
GreatGuys
(▲ 59)
8
Play
Chungha
(▲ 22)
9
What You Waiting For?
Jeon Somi
(new)
10
HOLO
Lee Hi
(new)
11
Say Yes
Jeong Sewoon
(▼ 7)
12
Fantasia
MONSTA X
(▼ 1)
13
LMM
Hwasa (Mamamoo)
(▲ 54)
14
R.o.S.E BLUE
Dream Catcher
(▲ 17)
15
God’s Menu
Stray Kids
(▼ 3)
16
AWay
Jeong Eunji (APINK)
(▲ 12)
17
The Answer
AB6IX
(▼ 8)
18
Easy
Stray Kids
(▲ 7)
19
Thunder
VERIVERY
(▼ 3)
20
Maria
Hwasa (Mamamoo)
(▼ 3)
21
ONE (Lucid Dream)
Golden Child
(▼ 16)
22
Monster
Red Velvet – Irene & Seulgi
(▲ 41)
23
How You Like That
BLACKPINK
(▲ 26)
24
Wayo
Bang Ye Dam (TREASURE)
(▲ 13)
25
Oh Really
N.Flying
(▲ 22)
26
Bedlam
Lee Jin Hyuk (UP10TION)
(▲ 15)
27
Absence
Moonbyul (Mamamoo)
(▲ 40)
28
Y.O.U
DONGKIZ I:KAN
(▲ 36)
29
Perriot
D-Crunch
(▲ 24)
30
pporapippam
Sunmi
(▼ 12)
Songs leaving the charts this week include:
Pierrot – D-CRUNCH
Angel – OnlyOneOf
Lovely – Minzy
Candy – Baekhyun (EXO)
Red Moon – Kim Woo Seok (UP10TION)
Wing – Park Ji Hoon
End Of Spring – ONEWE
FANTASIA – MONSTA X
Absence – Moonbyul (Mamamoo)
Linger On – Roy Kim
yaya (ME TIME) – Yubin
Still – DKB
Thank you once again and I will see you shortly in the next review.
Earlier this month, GreatGuys made their comeback with Run, which is the title track of the group’s third mini-album, We’re Not Alone_Chapter2: You&Me. I am not familiar with GreatGuys at all. The only song which I have reviewed from the group was their 2019 release, Be On You, which was the title track off Chapter1 of this We’re Not Alone series.Based on a quick Google search, the group is made up of nine members (Jaei, Uiyeon, Horyeong, Daun, Baekgyeol, Donghwi, Hwalchan, Haneul, and Dongin). They are under DNA Entertainment and have been around since 2017. Chapter2 also features the remake track In Summer, which also serves as a title track for this release. I haven’t decided whether to review it yet, but if I find time, I will try to. In the meanwhile, here is my RUN review.
Despite being an unknown group to me, RUN was an enjoyable track. I prefer it without the horse neighs at the start and throughout the song. But I will give the producer some points for using that unorthodox way of drawing/keeping the attention of listeners into the song. What I really like about the song is its intensity and its fast-pace. The trance-like instrumental just continues to come at you while the members are singing or rapping. It packs a punch when it matters most, such as when the members are singing and during the very important chorus. But it also knows when to hold back on the punches, such as the stripped back pre-choruses. The instrumental also has this thrilling side to it. Replay it a few times and you will probably hear what I mean. It felt like the music you will get in a thriller or action movie when the character is running away from death or the antagonists. This is probably intentional, given that the song is titled RUN. Vocally, the group had some really good moments. But overall, I thought it was decent, at best. I just wanted a little more to the song in the vocal/rapping department so it can go that additional mile and pull in some more listeners. Overall, it is a really cool track that is exhilarating. It is safe to say that RUN has put the group on my radar.
For a music video from a smaller company and an obvious low budget, this one was pretty good. Their company didn’t opt to use any of those overused music video sets. The water fountain background that they shot majority of their choreography shots and some solo shots actually looked very unique. I am also glad that they didn’t have outfits that intentionally expose their bodies like in their previous comeback. Though, some abs were shown towards the end of the video. Overall, everything looked quite good in the video. However, I am going to picky with one particular element. The post production addition of flames during the second verse rap sequence looked really cheap and unnecessary. As far as I could remember, that was the only appearance of it throughout the entire music video. Glad it didn’t make its way to anywhere else in the video, as that would really lower the quality (which should be avoided given that the video already does have a ‘low budget’ feel).
It was an okay performance, overall. I felt that the moves could have been punchier, refined and cleaner. This would have matched the intensity of the song quite well, but also give off the impression of being in sync. I am quite sure we all know the reasons for the latter. It just looks better.
Song – 8/10 Music Video – 8/10 Performance – 6/10 Overall Rating – 7.6/10
Despite the departure of their leader just prior to their original comeback date, AB6IX has managed to adapt well to the sudden change in their lineup. While they did delay the album release to re-record their songs and alter their choreography to fit the current four member lineup, the group pulled through this comeback without any issues. It looks like they have wrapped up their promotions already, but it is never too late to have a deeper drive into their album. Today, in addition to talking about each VIVID side track individually, I will be discussing the promotional potential of other tracks. What do I mean? Keep on reading to find out!
VIVID Album Cover
1. Red Up – Kicking off the album is the hip-hop influenced Red Up. During my initial listen of the song, the hip-hop influence during the verses and the inclining buildup we get in the pre-chorus gave me an impression of a really strong and impactful drop when it came to the chorus. But I was caught by surprised once we reach the chorus. Rather than being a hard drop, I found Red Up’s chorus to be sleek and trendy, thanks to the subtle impact brought on by the horns. It is very unexpecting, but I liked it quite a lot. I would have enjoyed the ending more they have incorporated something to add a little excitement and resolved the ‘repetitive’ issue that hindered the song’s appeal. The song itself was quite rap heavy, all of which was delivered by Woojin. He had big shoes to fill and he managed to do it all quite well. (8/10)
2. VIVID – If I had my way, VIVID would have been promoted on stage and potentially have taken over Surreal’s position as secondary promotional track. I really liked the whispers at the start. It was memorable and definitely got me intrigued to continue listening to the song. The song is quite punchy and had a decent level of excitement to it. VIVID answers one of my desire for the title track. It isn’t a direct continuation of that house sound we got from their earlier works, but I would say it is still in the vicinity. Each member also shined, which makes complete sense to promote the song. Woojin’s deep raps, Dae Hwi’s vocals, Woong and Donghyun’s falsetto in the chorus are just prime examples of them shining in this song. (9/10)
4. Surreal (초현실) – Under my imaginative plan for AB6IX’s promotions, Surreal would have served as the title track for VIVID (the album). Overall, it was a smoldering song which would have suited a mature look. And I believe that AB6IX really had that potential to nail such a concept and song. I really like the pounding nature of the instrumental. It is unique and very refreshing. I liked how they didn’t lose the song’s intensity, keeping it going throughout the entire song. I like the huskier and raspier vocals that the members had to bring to the song. This really compliments the darker atmosphere of the song. I would have liked the song to have a little more to it towards the end. It lacks a powerful climax to really bring the song to a close. It just continued going with the momentum from the start and to me, it just doesn’t feel finished. (9/10)
5. Midnight Blue– The song starts and ends with some acoustic guitars in the background. But the instrumental for everything in between just went with a pop sound and lost that acoustic guitar touch. It does peek through the instrumental at times, but it wasn’t the prominent feature to give that song a ‘dynamic’. I would have liked for the song to continue with that acoustic touch. It would have been an interesting appeal and Midnight Blue could have played with some cool dynamics. I did like the vocals and rapping in this song. Each member really shined in this song, like the rest of the songs on this album. (8.5/10)
6. Hold Tight (끈) – Hold Tight feels like it is the most typical track on this album by today’s standards. But this doesn’t mean I didn’t like it. I didn’t necessary get any special feelings towards the song. But there was a really good energy that makes it suitable for a dance club or party like environment. There was some decent intensity throughout, and I felt that the song really fits into AB6IX’s discography. Vocals and rapping were pretty good as well. I just found the song to lack that uniqueness that separates it from the rest of the pack of side-track releases from other artists. (7.5/10)
Like all YG artists, past or present, Lee Hi was heavily under-promoted during her time under the widely known company. It made complete sense for Lee Hi to move to a different company once her contract with her former company was up for resigning. The company she ended up moving to was AOMG (the home of some of the biggest Korean hip-hop and R&B artists). This was only announced yesterday despite it being heavily rumored over the last few months. And the day after the announcement (i.e. today), Lee Hi makes her grand comeback with her first AOMG single, HOLO. Hopefully it is the start of countless others from the popular soloist.
Lee Hi’s HOLO goes down the ballad route. It is a breathtaking song that left me speechless when I listened to it for the first time earlier today. And that speechlessness remains each time I have listened to the song since that initial listen. When I am not speechless, I am admiring all the fine points of HOLO. The song starts off with a nice piano melody. It is simple, yet it is prominent enough to really set the momentum from the first second. Lee Hi’s vocals come into play alongside this piano melody. You get a sense of emotion during the verses, but it is subtle. And note that it isn’t really a saddening emotion. Instead, I find a soothing and comforting emotion coming from her voice. She doesn’t dive right into it and overwhelm us, though. She restrains herself and doesn’t let her powerful vocals off until we reach the chorus, where she amps up her vocals alongside the song’s instrumentation. And from that point onward, her vocals just keep on building. This inclining climb is something that I don’t ever remember Lee Hi doing before and it is because of this that I find the song refreshing. The song had stunning melody and it pretty much had me swaying along to the music the entire time. I really like how the backing vocals help lift the song and added a golden tone/definition to her vocals. Overall, HOLO is one beautiful song that you cannot afford to miss.
It seems like Lee Hi takes the role of a guardian angel in this video, which makes sense since her vocals are comforting and soothing. It seems the young girl in the music video is depressed and alone. When she tries to take her life, Lee Hi is seen swimming to her to get her out of the water. There are a number of scenes that depict Lee Hi with wings, which further proves this. The ending is a little more cryptic. At the start of the video, we see Lee Hi leaning over a person in a black and white dress. At the end of the video, we see Lee Hi standing in the exact same dress. I think the ending suggests that Lee Hi was the one being saved. We don’t see the figure at the start to identify the figure as the young girl, despite seeing the young girl clearly throughout the rest of the video. Why keep her identity hidden? It only makes sense if the young girl was Lee Hi when she was younger. The song is about ‘convey[ing] a message of consolation to herself for overcoming a period of solitude and to those who are living in a confined environment’ (Taken from Soompi). So this theory of the young girl and Lee Hi being one person makes total sense.
Song – 10/10 Music Video – 10/10 Overall Rating – 10/10
It has been a while since we have heard from Jeong Eunji as a solo artist. Her last solo release was titled Be There and this came out in 2018. However, we have seen her more recently through APINK’s comebacks, such as %% in 2019 and Dumhdurum a few months ago. A few days ago, Jeong Eunji made her comeback with her fourth mini-album, Simple and the title track, AWay.
Jeong Eunji’s solo releases have shown us her ability to be versatile in the ballad realm. If I remember correctly, her solo debut track and first solo comeback (Hopefully Sky and The Spring) were folksy ballads. Her most recent solo release was more acoustic based. And now, she takes on a momentum-heavy pop sound approach with AWay. One may argue that this isn’t a ballad and I understand what you mean. But given the lack of choreography and how it is vocally-centric, I would say it is coming from a ballad root. It just has a different instrumental style to the more typical ballad. As mentioned earlier, there is some heft to the song that adds impactful energy and an epic vibe to the song. It also feels refreshing and suitable for the Summer season. It carries her vocals and forces her vocals to soar (which she handles really well). This, in turn, adds even more momentum to the song. The chorus had good hooks that helped made the song somewhat memorable. I felt that the hooks had to compete with the instrumental to be the standout memorable element of the song. In the end, I felt that the instrumental, due to its nature, nudged ahead of the other. Overall, all the elements in AWay works neatly with one another, forming another great song to go under Jeong Eunji’s name.
It is a pity that this comeback isn’t being promoted. This song really needs to be out there on the music shows for it to gain attention. I just don’t want this to be another forgotten song. But I guess we just have to settle for a music video. The song is about wanting to escape the feeling of being lost. Majority of the music video was essentially seeing Eunji being stuck in this lost feeling. Despite her life changing around her (i.e. the change from the green fields to the yellow sand), that lost feeling remains. We don’t see her resolving this predicament that she in by the time the video wraps up. She sings about charging back up to help escape that feeling, which I assume she does through the video’s happier moments. Apart for that lack of explicit resolution, it is a fine video that compliments the song well.
Song – 9/10 Music Video – 8/10 Overall Rating – 8.6/10
Jeon Somi was one of the most anticipated solo debuts of 2019, given her status as the number 1 trainee during the first season of Produce 101 and her promotions as part of I.O.I. And I felt that she exceeded my expectations with her solo debut single, Birthday. But she just disappeared after that and she did not release anymore songs in 2019. In fact, it has taken her over a year to return with What You Waiting For?, her comeback single released just today. Since her solo debut, Jeon Somi has been busy with variety shows and her own reality series, which I believe captured the preparation for this comeback (which ended up being delayed due to the ongoing health pandemic).
Described as a R&B dance track, What You Waiting For? is a definitely step up from Birthday. The first reason for this ‘step up’ is also the only flaw to the song. The melodic wooden xylophone-like synth that the song features during the verses really stood out to me due to its prominence. I liked its freshness and vibrancy in the first verse. While I did enjoy it in the first verse, it didn’t sit right with me in the second verse. I know they tried to keep the momentum going by having part of the chorus continue in the second verse. But the combination of said momentum from chorus and the wooden xylophone-like synth just didn’t blend with with one another and this unharmonious sequence just stuck out too much. But apart from that detail, everything else in this song was really good. I liked how they switched up the instruments for the final part of the song, opting for a metal xylophone-like synth and cow bells. It had that familiar melody of the start, but also an added level of freshness that made the song even more exciting. Somi’s vocals were fabulous. Autotune was used but it was balanced and not over the top. I also liked how the chorus brought a club-like atmosphere to the song. Definitely another memorable aspect the song.
I am not sure if I follow the story line of the video. The song is about waiting for love. So basing everything off this, Somi is waiting for her prince charming to come and save her from being trapped in that room. But instead of her prince charming, alter egos of Somi break her out. These include Black Somi, Hotel Somi, Boat Somi, Singer Somi and Dress Somi. I just love that credit sequence. My favourite part is when Singer Somi (I think) takes the industrial digger to the wall of her apartment. That was pretty epic.
[Updated] I am not exactly sure that I like this performance. The moves were plain and just didn’t fit in with the song. Maybe this is why they decided to omit it from the music video? It is hard to put my thoughts into words to explain myself. I do have to emphasise that I am no choreographer, so I can only speak about how the performance looks visually. It just looked like the focus was put on Somi looking good and not really on the music.
Song – 9/10 Music Video – 9/10 Performance – 5/10 [Updated] Overall Rating – 8.2/10 [Updated]
Since T-ARA’s last comeback in 2018 with What’s My Name, I have not review another T-ARA album. Given T-ARA’s dynamic and robust discography, I am surprised that it has taken me three and half years to revisit this group. The whole point of this ‘Past Album Review’ segment is to go back in time and revisit albums from current and previously active groups. With that, I will promise I will definitely keep T-ARA in my mind and hopefully comeback to review another album before the end of the year (I already have the next album in mind!). But until then, here is my review for the group’s 6th mini-album, And & End, which was released back in 2014, which was lead by Sugar Free.
2. ORGR – It was smart that ORGR was placed right after the intense nature of Sugar Free and before the softer songs on this album. It is like a bridge that connects the polar opposite songs on the album. There is a bit of edge to the song thanks to the hip-hop influence during the chorus, which connects well with the title track. The song is quite melodic and flowy in other parts, such as the pre-chorus, which goes hand-in-hand with the softer tracks. What I enjoyed about song even more is that sense of nostalgia that the song brings, reminding me of other previous female groups such as 4MINUTE, who easily would have thrived with a sidetrack like this. But this is a T-ARA sidetrack and I felt that the group executed it well. Their vocals were smooth and the rapping really helped give the song some additional sass. The song’s hooks including the ‘Na Na Na’ were quite addictive, helping make this song even more appealing. (9/10)
3. I Don’t Want You (남주긴 아까워) – I Don’t Want You stands out for its Parisian and artisan feel, based on the opening sequence. It is a very interesting and different sound to what I am used to. And it isn’t a sound that I would really be excited about. But I liked how they kept it going in the song. Nowadays, such influences would only last a short while. But in I Don’t Want You, it lasted for the entire 3 minutes. It adds a layer of elegance and gives the otherwise soft song unique colour. Vocally, T-ARA sounds very standard here. I did like how Qri’s rap sequence in the bridge was mixed into the song. It isn’t expected, but somehow the producers made it fit in without questions. Overall, a very nice song. (8/10)
4. Last Calendar (지난 달력) – While I was deciding which T-ARA’s albums I would review today, I noticed that their sidetrack discography was very ballad dominant. I hadn’t notice this before, which was rather odd. I do like my fair share of ballads. Last Calendar is nice ballad and one that I would put onto my ballad playlists for when I want to listen to slow music (or get lost in some feels). The instrumental is pretty standard overall. It has really soothing piano that starts off the song. And there is some guitar as well to add a little more zing to the ballad. The members bringing that swaying and flowy vocal melody that you know I like. It isn’t their most groundbreaking song, but it was still quite good. (8/10)
5. If I See Her (그녀를 보면) – If I See Her brings together interesting vocal melodies and a plain repetitive instrumental. You can probably tell which element that I enjoy more of. The vocal melodies really help boost this song and made something that I would have easily passed a little more attention grabbing. So good on the members for this song’s execution. Out of all the members, I find Jiyeon fits this style the most, as the song brings me 1 Minute 1 Second vibes (which, for those who don’t know) was Jiyeon’s solo debut track. Hyomin’s rapping was a little disappointing. I wished it was brought in differently and made to fit the song, rather than have it layered on top. That would have made the song more interesting. (7/10)
You may know that I have been withholding a few reviews as the corresponding music videos were released after I already covered them in my album review segment on this blog. And as promised, those missed music videos reviews will be out soon. But I do still watch them! Today, I had a listen and watched Red Velvet – Irene & Seulgi’s latest music video release for Naughty and just knew that this needs its standalone review. And that is why we are here. I have yet to review their Monster mini-album but I have previously reviewed the Monstertitle track, which you can read after this review.
With Irene & Seulgi’s mature and dark turn with this Monster unit debut, Naughty‘s presence on the album felt appropriate, but also a missed opportunity. When I first listen to the album, Naughty seemed to be the most logical choice for the title track over Monster. Monster had a dullness to it, which let down the chosen title track. Naughty, on the other hand, had a level of dynamism and hypnotic appeal that just clicked. And this helps overtake that dullness that I was disappointed with in the actual title track. This song takes on deep house and features many crunchy synths to give Naughty a wonderful sense of texture. I really liked the sassiness that started the song and stayed in the background during the verses. I liked the bass that comes along with the song, adding to the already mentioned dynamic atmosphere of the song. I liked how the chorus had a chant-like delivery, which was thoroughly interesting and helped with the said appeal. The vocals during the rest of the song was quite good. I still do think Naughty could have used something more, like a rap sequence to add some further edge to the song or add an additional layer of intensity. But what we got anyway is already enough to satisfy me. And given how positive my thoughts on the song were, Naughty is obviously a superior track on the album.
The ‘Episode 1’ in the title of the music video confuses me. Does that mean that the unit will be releasing music videos for all side tracks? Or is something else coming our way? No one knows. I guess we just have to wait and see. In the meanwhile, I thought the music video for Naughty was terrific. It is more of a performance video, given its focus on the choreography and it strays away from the use of closeups. I felt the start and end of the video where the two are walking towards and away from each other felt a little unnecessary, unless they are what connects the ‘episodes’ together. I would have been fine with the choreography centered shots as they had really good post-production and its simplicity with the grey-scale tones made it aesthetic. I really liked the solo shots where the member in focus is dancing opposite the member behind the camera. It definitely looks like we are doing the performance and adds a unique depth to the video.
The performance for Naughty definitely leaves a wowing impression. The mixture of voguing (Not too sure if this is the right category of the moves as the tempo doesn’t necessary match what I associate with voguing, but given their use of their arms) and tutting in this performance looks very cool and hypnotic. It will definitely be a stand out routine of the year given its visual appeal.
Song – 9/10 Music Video – 9/10 Performance – 10/10 Overall Rating – 9.2/10
For today’s album review, I have decided to have a deeper listen to Hwasa’s solo comeback and first mini-album. Released two weeks ago, both the album and title track share the same name, Maria. The album also features Hwasa’s previous chart topping solo debut, Twit, and also the track for Hwasa’s most recent music video release, LMM. Just to summarise my thoughts on this album, more attention needs to be directed towards it. It contains three 10/10 songs, which isn’t something I do often. I may give out 10/10’s regularly to side tracks. But I don’t give that much out in one album! Which songs do I deem to be ‘perfect’? Well, you got to read on to find out!
Maria Album Cover
1. Nobody Else (Intro Track) – This short introductory track is quite loaded. Not only do we get her vocals in all its husky and raspy glory, Nobody Else’s instrumental transitions quite often. And when I say transition for this song, I mean that the song builds up. It starts off with natural sounds, as if we were in a rainforest or close by to a river as you can hear water trickling. To pair with the natural sounds, we have these eerie horn-like synths. It then cuts to Hwasa whispering ‘Nobody else’, before we are directed to some piano and Hwasa’s vocals. Within in a few seconds, we have percussion making an entrance and it gets heavier as it goes on. The introductory track, before easing out, goes head on with an intense dance instrumentation. It was one roller coaster ride, but it was well crafted to be cohesive track. (10/10)
3. Kidding – Produced by Zico, Kidding has this playful charm to it which helped make it interesting and different. It starts off with Hwasa singing alongside some acoustic guitars, followed by an applause, which gives off the impression that the performance was live. During this segment, she is singing about the how her partner loves her. It then cuts to a really groovy beat. Based on this transition, we could tell that the theme of the lyrics changed to Hwasa’s thoughts on her partner cheating on her. As the song progresses, we get some underlying jazzy influences which helps transform the song into fantastic number. I really love Hwasa’s delivery of her lines. There are some vocal works and harmonies in the background. But it is her rapping that steals my attention. I can feel her expressionless face bringing this song to life, with chaos ensuing in the background. I really like the ‘Are You Kidding Me’ reptition for the chorus, which was simple but effective in this song. (10/10)
4. Why –Why feels like a Western pop track. It begins with a suspenseful pop beat. Nothing special, if I were to be honest. Aside being a backdrop to Hwasa signature vocals. The chorus brings a rough, robust and crunchy instrumental sequence. It was a logical progression, in my point of view, and it allows for some choreography to be brought onto the stage if the song is ever performed on stage. The song repeats the suspenseful but plain verse, followed by the rough and crunchy chorus. While it was interesting texture wise, I wanted it to have something else as it got to the end to avoid becoming repetitive as it did. It is still a good song, nonetheless, just missing that element to be better. (8.5/10)
5. I’m Bad Too (ft. DPR Live) – I’m Bad Too is a short song. This is just an observation as I felt the length of the song was suitable. It didn’t play around with repetition to extend the length of the track and drain the appeal of the existing song. The instrumental seems to be lighthearted and playful, whilst the lyrics was all about Hwasa being angry (in a suitable tone) about a former partner. DPR Live features in the song and seems to act like a brotherly figure based on his lyrics. And I liked it. It adds a different dimension to the song and adds to that lighthearted atmosphere while also making sense lyrics-wise. It isn’t a standout song in my opinion, but the creativity of the lyrics earns the song a tick. (8/10)
6. LMM – There was a music video release for LMM during this past week and I have decided to keep it for the ‘Missed Review’ music video posts that I will be publishing in the future. It is coming, I swear! As for LMM, it is a breathtaking song that allows Hwasa’s vocals to shine. It is a ballad that sounds best if you put everything down and just zone into it. The instrumental and melodies are all very breezy, making it nice for a night drive or a reflective walk where you just want to be by yourself. What makes this an even more powerful song is that you don’t need to understand Korean. You can connect with her vocals, in one way or another. It is so impactful that the song also earns the third 10/10 on this album. (10/10)
Sunday has come and it is time to look over the past week of KPOP! This segment is my ranking of KPOP songs each week, which might indicate to you what my listening patterns are. And if you are to pull anything from this segment, it is I have very erratic listening patterns. Songs charting this week probably won’t be around next week in the Top 30 but will reappear in the week after. There is some stability in some releases though. Let’s dig into the charts for the 3rd Week of July 2020 a little further.
Making its debut at the very top of the charts this week is Apple by GFriend, a common place to find GFriend’s song when they have a comeback. Falling just behind them is last week’s number one song, Left & Right by Seventeen. EXO-SC’s 1 Billion Views debuts in the third position, followed by Jeong Sewoon’s Say Yes. And finally, Golden Child’s ONE (Lucid Dream) rises back into the Top 5 this week. For more of the charts, scroll down below.
12th Jul – 18th Jul 2020
Title
Artist
Status
1
Apple
Gfriend
(new)
2
Left & Right
Seventeen
(▼ 1)
3
1 Billion Views
EXO-SC
(new)
4
Say Yes
Jeong Sewoon
(new)
5
ONE (Lucid Dream)
Golden Child
(▲ 17)
6
Count 1, 2
TOO
(new)
7
Love Me Harder
WOODZ
(▼ 4)
8
My My
Seventeen
(▲ 15)
9
The Answer
AB6IX
(▲ 4)
10
Bad Guy
1THE9
(new)
11
Fantasia
MONSTA X
(▼ 1)
12
God’s Menu
Stray Kids
(▲ 9)
13
Butterfly
WJSN (Cosmic Girls)
(▲ 12)
14
Punch
NCT 127
(▲ 29)
15
Cant You See Me
TXT
(▲ 17)
16
Thunder
VERIVERY
(▲ 8)
17
Maria
Hwasa (Mamamoo)
(▼ 6)
18
pporapippam
Sunmi
(▼ 16)
19
Tag Me
Weeekly
(▼ 11)
20
Girls
Nature
(new)
21
Eternally
TXT
(▲ 29)
22
Candy
Baekhyun (EXO)
(▲ 40)
23
Still
DKB
(▲ 15)
24
Summer Hate
Zico ft. Rain
(▼ 17)
25
Easy
Stray Kids
(▼ 11)
26
Wing
Park Ji Hoon
(▲ 8)
27
No, I Don’t
ASTRO
(▲ 24)
28
AWay
Jeong Eunji (APINK)
(new)
29
Smile Box
Sanduel (B1A4)
(▲ 13)
30
Play
Chungha
(▼ 25)
Songs leaving the charts this week are:
Can’t You See Me – TXT
Punch – NCT 127
Who Dis? – SECRET NUMBER
Tiger Eyes – Ryu Su Jeong (Lovelyz)
Just For A Moment – Ken (VIXX)
Thanks once again for visiting my blog and I will see you in the next review post!
Dream Catcher has become the girl group to go to for an OST for mobile games. This week, the group released R.o.S.E BLUE for the mobile game Girl Cafe Gun. This releases comes after the group released the single Deja Vu, which was the OST for the mobile game King’s Raid last year. The group also previously returned with Scream and their first studio album, Dystopia: The Tree of Language earlier this year. If you haven’t check those out yet, I highly recommend you do after reading this review.
To me, I find R.o.S.E BLUE to be pretty plain for Dream Catcher’s standards. They have released very dynamic songs in the past. This one, in comparison, just doesn’t have same level of dynamism or excitement that really captures my attention from the get-go. It lacks a strong hook that would have transformed the song without a doubt. I would say that my perspective towards the song would have changed if they had released this earlier in their career. I would have said this to be a nice follow up to Chase Me. But given how Dream Catcher has matured and developed over the years, plain is the best descriptor I can give. Despite that, however, the song does fit snugly into Dream Catcher’s discography thanks for the intense rock influence we get in the chorus. I also like the how the producer featured a section of strings into the song. It adds a little something different to the song that helps freshen it to an extent. Their vocals were pretty good. I like how elegant their ‘Rose Blue‘ was the end, in particular. I tend to look forward to Dami’s rapping in Dream Catcher’s songs. But unfortunately, the rapping in this song shared the same description that the overall song got. Plain.
I think the video would make a little more sense if I knew what the game was about. It seems that all the members were once friends. But they started playing this game and ended up losing themselves in it. Jiu thinks she can get them back and goes on a mission by entering the game. She finds each of the members who I assume has taken on a character in the game. She shoots them to wake them up, which successfully does. But the catch was she only had five shots, one for each member. In a later scene, she rejoins them like is the opening shots. But as she has killed them and they left the game, they disappeared leaving her all by herself. She turns the gun on herself but is unable to do so as she has no more shots. The other members wake up and see Jiu stuck on the pink crystal that she touched to enter the game. At the end of the video we see five dream catchers on the floor, representing the five members who had woken up and the pink butterfly, representing Jiu in the crystal. Overall, an interesting plot line for mobile games.
Song – 7/10 Music Video – 9/10 Overall Rating – 7.8/10
The one thing I don’t understand when it comes to project groups are their lack of comebacks. These groups have only a limited time to make a mark in the industry. But often, their companies schedule in massive gaps between comebacks. Take 1THE9 for example. Formed in 2018 through the survival show Under 19, they debuted in April 2019 with Spotlight. Within 6 months, the group returned with Blah. But it took them eight months to finally return with their third release and it seems it is going to be their last comeback ever as their contracts wrap up ‘soon’. I don’t blame the members, as I am assuming this is a management decision (I think the members would be eager to get back onto the stage since they are just newly debut). But rant over. I am excited that 1THE9 is back with Bad Guy, which is featured on the group’s third mini-album, Turn Over.
I will admit that I have forgotten about 1THE9 and their two previous singles. Looking back on their reviews, I can’t blame myself as their songs were not as memorable or impactful as I had hoped when they first released them. Bad Guy might have a bit more luck in this department. What I have listened to while writing this review is actually not bad. It does lack uniqueness as it does have a certain level of standardness to it. The instrumental feels a little too consistent and I feel that it is missing a spark, particularly around the rap sequence. The rapping is is fine. I just expected something a little more exciting rather than a mild instrumental strip back. But apart from that missing spark, the instrumental felt quite solid and had a nice level of intensity. I like the buildup in the pre-chorus, using that ‘pew pew’ electronic dubstep synth we hear often (there is probably a proper name for it, but I love calling it that). I also like how the chorus felt like it ‘leveled up’ from the verse, by loading it with the synths we hear. Their vocals and raps were also a strong aspect. I liked how their vocals stayed on top of the instrumental. The instrumental during the chorus felt like it could easily have overpowered the vocals due to the intensity. But upon multiple re-listens, it seems that the vocals take the edge. I also really like the song’s melody when it comes to the chorus. All the positives aspects occur in the chorus and this really helps make the Bad Guy chorus bold and memorable, hence why I said Bad Guy might be able to perform better in that area earlier.
I found the music video to be on that typical side. Once again, it follows the closeup and choreography mashup. The lyrics was about choosing to be the bad guy for their partner and I feel that this could have been interpreted into an interesting plot line. This would obviously make the video boring and I did not need to put this video on the typical side of the spectrum. Some of the closeup shots shared between members were a little interesting. I sensed some hostility and I wished they had expanded on this a little more to be more interesting. I also liked the different patterns they had projected on the walls, though I think these were more artistic choices rather than contributing to those hostility vibes I got.
The performance was also a bore. It didn’t seem impressive and this feels disappointing. I felt that the members could have gone with slightly edgier moves that could have highlighted more of their skills. The choreography that I saw was quite safe and bland.
Song – 7.5/10 Music Video – 7/10 Performance – 5/10 Overall Rating – 6.9/10
Making their comeback today is TOO, returning with their first release since making their debut earlier in the year with Magnolia. Since debuting, the group participated on the TV show, Road To Kingdom, where they competed against six other group to earn a place on future season of Kingdom. They didn’t win, but did prove viewers that they shouldn’t be underestimated despite being the new kid on the block. Today, the group return with the title track Count 1, 2, which featured on their second mini-album, Running TOOgether.
I just posted another review for a comeback with a feel good vibe, so it is definitely nice to continue with this vibe in a subsequent release. Count 1, 2 is such a stunning song. There is a funky and groovy instrumental to the song that I cannot get out of my head. The guitars, brass and percussion all blend together neatly and cleanly in Count 1, 2. The music is just vibrant and colourful, making the entire three and a half minute song so enjoyable. I am literally smiling from those feel good vibes and cannot help but groove along to the pop song as I write this review. Interestingly, the song purely relies on this instrumental and doesn’t employ much synths. It gives off some old school vibes, as well. This comment nicely segue-ways into my thoughts for the rap sequence. I like how its hip-hop direction fits so well with the rest of the song and doesn’t go down the trendy breakdown path. The hip-hop feel is quite natural and well planned. Alongside the rapping are the vocals, which I really drew me into the song. I made comments on how typical they sounded in their debut track. And Count 1, 2 proves otherwise, as they sound so showcase a lot of potential throughout this song. The falsettos and the melodies were extremely pleasant. The only other equivalent to this song that I can think of from the top of my mind if A.C.E’s Take Me Higher, which shared a similar set up and also showed off a nice feel good vibe as well. And that is saying a lot, as it grew to be a perfect song to my ears!
The music video shows the members having fun with one another. And for the most part, the music video for Count 1, 2 was quite fitting for the song. And I personally would have been fine if they kept to the lighthearted visuals and fun that the members had. Unfortunately, there was a segment in which the members appeared to be fighting and weren’t having fun. Thankfully, this was just a dream. Though, my KPOP theory mind is buzzing and is convinced that it is intentionally in this music video for a reason. Maybe foreshadowing for a future release? Who knows? I know am always asking for something more to music video such as a plot line. However, there is always a time or place for this. Unless there was an intentional reason for it to be in this video (i.e. to set up a future release), it felt unnecessary here.
I like the fun vibes that feature in this choreography. It doesn’t show off that potential they had built up on Road To Kingdom, but it was a solid routine that matched the upbeat song quite well. I do feel like it was cheesy at times, but obviously that was done to work with the song.
Song – 10/10 Music Video – 8/10 Performance – 8/10 Overall Rating – 9/10
Jeong Sewoon began his solo career in 2017 off with dance-centric tracks (Just U, Baby It’s You, Feeling) and has progressed to more vocal-centric ballads (Something 20, When It Rains) with his more recent releases. And yesterday, the solo artist made his comeback with Say Yes, which leans back into that dance territory that he started off with. The new single is part of Part 1 of his first studio-album, Part. 1 24.
Say Yes comes well timed for the season of sun and energy. Like many of his solo tracks, I find it quite charming and likable from the first listen. While I do admit that there is a small amount of standardness in the new song, the song’s better moments dominates and overlooks the song’s weaker moments. Let’s start off with the standardness. The verses felt dull and grey. They weren’t the most memorable sections of the song. While they do feature a nice presentation of his vocals, the verses just felt incredibly plain, in comparison of the song’s more undeniably stronger sections. With that out of the way, we can move onto the song’s better moments (i.e. the chorus). There was a nice explosion of sounds during the chorus. Not so much that it overwhelms or creates an imbalance with the rest of the song. It just felt right. There was a punchy nature to the synth that the producers put into the play. The second and final chorus is followed up with a sharp synthesizer sound that adds colour to the song. His vocals during these parts is quite powerful. Not powerhouse powerful, but on par with the energy and colour that comes from the chorus. I also liked how his vocals continued the momentum of the upbeat sequences throughout the bridge. Usually, I would have suspected a slow down, but what we had was a good continuation of the energy. In comparison to his ballads, this dance material is more memorable and I believe that is the case with Say Yes as well.
I really like the music video. There is a feel good vibe that comes off that puts the song into context and makes it more explosive and energetic. I really like how Jeong Sewoon grooves along to the song during the chorus. That’s where that feel good vibe comes from. And that is essentially the point of the song. The lyrics is all about being individualistic with life’s journey. He complains about people telling him to do things one specific way. But he wants to be himself and do what pleases him. He asks people to convince him that he is wrong (Pull me close so my heart sway) or to just join him (If not, you can just sway with me).
Song – 9/10 Music Video – 9/10 Overall Rating – 9/10
KPOPREVIEWED 