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.
Last month, TEN (from NCT and WayV) returned to the stage with his second solo mini-album and title track of the same name, STUNNER. It is his first solo release since his official solo debut last year with Nightwalker (which I never got around to reviewing) and, the mini-album, TEN.
STUNNER is a great R&B pop number that shows off TEN’s mature vibe. The latter is definitely the track’s strongest asset, and the producers definitely took great advantage of this. His vocals and rapping were really nicely done. In addition, I liked the groovy sound profile that comes with STUNNER, which is another reason I found the track to be quite appealing. This just melds so well into the R&B pop genre and TEN’s style. But as the song progressed, I would have liked a little more to the instrumentation. By the time we got to the end of STUNNER, the instrumental sounded the same as everything that proceeded before we got to that bit and felt neutrally geared. Given this is TEN, a likely solution could have been the incorporation of an edgy instrumental break that keeps to the R&B motif, which then could have doubled as a dance break. But where STUNNER felt stagnant, certain parts of the song made up for it. The start of the pre-choruses, when the vocal lines were packed in, were an instantaneous highlight that caught my attention from the first listen. The simply spoken repetition of the song’s title in the post-chorus hook was also super catchy. Overall, STUNNER falls slightly short of being a stunner, but definitely had the potential to reach that status.
The music video sees TEN play a man with a magnetic charm that no one can resist. Everywhere he goes, the people around him are physically drawn to him. Even in the inanimate objects in his home have a hard time copying with his magnetic charming and are also drawn to him. It was quite a cool concept. But while the concept was cool, I did think the visuals could have been a little more complementary to the sound profile of the song. Mature yes, but I felt the music video really understated the groovy nature of STUNNER.
Through his stage performances for STUNNER, I could see TEN’s stage presence and chemistry with his dancers. This made for a strong and captivating performance, which is already powerful thanks to the defined body waves and sharp movements that make up the routine.
Song – 8.5/10 Music Video – 8/10 Performance – 10/10 Overall Rating – 8.7/10
Welcome to the next edition of the Weekly KPOP Chart posts. This time, it is for Week 2 of April 2025, which spans 6 to 12 April 2025.
Today will be a quick one, so I will get right to the Weekly KPOP Charts. here we go!
What else am I listening to?
Each week, I spotlight a song not on the Weekly KPOP Charts I have been listening to last week. This week, the song in question is U-KISS’s TICK TACK.
Non-Korean Song of the Week
Each week, the top-ranked non-Korean Song on the Weekly KPOP Chart is spotlighted (as this is an area I haven’t been focusing on as much on my blog lately). The non-Korean song of the past week is LISA’s FUTW.
The Chart
MARK’s solo debut single 1999 ranks in the top spot this past week! Congratulations to MARK!
The next album for review is HA SUNG WOON’s 8th mini-album, BLESSED. It was released in July 2024 and was his first major music release since finishing his military service. BLESSED features 5 songs, including the title track of the same name. I have always been excited to review his new music and albums, as he had some great solo tracks since his Wanna One days. While I don’t think that sentiment is as strong on this mini-album, there are still a few singles on BLESSED that I quite enjoyed.
The last HA SUNG WOON release I reviewed was his 7th mini-album, Strange World, which featured the title track Focus. It was released prior to his military enlistment in 2022.
2. I Wanna– The first side track on the mini-album is I Wanna, which is a softer pop number. I really enjoyed this one, thanks to its pleasant vibe. Even as the song picks up and adds new elements, this was a constant in I Wanna. HA SUNG WOON sounds so nice throughout the track, and the melodies just make this such an appealing number. (9/10)
3. All I Need (ft. ERIC of THE BOYZ) – All I Need is such a vibrant number, stepping up the energy, beat and colour of the mini-album. I like the dominance of the piano in the verses, and the drumming just gives All I Need so much momentum. I wish there was more variety when it comes to the melodies. I liked how brighter HA SUNG WOON’s tone is, but he sounds similar throughout the song. This slightly dampens the liveliness of the song for me. ERIC from THE BOYZ appears briefly in the song during the second verse. His quick delivery does add to the song’s momentum and forward drive. (9/10)
4. I Already Lost You – HA SUNG WOON delves into pop rock for I Already Lost You. This is another strong number from the soloist, and I enjoy it thanks to its pleasant vibe. I Already Lost You is a bittersweet song, reflecting on a partner one likes but knows they cannot be with them. I liked the build-up to the chorus and how profound the chorus sounded once the rock elements kicked in. The resulting energy is perfect and well-balanced for HA SUNG WOON’s vocals. (8.5/10)
5. Mystery– Mystery makes for a decent dance track. This was an impression I got from the song after so long not listening to it. But repeat listens to Mystery made me quickly realise that it is also the mini-album’s most skippable track. I don’t remember much of it since it sounds quite similar instrumentally and vocally through and through. This ends up making Mystery sound very neutral and stagnant. The extra bass that comes into play is a nice touch and gives the song some heft. But it doesn’t do much to make the song more appealing. (6/10)
Due to my poor time management, I have yet to review a few 2024 releases. One of them is SUNGJIN’s (from DAY6) solo debut with Check Pattern and the studio album 30. Today, I am finally reviewing Check Pattern, which will make things much easier when reviewing 30.
Check Pattern is a stunning rock ballad. I remember it being so captivating when I first checked it out upon its release, and it remains captivating even to this day. There are a few reasons for this. The flow of the song is one of these reasons. I love a song that can really hold my attention, and Check Pattern does it well. The moment I find myself captivated by the rest of the song, the flow pulls me along. I love how the pre-choruses deliberately still the song slightly before returning to the chorus. This gives Check Pattern some natural rhythm that helps it become a neutral piece. Another reason for Check Pattern’s captivating appeal is SUNGJIN himself. The hoarseness of his vocals just gives Check Pattern some emotional impact and tone. There is also a warmth to his vocals that I find very comforting. But the main reason I am so captivated by Check Pattern is its lyrics. It speaks to the emotions of meeting and separating from the person we are meant to be with for various reasons in life and the hope of meeting each other again one day. This was very thought-provoking, as it made me think about my experiences.
This is my attempt to explain the music video, as the idea is a little abstract and hard to explain in words. I might not have it 100% right, so I do recommend you watch this equally stunning and captivating music video to make sense of it. It shows SUNGJIN as a director, bringing a play that depicts the song’s lyrics to life. The play shows the audience (including us) the abovementioned emotions from many walks of life. Essentially, one person is in one season/location and the other in a different season/location. There is an idea that both know each other and want to meet but just can’t because they are in different times, places, or circumstances. They come close to meeting on some occasions (depicted by the hands reaching out). But they just can’t get there (as shown by the hands close to touching). However, like how the song speaks to the wish or idea of meeting the other person again, the play shows a happy ending where the individuals meet and be with one another. I love how this story was drawn from people’s experiences that they wrote down for SUNGJIN (as shown at the start of the video).
Song – 10/10 Music Video – 10/10 Overall Rating – 10/10
SM Entertainment has been teasing MARK’s solo debut album since what felt like forever. The album was announced in May 2024, with the intentions to release the album in February 2025. But it was later announced that the album would be delayed to April 2025 to “ensure a better quality”. Since the announcement last year, MARK released three singles – 200, Fraktsiya ft. LEE YOUNG JI and +82 Pressin’ ft. HAECHAN. All these singles are included on MARK’s debut studio album, The Firstfruit, which is led by the single 1999.
MARK’s 1999 (and the rest of the album) has been out since Monday. But don’t take the time it has taken me to write this review as an indicator towards my thoughts on 1999. I have been really enjoying 1999 since my first listen. The fantastic blend of grand orchestra, funky guitar, brass sounds and whistling with the modern soft beats drew my attention from the get-go. It sounds like there is a lot going on in the background, but they all came together to create such a cool and unique instrumental backing. MARK impresses with his vocals in 1999. The melodies that come through during the chorus helps make 1999 smooth and velvety, overall. This gives 1999 a very unique style and I just love that. The chorus ends up being such a strong drawing point of the song, for me, thanks to the catchy repetition hook ‘99 yeah 99‘. I would gladly replay the song to just listen to the chorus. His rapping in 1999 is great, though it isn’t as memorable as compared to the vocal work. Even his rap-speak motif was more memorable than his actual rapping sequences. The end of 1999 is also a rather weak moment of the song. I do like how it attempts to give 1999 its last hurrah and close out the song in an a dynamic and energetic manner, but I felt the rapping here and instrumentation was a little muddled. Had 1999 closed out with a stronger, bolder and satisfying end and MARK’s raps were memorable throughout the song to the same level as his vocals were, 1999 would have been the near-perfect song.
My best guess of what is going on in the music video involves MARK traveling back in time to 1999 when it all started for him (i.e., his birth year). I am assuming he goes back to show the world what they are currently have to offer. And he brings all of his music (including his own debut studio album) to help him make his mark. I like the different MARKs we see in the video, from the time traveling MARK who is the main show, 1999 VJ MARK who helps spreads the news, and Fraktisya MARK who is flying the UFO/hockey puck. I also like the little inclusion of Canada MARK and New York MARK, which speaks to his birth country and childhood.
The blend of different instruments lends well to an interesting performance piece. I like the start of the routine, with the dancers emerging from behind MARK in a contemporary fashion. The chorus routine looked very cool. I liked how clean the execution was, and I am digging the “99 yeah 99” move (especially when it involves moving around the stage, as it just depicts the smoothness so well). I am also impressed with the footwork involved, particularly during the final sequence of 1999.
Song – 9/10 Music Video – 9/10 Performance – 10/10 Overall Rating – 9.2/10
The last time we heard from xikers was through their WITCH era from their House of Tricky: Watch Out mini-album. A review for WITCH is long overdue, as is the mini-album. But that is not why we are here today. This past week, xikers released their 5th mini-album, House of Tricky: Spur, with the lead single BREATHE. As you can tell by the title of this post, that is today’s focus.
I might have a theory as to why I haven’t gotten around to writing a review for WITCH just yet (aside from time being a factor). BREATHE seems to confirm this theory – xikers’ output hasn’t been the same as in their earlier days. BREATHE is a loud and textural hip-hop dance track. While crunchy, it lacks personality, something xikers’s music featured a lot of in their debut year. Instead, I find it now just feels like any other song from a male group. BREATHE‘s instrumental conforms similarly. I did like the boisterous instrumental break we get in the bridge. Some of xikers’ rapping in BREATHE is powerful and prolific. But for some of the other rappers and the entirety of the vocal line, I don’t even remember anything from them. The repetitive ‘Breathe, Breathe‘ chant also doesn’t do much for me. Overall, BREATHE is not xikers’ best foot forward, especially since we know what they are capable of.
The music video opens with a scene showing HUNTER becoming possessed by the other members, passing on their fiery charisma. From then on, everyone is literally on fire (a visual representation of that fiery charisma). We see some members developing superpowers and being on fire (which might explain why SEEUN is holding a BBQ lamb chop). Set-wise, I think the exhaust set looked cool. The plain green background also looked good, especially with the black outfits – a classic pairing.
The accompanying choreography for this comeback looks super cool. I liked the intensity and robust nature of the choreography. With the energy going into it and how it never let up, the routine looked like a workout. My favourite bit has to be the dance break we get in the bridge, serving as the peak of the entire routine.
Song – 6.5/10 Music Video – 8/10 Performance – 9/10 Overall Rating – 7.5/10
STAYC returned a few weeks ago with their 6th single album S, and the new single BEBE. Today, I am getting around to writing a review for it. This is STAYC’s first release since GPT in October of last year.
BEBE is a strong track from STAYC. It is probably their most serious and mature-sounding title track yet. Their delivery of BEBE has so much attitude and sassiness, which is a whole new side to the group (for me, at least). I like the sing/rap-talk style the members use throughout the track. It helped make BEBE feel jam-packed and loaded, driving the song forward. This is further heightened by BEBE‘s instrumental, which carries a bold and prolific club vibe with so much oomph and style. I also like how the instrumentation doesn’t hold back or get in the way of the members. The hooks made BEBE catchy, and so I have been constantly revisiting BEBE since its release. Everything in BEBE melded together really well, creating a very cohesive track. I am a bit uncertain about the end, which to me felt abrupt. But at the same time, I am unsure if they could have ended it another way to maintain the bold nature of BEBE.
You will notice a consistent theme of me liking everything in the music video. I like how a part of the video shows the members strutting the stage in their outfits. It just fits the vibes of the song so well. I also enjoyed how the footage revolves around fashion, and the members looked fantastic. The sets were simplistic, allowing the focus to be on the members. I liked the framing over ISA and YOON’s lines in the first choruses and the whole magazine-like filter applied to J’s opening line at the start of the second verse (probably my favourite bit of the entire video). Everything was very cool.
I liked the stomping move they do at the start of the choruses. Something about that move and the flirty arm on the neck move got me. I thought better synchronisation between the members would have enhanced the overall performance. But what we got looks excellent!
Song – 9/10 Music Video – 9/10 Performance – 8/10 Overall Rating – 8.8/10
Welcome to the next edition of the Weekly KPOP Chart posts. This time, it is for Week 1 of April 2025, which spans 30 March to 5 April 2025.
Once again, there is not much to update on this week. It has been the usual for me, working and scheduling some posts for the week ahead to give me some reprieve during the week (which I have been grateful for). I am glad I have also worked out a method to get posts published. It isn’t much, but I hope it ties us over during this busy period.
Although, I am once again shocked at how fast time has gone. Where did the last three months go? What have I been doing over the previous three months?
Anyhow, we are here for the Weekly KPOP Charts for Week 1 of April 2025, so let’s go!
What else am I listening to?
Each week, I spotlight a song not on the Weekly KPOP Charts I have been listening to last week. This week, the song in question is NCT U’s Baby Don’t Stop.
Non-Korean Song of the Week
Each week, the top-ranked non-Korean Song on the Weekly KPOP Chart is spotlighted (as this is an area I haven’t been focusing on as much on my blog lately). For the past week, the non-Korean song of the week is j-hope’s MONA LISA.
The Chart
MAMAMOO’s Solar and her comeback single WANT ranks in the top spot this past week! Congratulations to Solar!
My first review for ALL(H)OURS was for their comeback single, SHOCK. In that review, I mentioned that I would review their debut track (and potentially mini-album) in the future. I still haven’t got around to that. But in a fitting style, ALL(H)OURS’ first album review is for the mini-album that features the title track SHOCK—their second mini-album, WITNESS. It was released in July 2024 and features a total of five songs.
Overall, I found the mini-album a consistent release, showcasing an EDM and hip-hop sound profile throughout most of the release. For a new group to whom I haven’t really dove into yet, this is a decent showing from the new group. More recently, ALL(H)OURS released their 3rd mini-album, Smoke Point, which features the tracks Graffiti and Gimme Gimme. I haven’t reviewed these as well. But at the very least, a review for Gimme Gimme is on the cards.
Until then, here are my thoughts on WITNESS.
WITNESS Album Cover
1. WITNESS – ALL(H)OURS kicks off their mini-album with the instrumental track WITNESS, kickstarting the release with a powerful rave-like track. It doesn’t hold back and has the adrenaline coursing through your body. I find it refreshing because we don’t hear all that many rave-like tracks in KPOP, though I admit it isn’t for everyone. It isn’t my usual go-to form of EDM. But on this mini-album, knowing what comes after, WITNESS does a good job of launching right into the rest.
3. PSYCHO MANTRA – The group leans towards an aggressive and abrasive sound profile in PSYCHO MANTRA. There are a few other sides of ALL(H)OURS that I will touch on in a second, but these two are the ones that I remember most vividly from the song. The aggressiveness comes out during the chorus when the rappers go shouty, and the abrasiveness comes through via the EDM/rock-influenced instrumentation and distorted vocals that form part of the background. We get some sleekness and smoothness from the vocal line, but it is very short-lived since the rappers get the limelight in PSYCHO MANTRA. Overall, it’s a cool song. (8/10)
4.’Bout That Issue – ‘Bout That Issue showcases both the vocals and rappers in a more balanced manner than the previous song. And from this, I can tell that ALL(H)OURS has a strong line of both. We also hear much more of that hip-hop genre in this song since the instrumental isn’t overwhelming. I actually appreciate that a lot, considering the song before this one. I find ‘Bout That Issue to be intriguing thanks to that vocal melody in the chorus. There is something very familiar about that I cannot pinpoint where I have heard it before. I also like the “’Bout That Issue” repetition that forms the song’s main hook. (8/10)
5. Blah Blah – Blah Blah gets the EDM and hip-hop balance just right. It also gives us some dramatic percussion/drumming, which makes the song cooler. I did think the vocals and rapping could have been stronger in this song. The members’ delivery didn’t hit the spot for me and they kept their styles very safe. Had they gone further, I think Blah Blah would have been a killer track. (7/10)
It has been almost a year since SOLAR made her solo comeback with But I and Colors. Earlier this week, she returned with her new single WANT and her second single album of the same name.
Right off the bat, I really enjoyed the feel-good vibes that WANT exudes, particularly during the choruses. This definitely makes for a great impression. Considering her the main singles from her last release (linked above), the thought that WANT felt a little ordinary did cross my mind. But WANT still manages to hit the right spots for me. I found WANT‘s hooks to be very catchy and earwormy. The song’s dance-pop instrumental is fun, bright and bold. I find myself nodding along to the beat every listen since its release. Solar’s vocals really shone throughout the song, especially when it came to the ad-libs during the final chorus. It shouldn’t come as a surprise given her widely known powerful vocals. But she really impressed me here with her spectacular high notes. I do feel like the verses were weaker moments of WANT, simply because I don’t remember too much from them. But the choruses (for reasons mentioned above) compensated for the verses, given how prolific they were. Overall, a decent song from Solar.
I am on the fence when it comes to the music video. It showcases the good-vibes from WANT. But I didn’t find anything enticing about the video to make me want to revisit the video in the future. I did like the classy hotel setting the entire video was shot in. But Solar’s outfits were rather plain and didn’t match the vibe of the location. She does look good (as she always does), but it is the pairing of outfits and location that gets me.
The choreography also encapsulated those same feel-good vibes that I keep on mentioning. But unlike the music video, I think it did a good job of this. I enjoyed the lightheartedness of the moves and it brought a smile to my face. Solar focuses on her live vocals for the performance (which makes it one to watch!), but does participate in the choreography to help keep it engaging (for me, at least).
Song – 8/10 Music Video – 6/10 Performance – 8/10 Overall Rating – 7.4/10
Just over a month after his discharge from the Korean military, KAI is back on the music scene. He is due to release his fourth mini-album, Wait On Me, later this month. But ahead of the mini-album, he is teasing us with a pre-release single, Adult Swim. We last saw KAI through his Rover comeback.
My comments about minimalism have been recurring recently. If you have not been tuning in or are visiting the blog for the first time, here is my recent hot take — a minimalistic sound can be a double-edged sword. On one hand, it can be a vibe. In KAI’s Adult Swim, the minimalistic sound comes off as both suspenseful and sensual. KAI follows this vibe with a deep, monotonous repetition of the song title in the chorus that some could describe as alluring. For me, this was the most memorable part of Adult Swim. On the other hand, a minimalistic sound can also draw out an empty and lacking feeling. And honestly, that is what I feel and think the most about Adult Swim. The minimalistic sound makes the song feel plain and uneventful. This had implications, such as that I don’t remember much from Adult Swim besides the chorus. A few repeats tonight did help bring the ending of Adult Swim to the forefront, where more drumming percussion and a melody come into play. But while conceptually, it was a good addition to help make the song more interesting, it didn’t work out that way. Both kept in line with the rest of the song’s plainness and didn’t do much to make Adult Swim exciting. It also doesn’t help that it was very brief.
Firstly, it is great to see KAI back on our screens. He is an excellent performer, and his presence was missed over the last year or so while he was in the military. In the music video, we see KAI hanging out with his friends by the pool, which continues throughout the video. A bit standard, though. KAI looks great in the video, but I wished he had a wider variety of outfits besides the blue and grey crop tops. We saw glimpses of other outfits (and him being shirtless), but they were brief. Instead, the blue and grey crop tops looked very similar, so I thought he wore the same crop top for the entire video.
Based on what I saw in the video, I have a similar comment to the one I made above—it is great to see KAI back on stage. His moves in this routine find a really nice balance between sharp and fluid motions. It also feels a lot freer and less of a routine. The moves accompanying the ‘Shake, shake it for me‘ part in the bridge look fun and will probably be my pick for my favourite moment in the choreography.
Song – 7/10 Music Video – 8/10 Performance – 9/10 Overall Rating – 7.7/10
ICYMI – j-hope returned from his military enlistment in October last year. As soon as 2025 started, he got right back to releasing new music. These include two singles titled LV Bag (by Don Toliver, “Speedy” and j-hope, ft. Pharrell Williams) and Sweet Dreams (ft. Miguel). Last week, he dropped his third single of the year, MONA LISA. He has also embarked on a worldwide concert tour.
MONA LISA is a straightforward hip-hop and R&B track. The word ‘straightforward’ is the key phrase to note. Execution-wise, I thought the song was fine. j-hope does a great job with his sing-rap delivery and the trap-based instrumentation was very clean. MONA LISA does have some ring to it, enough to make the song earwormy for some. But not me, unfortunately. There is just nothing exciting in MONA LISA. And that is the consistent theme I get from the song. Everything in the track, including the aforementioned delivery by j-hope and the instrumentation, feels very safe, lacks excitement and fails to do anything to grab my attention etc.. At the end of the day, I found MONA LISA to be a listen once and never again. There is just nothing enticing enough in MONA LISA that gets me coming back for more.
The music video is also relatively simple. Shot in a very contemporary art gallery, the video features j-hope and his dancers performing the song’s choreography. The location makes perfect sense, given the lyrics likens a special someone to a masterpiece. As for the choreography, it is pretty good and complements the straightforward hip-hop sound MONA LISA features. j-hope is quite flirty throughout the routine, which helps make the video engaging. Its not like they could have relied on the song for this). I enjoyed the one-shot-esque style of the video.
Song – 7/10 Music Video – 8/10 Overall Rating – 7.4/10
Starship Entertainment has been teasing a new girl and boy group since the start of the year. While the boy group is currently being formed through a trainee survival show, the female group has avoided this debut pathway. KiiiKiii, the new female group has been dropping pre-debut singles (I DO ME and DEBUT SONG, both of which I have yet to review and will try to do so in the future) since the start of the year. But they officially made their debut this week with BTG.
BTG stands for ‘Been That Girl’. This debut song combines a dreamy atmospheric sound with heavy rap and hip-hop. BTG doesn’t stop there, with EDM also thrown into the mix. While it sounds like a fair bit is going on, I appreciate the minimalistic theme that serves as a constant in BTG. And it is because of this constant that I find these differing sounds to have unexpectedly melded together to create a decent debut track. We get JIYU, LEESOL and KYA delivering rap-heavy beginnings to the verses, paired with straight hip-hop trap beats in the background. This is followed by soft thumping beats and dreamy vocals from HAUM and SUI. This culminates into the chorus, which features a groovy EDM piece and the catchy and sassy ‘Been That Girl‘ line. However, as I have mentioned before, the minimalism does come with its flaws. As much as I liked how the track came together and gave us contrast in BTG, it has also created a generic vibe that pulls the song down. BTG lacks development, and this prevents excitement. As such, BTG is the type of song you hear once and don’t need to hear it again, as it is the same throughout.
Each time I watch the music video, I imagine it to be a reality show where someone brings young and edgy city girls to a farm to see how they adapt to the different lifestyle. What other context would you find a greenhouse turned into a club and shots that look like they shot a hip-hop video on a farm? Judging by those otherwise unexplainable moments, KiiiKiii has adapted well. But aside from trying to poke fun at the video, I am unsure what the concept is and how it relates to the song (if it even does).
I like how the members found a good balance between the hip-hop and dreamy motifs in the routine. It is two very different styles, but like the song, the choreography melded them together well. I did observe sharper moves in the mix to complement BTG‘s beat, and I liked how this looks on stage.
Song – 7.5/10 Music Video – 7/10 Performance – 8/10 Overall Rating – 7.5/10
Welcome to the next edition of the Weekly KPOP Chart posts. This time, it is for Week 4 of March 2025, which spans 23 to 29 March 2025.
There is not much to update on this week. It is a short one, given this is a day late. I have scheduled some posts for the week and will be working in the background to keep the blog running, particularly over the coming Easter break!
Meanwhile, on the charts, it appears to be a Stray-Kids-type of week, with several of their solo songs from their mixtape album Hop and their unit tracks from their more recent Mixtape: dominATE single album rising into the top 30 this week.
What else am I listening to?
Each week, I spotlight a song not on the Weekly KPOP Charts I have been listening to last week. This week, the song in question is TXT’s Sugar Rush Ride.
Non-Korean Song of the Week
Each week, the top-ranked non-Korean Song on the Weekly KPOP Chart is spotlighted (as this is an area I haven’t been focusing on as much on my blog lately). For the past week, the non-Korean song of the week is, once again, JENNIE’s Love Hangover, which features Dominic Fike.
The Chart
THE BOYZ’s VVV continues to rank in the top spot this past week – the second week in a row! Congratulations to THE BOYZ!
BEOMGYU is the second member of TXT to go solo, having released his debut mixtape track, Panic, last Thursday. BEOMGYU follows on from YEONJUN mixtape track GGUM from last year. I hope we get news of the other members’ solo work soon.
Until then, I will focus on BEOMGYU’s Panic, which enters the rock genre. More specifically, it is a little amped-up soft rock track. I liked the heft that the rock brings to the table and how it elicits emotions by itself. Unfortunately, the potential created by the soft rock instrumentation is not realised in Panic. The main problem is BEOMGYU’s vocals. While he sounds really lovely in Panic, he also sounds very polished and clean, as if someone dialled back on the emotions that could have made Panic more heartfelt and impactful. I don’t think it is fair to describe BEOMGYU as emotionless in Panic, as there is some level of emotion and heft from him in the song. But some more oomph, texture or emotion behind his vocals would have given Panic so much character and robustness. Despite all of that, the rock makes Panic a decent listen.
Panic‘s lyrics convey that it is okay to take one step at a time to leave your struggles behind. In the video, we see this BEOMGYU leave the comforts of his home, a location that probably kept him stagnant and reliving his stuggles. He makes it off the uncomfortable bed that he can no longer sleep in, leaving behind the bare kitchen and the destruction that is his living room (which is where I presume a lot of memories are kept). When he steps outside for the first time, he is met with cold winds and massive waves, signalling that the world is trying to confine him to the house. At the end of the video, we see him venture outside. Yes, the world around him is still cold, but he gets further than ever, telling us that for there to be progress, we need to take it one step at a time.
Song – 7/10 Music Video – 9/10 Overall Rating – 7.8/10
I am fully aware that STAYC made their comeback more recently, and a song review for BEBE is coming your way in the not-so-far-distant future. But until then, here is my review of their 1st studio album, Metamorphic. Released in July 2024, Metamorphic features 14 songs (slightly longer than the average studio-length album), including the title track, Cheeky Icy Thang. Metamorphic is a decent album with a mix of strong and fair songs. Keep reading to find out my thoughts on the individual songs that make up Metamorphic.
Metamorphic Album Cover
1. Twenty – STAYC kicks off the album with a formidable alternative R&B number. I liked the drumming in this one and the crisp vocals that give Twenty that power. Whenever I say I want oomph in a song, the direction the vocals went in this song is exactly what I am looking for. There are 2 downsides to Twenty – that it is very noticeably short, and I wished the instrumental was a bit more robust to prevent it from feeling as stagnant as it did. (8/10)
3. 1 Thing – 1 Thing is a very familiar sound for STAYC. It has the signature fun and brightness from its electronic pop instrumentation and STAYC’s delivery. Its chorus attracts my attention, thanks to its sassy delivery and how straight-shooting the members sounded. The bridge brings delicateness to the song before a dynamic and fun electronic instrumental break comes into play. (8/10)
4. Give It 2 Me – Give It 2 Me is a decent pop R&B track. But I feel like the autotune is heavy, and their vocals are rather piercing (in a not-so-good way). The highlight is definitely SIEUN’s rapping, it gives us some reprieve to the autotune and piercing vocals. But besides that, Give It 2 Me doesn’t speak to me as much as the other tracks on the album. (7/10)
5. Find – Next on the album is Find, a unit song by SIEUN, SEEUN and J. Find features neat and delicate vocals from the trio. The rapping brought some nice contrast, which I liked. The acoustic vibe of the instrumental is also lovely and different, especially as it is mixed with trap beats throughout the song. Some stronger melodies and catchiness would have helped lift Find to a new level. (7.5/10)
6. Let Me Know – STAYC revisits the pop genre in a pure manner in Let Me Know. It is quite a pleasant song. I liked the tempo of the instrumentation and the members’ singing in this one. I feel like that short ending sequence of the choruses, where the instrumental turns slightly atmospheric, and J ends with her “Let Me Know … Let Me Know” lin, has the potential for something more. I wished the song explored that potential. (8/10)
7. Nada – Nada brings a bit of hip-hop to the album. This differs from what I have heard so far, so it interested me. The pre-chorus is just something that gets me each time I listen to the song, while the instrumental was unexpectedly playful with the percussion. It makes Nada feel a little nursery rhyme-esque, contrasting with the song’s message about feeling nothing after meeting the person of their dreams. (8/10)
8. Fakin’ – Starting off the second half of the album is SUMIN and YOON, through their unit track Fakin’. The song is another pop track, with stunning vocals from the pair to make it an engaging number. I liked the simplicity of this combination and how easy it was to get into. Stronger hooks to make it more memorable would have sealed the deal for me. (9/10)
9. Roses – ISA is the only member to go solo on the album. Roses is a R&B number with a very intriguing instrumentation. The background has all sorts of effects, but it never feels overdone. ISA sounds quite good throughout the song, but stronger hooks and melodies could have improved the song further. (7/10)
10. Beauty Bomb – Beauty Bomb is one of the stronger songs on the album. The bubbly R&B (perfectly described by The KMeal) is quite fun, which is one reason why I find it so catchy. That ‘Doo Doo Doo’ in the chorus is hooky, as well as the ‘Blow my mind…’ lines that follow later on in the choruses. What I also like about Beauty Bomb is that it showcases STAYC well. Pleasant vocals and nicely contrasting rapping helped make Beauty Bomb engaging for me. (9/10)
11. Gummy Bear – The start of the verses for Gummy Bear, made up of trap beats and the swirly electronic synth, was interesting, to say the least. The rapping that pairs with this backing was fine, but the background is wacky. As the song progresses, I enjoy the rest of Gummy Bear. It develops into a feel-good pop song that feels pure and straightforward. I like how the vocals come off in this segment. The pre-choruses are another strong example of STAYC’s vocals. So, it begs the question of why we needed that start to even begin with, especially since the rest of the song is quite good. (8.5/10)
12. Stay WITH Me – STAYC visits the pop-rock genre through Stay WITH Me. The song is for their fans, and the lyrics are written by STAYC themselves! While it sounds good, and I liked how the rapping pairs up with the instrumentation, I wished I could say the same about their vocals. The vocalists could have been louder to match up with the energy of the pop-rock instrumentation. Stronger melodies, as well, would have helped them embrace the pop-rock better. (8/10)
13. Flexing on My Ex – The pop rock is definitely punchier and the members sound superb (and can be heard over the instrumentation)in Flexing on My Ex. We do lose some momentum as we get closer to the chorus, but this does help the centrepiece feel more impactful and prolific. (8/10)
14. Trouble Maker – The final song of this long album (not complaining here!) is Trouble Maker. It was such a fun and energetic song to end with. It literally makes me want to get up and dance (or cringingly dance along in my chair if you want a real-time update as I write this review). I love the song’s encore energy and the brass elements in the background. The expressiveness and bright vocals also make it a winning song. Pity is a short one. (10/10)
KPOPREVIEWED 