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.

[Album Review] Armageddon (1st Studio Album) – aespa

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aespa is nominated for several categories in the 2024 KPOPREVIEWED Awards. This includes Best Female Group, Best Dance Performance (Female Group), Best Music Video (for Whiplash) and Best Electronic Song (for Supernova) and more. Support aespa by clicking here to vote today!

After successfully debuting in 2021 and having many hits, aespa released their first studio-length album, Armageddon. This album features 10 songs, including their massive pre-release hit Supernova, and the title track of the same name as the album. ICYMI – Supernova was recently crowned the Song of the Year at the MAMA Awards and the Melon Music Awards. I suspect they will get more of those at the upcoming awards ceremonies. Totally well-deserving!

But obviously, we are here to check out the full Armageddon album. Alongside Supernova, this album has a few great songs. They are concentrated towards the end of the album, while the first part got a lukewarm response from me. Find out which songs fell into which category down below.

Armageddon Album Cover

1. Supernova (Title Track) – Click here for the full review for Supernova. (9/10)

2. Armageddon (Title Track) – Click here for the full review for Armageddon. (6/10)

3. Set The Tone – Set The Tone sees the group venture down the hip-hop route alongside their usual electronic style. The group embraces the hip-hop influence well in their delivery, giving them an edgier vibe than usual. Set The Tone also features a thumping beat, making the song more pronounced. I particularly like the outro of the track. This section really concentrates their own style and tone in the song. (8/10)

4. Mine – Mine feels like Set The Tone thanks to the similar influences in the two songs (i.e., the hip-hop influence with their electronic style, which translates to an edgy vibe). However, there are differences between the two that set them apart. Mine is a lot more paced and features a greater emphasis on vocals, as well as rap-speak. I like the wavy note that appears twice at the start of each chorus. But Mine also lacks anything memorable and was a skippable track in my eyes. (6/10)

5. Licorice – aespa ventures into rock-influence territory with Licorice. Electric guitars are a dominant feature of the instrumentation, alongside a trap backing. If you have been reading this blog for a while, I like songs with a rock influence. However, Licorice feels underwhelming. I was hoping the instrumental would pick up towards the end to break the overly consistent trajectory Licorice has in its current form. There is potential with the rock influence, but it was not realised. There were some good lines in Licorice, enough to make it catchy. But like the instrumental, the vocal work was underwhelming for similar reasons. (7/10)

6. BAHAMA – I am honestly surprised that aespa did not promote BAHAMA. Listening to this song, I see it being a hit this past summer. It is a nice summery pop change that is both chill and fitting for the current ‘beige’ trend. The song has catchy hooks and soothing melodies, delivered with dreamy vocals from the members. Both the bridge and rapping in the bridge were great highlights that pushed this song into upbeat territory. (9/10)

7. Long Chat (#♥) – Long Chat is loaded with an abundance of textures thanks to its use of abrasive synths. It might be overwhelming for some, but I thought it made for a fun dance song. I liked how likeable the pop melodies and vocals (thanks to the members) made Long Chat feel, particularly between the more texturally loaded moments. NINGNING’s high notes were really well done and a highlight for me. (10/10)

8. Prologue – The pop genre continues into Prologue. It a vocal-forward track, with the members sound very clear and nice throughout the length of the track. Prologue also features a warm and comforting melody, which goes nicely with the song’s message of being comfortable with oneself, no matter what others say or who they compare you to. (8/10)

9. Live My Life – aespa turns to pop-punk in Live My Life and I just love reliving the choruses each time I replay the song. The band instrumentation was straightforward but effectively impactful. The members’ vocal work and harmonies were consistently amazing throughout the track. I am blown away by how captivating they made the song sound. An easy 10/10 to me. (10/10)

10. Melody (목소리) – Like all KPOP albums, the final song is usually reserved for a softer number. For aespa’s Armageddon album, that song is Melody, a song dedicated to their fans. The piano, string elements and passionate electric guitar in the background give Melody its softer appeal. Further, Melody is another song with great vocals from the members. (8/10)

Overall Album Rating – 8.1/10

Armageddon Teaser Image

[Special] 2024 KPOPREVIEWED Awards – Voting Now Open

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Welcome back to the 2024 KPOPREVIEWED Awards.

On 10 December 2024, I announced the nominees for the 2024 KPOPREVIEWED Awards. If you have not yet checked out the nominees, you can do so here.

From today to 11:59 PM AEDT 31 January 2025, you will be able to vote for your favourite KPOP artist, song or performance of 2024 via the voting form below! Remember, your votes will help determine the best artists, songs and performances of 2024, so make sure you vote and spread the word to your friends and other KPOP listeners!

To vote, click here to be taken to the voting form.

In case the link above doesn’t work, you can copy the following URL into your web browser: https://forms.gle/BWaqWXYFBsreQJ1FA

Happy voting! Check back on the blog on 31 December 2024 to find out who my picks are and late February for the official announcement of the winners!

[Review] Walkin On Water – Stray Kids

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Yesterday, Stray Kids made their return to the Korean music scene with the single Walkin on Water and their mixtape album Hop. It is their first Korean release since ATE (led by the single Chk Chk Boom) and their Japanese release GIANT last month.

Unsuprisingly, the track Walkin On Water is a hip-hop centric number. You can hear that within an instant. Personally, I quite like the choruses. I felt they were are good embodiment of old-school hip-hop in terms of the members delivery and instrumental-wise. I do find the members’ “Brrkt Brrkt” to be cringy, but the rest of the choruses were fine. I do like the infusion of rock elements in the end, which freshens up Walkin On Water and intensifies the song as it hurtles towards its finish. The verses containing the more interesting material, with CHANGBIN, HAN, HYUNJIN rapping and vocals from SEUNGMIN and I.N. BANGCHAN and LEE KNOW feature more in the choruses, while FELIX’s deep vocals make a presence during the bridge and the end of the choruses. Given that this is a mixtape, I wished they could have experimented a bit more with FELIX, who I think needs to be better utlisied (i.e., more than his deep vocals) and have his own rap sequence. And no offense to HYUNJIN, but I prefer his vocal work in the first chorus compared to his rapping in the song. Overall, Walkin On Water is a good track from Stray Kids.

Despite Walkin On Water is a different song than usual for Stray Kids, I liked how their music video doesn’t really differ. There are a lot more solo moments between each member, but the misplaced background people (which is a recurring element to Stray Kids videos) feature in the music video once again. We have motorcyclists and jet-skiers at the traditional Korean building. We also have horses eating out of the car engine and a basketball court at the same location. I also liked the arrow surrounded dance locations for this music video. The music video set at the traditional Korean buildings and FELIX’s solo moment in the bridge also gives off Thunderous vibes.

The footwork in the performance is a highlight. They add the bounce and embodies that hip-hop energy quite well. The synchonisation of their upper bodies must also be commended. Altogether, a very cool routine.

Song – 8/10
Music Video – 9/10
Performance – 9/10
Overall Rating – 8.5/10

[Review] Now or Never – CRAVITY

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CRAVITY returned just over a week ago with their new single, Now or Never, their first single since their EVERSHINE comeback (led by the single Love or Die) and their win on Road To Kingdom: Ace of Ace.

Listening to Now or Never over the last week, I consistently thought that the song could have gone further with its rock influence. Now or Never felt like a song that could have been a powerful song that blows you away, especially after the ticking pre-choruses. But that powerful feeling isn’t realised when we reach Now or Never‘s choruses. Now or Never definitely heads in that direction, but a more electrifying or grungy feeling would have made the song more enticing and exciting in my books. We get closer to that realisation at certain points in Now or Never, such as the first half of the bridge. But it wasn’t enough to tip Now or Never over the line into ‘awesome territory’ for me. Similar comments regarding the choruses can be said about the vocals. While they were good and solid throughout (again, the autotuned vocals during the first part of the pre-choruses were great), I think there were some constraints on the members, which probably contributed to the dampening of the choruses. Stronger melodies and hooks would have helped, as well. I did feel the raps were the more promising aspect of Now or Never, as it helped add some extra power and suspense to the song in their own way. Overall, Now or Never was a decent follow-up to their Love or Die comeback from earlier in the year.

My biggest issue with the music video was the pause in the music. The purpose was to give off suspense, but the subsequent launch back into the music should have been more explosive. What ended up happening was a weak return, which just doesn’t do the music video or song justice. But aside from that, I really enjoyed the aesthetics of the video. Now or Never is about ‘boldly seizing opportunities, reflecting [their] ambition and unwavering determination to take on the world’s challenges fearlessly’. In the video, the challenge is an asteroid that comes crashing into Earth, but the members are able to embrace it and live through the impact with one another. I also really liked the clock (I think this is what it is) set in the video. It looked cool and very futuristic.

I liked the powerful vibe from the choreography and the energy the members put into the chorus sections of the routine. It made it feel jam-packed and very intense. The pre-chorus moves and the outro routine were also highlights. CRAVITY did an awesome job with this part of the comeback.

Song – 8/10
Music Video – 9/10
Performance – 9/10
Overall Rating – 8.5/10

[Review] JJAM – Stray Kids

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As part of their ATE album (led by the title track Chk Chk Boom) released earlier this year, Stray Kids released some videos to accompany some of the side tracks on the mini-album (making them eligible for a separate review). Thus far, I have reviewed the side tracks MOUNTAINS and Stray Kids. Today, I am focusing on the final song with a video, JJAM.

JJAM features a strong EDM backing that really defines the song. The EDM, accompanied by the thumping beat, gives JJAM character and personality, similar to how EDM defined and made DOMINO (another Stray Kids track from their NOEASY era). The tight back-and-forth synth in the chorus (which, when paired with the choreography, became the critical point of JJAM) was quite memorable, as was the rest of the chorus. What made JJAM more special was how it features the three units of the group. Following the first chorus, we get solid and refreshing vocals from VOCALRACHA (SEUNGMIN & I.N). This is followed by an instrumental break that allows DANCERACHA (LEE KNOW, HYUNJIN & FELIX) to execute a dance break on stage, while fast-paced EDM that keeps me on my toes each time I listen to JJAM backs 3RACHA’s rap sequence (CHANGBIN & HAN). Leader BANGCHAN gets his own section, bridging the units’ section back to the rest of JJAM. Their delivery elsewhere in JJAM is top-notch. It is an exciting way to present Stray Kids that keeps true to their style and sound.

The music video shows Stray Kids going underground to make some “sticky and attractive” jam, which is probably the code for their music. I did like the killer vibes Stray Kids were giving off, either through vampirism (based on the red substance in the corner of HAN’s mouth or SEUNGMIN/I.N’s scene where they are smashing something up to source the red substance). However, they should have better vetted the place to avoid the ghostly presence that gets them. It is a hodge-podge of a video, but it was a fun and cool concept.

The accompanying choreography proves why Stray Kids’ performances are always something to look forward to. As mentioned above, the vibrating move accompanying the synth in the chorus was the key point of the song. It was such a cool move that it needs to be mentioned again. DANCERACHA’s dance break, as well as the all-member dance break towards the end, was also another highlight in the routine.

Song – 9/10
Music Video – 8/10
Performance – 9/10
Overall Rating – 8.7/10

[Special] 2024 KPOPREVIEWED Awards – Nominations

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Welcome to the nominations for the 2024 KPOPREVIEWED Awards!

Like previous years, I have put forward the nominees to you, which I will announce today. 2024 was another challenging year to propose 5-6 nominees per category—so many other artists, songs, and performances deserve to be nominated. But only one can be the winner.

A reminder that voting opens in 5 days and will remain open for a month and a half. Check back on 15 December 2024 to vote in the 2024 KPOPREVIEWED Awards, as your votes will help decide the winner!

So, without further ado, I present the nominations for the 2024 KPOPREVIEWED Awards.

There are a fair number of categories to cover, so I have split them over three pages under this post. You can find links to the pages at the top or bottom of each page or navigate to them via the numbers at the bottom of the page.

Page 1 – Artist Categories (this page)
Page 2 – Performance, Stages & Visuals Categories
Page 3 – Song & Album Categories

Artist categories

Best New Artists of 2024

Best New Male Group of 2024 Nominees: ALL(H)OURS, AMERS&ONE, BIG OCEAN, NCT WISH, NOWADAYS & TWS:.

Best New Female Group of 2024 Nominees: ARTMS, BABYMONSTER, BADVILLAIN, ILLIT, MEOVV & UNIS

Best New Male Soloist of 2024 Nominees: CHA EUN WOO, CHANYEOL, DOYOUNG, HUI, JAEHYUN & YEONJUN

Best New Female Soloist of 2024: GYUBIN, SEOLA, SOOJIN, TZUYU & YVES.

Best Subunit & Best Non-Korean Artist in KPOP of 2024

Best Subunit of 2024 Nominees: 90TAN, JEONGHAN x WONWOO, MISAMO, SEVENTEEN HIP-HOP TEAM, SUPER JUNIOR D&E & TripleS Visionary Vision

Best Non-Korean Artist in KPOP of 2024: &TEAM, KATSEYE, NEXZ, WAYV, VCHA & XG.

Most Underrated Artist & Rising Star of 2024

Most Underrated Artist of 2024 Nominees: A.C.E, ARTMS, GYUBIN, ROCKY, PURPLE KISS, xikers.

Rising Star of 2024 Nominees: DAY6, ILLIT, KISS OF LIFE, P1HARMONY, QWER & TWS:

Best Delivery (Band, Rap & Vocal Performance) of 2024

Best Band Performance of 2024 Nominees: DAY6 for Melt Down, FT ISLAND for Serious, LUCY for BOOGIE MAN, ONEWE for Beautiful Ashes, QWER for T.B.H. & Xdinary Heroes for Boy Comics.

Best Rap Performance of 2024 Nominees: BOYNEXTDOOR for EARTH, WIND & FIRE, CHANGBIN in Chk Chk Boom, G-DRAGON for POWER, NCT 127 for WALK, RM for LOST! & SEVENTEEN HIP-HOP UNIT for LALALI.

Best Vocal Performance of 2024 Nominees: (G)I-DLE for FATE, AKMU for HERO, BIBI for BAM YANG GANG, IU for Love Wins All, LEE HONG GI for SERIOUS & Red Velvet for Cosmic.

Best Soloists & Groups of 2024

Best Female Soloist of 2024 Nominees: HWASA, IU, LISA, NAYEON, SOLAR & WENDY

Best Male Soloist of 2024 Nominees: BAEKHYUN, Doh Kyung Soo, JIMIN, JUNG KOOK, TAEMIN & TAEYONG.

Best Female Group of 2024 Nominees: (G)I-DLE, aespa, IVE, KISS OF LIFE, LE SSERAFIM & NewJeans

Best Male Group of 2024 Nominees: ENHYPEN, NCT DREAM, RIIZE, SEVENTEEN, Stray Kids & TXT

There are a fair number of categories to cover, so I have split them over three pages under this post. You can find links to the pages at the top or bottom of each page or navigate to them via the numbers at the bottom of the page.

Page 1 – Artist Categories (this page)
Page 2 – Performance, Visuals & Comeback Categories
Page 3 – Song & Album Categories
Pages: 1 2 3

[Review] toxic til the end – ROSÉ (BLACKPINK)

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ROSÉ officially released her solo album, Rosie, alongside the single toxic till the end last week. It follows the very successful APT. collaboration with Bruno Mars and the single number one girl last month, both featured on the new album. It is also ROSÉ’s first album release since her solo debut with R (led by the single On The Ground) almost four years ago.

I quite enjoyed toxic till the end when it was first released. It has good melodies that make the song easy to listen to, some catchy moments (such as the ‘end, end, end‘ line at the end of the choruses) and a punchy pop instrumental that hits all the right spots. These three are a start to a good song. Throw in ROSÉ’s distinct vocals, who does a decent job of showcasing her emotions in toxic till the end, and you have an undeniably fantastic song. Sure, toxic till the end feels very familiar and very Taylor Swift-esque. But I don’t think there is anything wrong with this direction, as it speaks to the masses and feels very appropriate for 2024. Plus, ROSÉ does a good job with the material overall. But there is one thing holding toxic till the end back – the vocal processing. This was felt most during the bridge, where it is very clear that ROSÉ steps up her vocals but is limited in how far her vocals go. I feel like this is a part where she could have given us a lot of emotion and impact. But the vocal processing gets in the way of that. But apart from that, toxic till the end is still a good song to me.

The music video stars ROSÉ and actor Evan Mock, who become a toxic couple. The video begins with Evan Mock’s character hitchhiking. ROSÉ pulls up and offers him a lift, creating the beginnings of a relationship between the two. And the pair appear to be quite in love (kissing at one point), playful with one another, and ROSÉ also shows she cares for Evan’s character following a tumble on a skateboard (which breaks his arm). Partway through the video, Evan Mock’s character gets a text message, which he attempts to hide. But this ends up being ROSÉ’s tipping point, and she tries to leave. Throughout their fight (in which Evan’s character hits his head), there is a montage of flashbacks exposing Evan’s character’s toxicity, where he keeps her from leaving by rigging her car and injuring himself to make her feel bad. And it all continues as we see ROSÉ lying in bed with him after their fight. It is a well-executed video with a thorough storyline, and I really liked the Autumn/Fall elements around the mansion.

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

[Weekly KPOP Chart] 1st Week of December 2024

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Welcome back to another Weekly KPOP Chart post! Another Sunday, so it is chore day. But I am also finalising the nominations for the 2024 KPOPREVIEWED Awards tonight – just got a few more categories to go. Plus, still trying to draft and schedule reviews for while I am away. So let’s get right to the Weekly KPOP Chart for the 1st Week of December 2024.

Coming Up – 2024 KPOPREVIEWED Awards

As mentioned above, I am in the process of finalising the nominations for the 2024 KPOPREVIEWED Awards as I will be posting the nominations on Tuesday this week – 10 December 2024!

And then next Sunday (15 December 2024), voting will open and it will be in your hands to help determine the winners of each category.

Non-Korean Song of the Week

As this blog focuses primarily on KPOP songs, I want to draw attention to a particular song that isn’t in Korean in this part of the Weekly KPOP Chart post. That song will be the top-ranking non-Korean song on each Weekly KPOP Chart post. This week’s highest-ranking non-Korean song is V and Park Hyo Shin’s Winter Ahead, which ranks in the 9th position.

The Charts

aespa’s Whiplash ranks in the top spot on the 1st Week of December 2024’s Weekly KPOP Charts. This is the second week in which Whiplash is the top song of the week, the previous being the 4th Week of October 2024. Congratulations aespa!

PositionSong TitleArtistChange
1Whiplashaespa(▲ 2)
2Call BackMINHO (SHINee)(▲ 16)
3CRASHJAY B (GOT7)(▲ 24)
4When I’m With YouNCT DREAM(▲ 1)
5LAST NIGHTTREASURE(NEW)
6No DoubtENHYPEN(=)
7Over The MoonTXT(▲ 1)
8IGLOOKISS OF LIFE(▲ 42)
9Winter AheadV (BTS) with Park Hyoshin(▲ 39)
10Last FestivalTWS(▼ 9)
11PINATAA.C.E(▲ 12)
12UnconditionalJAEHYUN (NCT)(▲ 2)
13TOXICMEOVV(▼ 9)
14StrategyTWICE ft. Megan Thee Stallion(NEW)
15Like A FlowerIRENE (Red Velvet)(▼ 13)
16DAYDREAMENHYPEN(▲ 28)
17DRIPBABYMONSTER(=)
18FREQUENCYWayV (NCT)(▲ 33)
19Be AlrightBTOB(▲ 32)
20Wishful WinterNCT WISH(▲ 31)
21RunawayJinJin (ASTRO)(▲ 30)
22I TrySUPER JUNIOR D&E(▲ 29)
23Unending DaysKYUHYUN (SUPER JUNIOR)(▲ 28)
24NASADEAN (ft. FKJ)(▲ 27)
25APT.ROSÉ (BLACKPINK) & Bruno Mars(▼ 10)
26Letter To MyselfTAEYEON (SNSD)(▼ 16)
27GPTSTAYC(▼ 3)
28UPKARINA (aespa)(▲ 21)
29toxic till the endROSÉ (BLACKPINK)(NEW)
30NVKEDAB6IX(▲ 1)

[Review] Strategy – TWICE ft. Megan Thee Stallion

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Over the last two years, we have only observed TWICE making a Korean comeback once a year. So when the group released their With YOU-th mini-album (led by the single ONE SPARK) in February this year, I thought that was it for the group for 2024. However, the group surprised me with an accouncement of a comeback in December comeback back in October. The comeback, which occurred yesterday, is titled Strategy (both the title track and mini-album release), with the title track featuring Megan Thee Stallion.

After a couple of listens to Strategy, I have settled on the song being ‘alright’. It is a good song that strikes a balance through the various elements within it, but I am not blown away by it as past TWICE songs have previously been. I did like how Strategy brings out a mature sound from TWICE with its early 00s hip-hop influences and synth work. The instrumental is a big highlight of Strategy for me. The vocals are good, but I think there is opportunity for the members to be clearer. This would have lifted the song up in my books. As for Megan Thee Stallion’s part in Strategy, it isn’t jarring. Her music tends to be so for me. But in Strategy, she gives the song some edginess and oomph. Along those lines, I wished the rest of Strategy (i.e. TWICE’s parts) had some of this energy, as well. The closest we do get is MOMO’s part following Megan’s, just before those cowbells came into play (which was an instant turn-off for me). I also wished the melodies and hooks were more fleshed out. Strategy does have some foundation in this department, but what we got didn’t appeal to me as strongly as their past songs did. Perhaps some more definition could have been the answer to this.

The music video shows off the group’s alluring charms, which is all part of their plan to get the person they want as expressed in the lyrics. I really liked their styling throughout the video, which compliments the song well. But let’s be honest, the best part of this music video is Megan Thee Stallion’s presence. Featuring artists don’t always appear in their song’s respective videos for one reason or another. But to see TWICE and Megan Thee Stallion in the same video and room (I hope that was the actual case) was actually quite cool. I would have loved to see all the members with Megan (not just 6 of them), vibing along to Megan’s part. Though I suspect MISAMO’s schedules got in the way of making that possible.

Channelling the message of the song, I do like the confidence that the choreography exudes. I really like the chest pop and back kick during the song’s main hook, as well as MOMO and CHAEYOUNG’s part in the bridge (no matter how much I dislike those cowbells).

Song – 7.5/10
Music Video – 8/10
Performance – 8.5/10
Overall Rating – 7.9/10

[Review] LAST NIGHT – TREASURE

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YG Entertainment promised when TREASURE returned earlier this year, KING KONG (the comeback at the time) would not be their only release this year. And as promised, the group returned with their new single LAST NIGHT yesterday.

LAST NIGHT leans into dance territory, swapping out their usual hip-hop influences for pop melodies. The track is bright, upbeat, and refreshing to my ears. It also has a feel-good energy that makes LAST NIGHT attractive. Vocally and rapping-wise, the members did a great job. I particularly like JIHOON’s fast-paced rapping, which added an interesting element to the middle portion of the song. LAST NIGHT’s hook (‘Ma ma ma my love’) was catchy. The pop melodies were good, and I found them easy to listen to (even as the instrumental blasts its way through). But there is also a side of me that feels the melodies are typical and plain. There could be more flair to make LAST NIGHT even more compelling. Apart from that minor wish, LAST NIGHT was an enjoyable song.

There isn’t too much to the video, but I like the straightforwardness this brings about. The music video shows the members coming together to watch fireworks after a day of having fun and hanging out with one another. Like the song, the video instils feel-good vibes and makes me smile while watching it. It also felt appropriately casual and light-hearted.

Based on what I can see in the music video, the choreography is simple and straightforward. LAST NIGHT doesn’t call for anything too complicated or difficult, so the routine feels fitting for the song. I liked the move that coincides with the hook, which embodies the already mentioned simple and straightforward mantra.

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

[Review] CALL BACK – MINHO (SHINee)

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A month has zipped by since MINHO made his solo comeback with the studio album CALL BACK and the title track of the same name. Today, I will finally get to reviewing the title track. This is MINHO’s first solo comeback since his formal solo debut with Chase in 2022.

Chase received a lukewarm review from me when it was released, and my review questioned whether that song was the ‘best foot forward for MINHO’. While it wasn’t mentioned in that review, I had always expected MINHO to release a dance track. CALL BACK seems to be the answer I was seeking. This pop song, which leans into chill R&B territory for me, was decently good. While it wasn’t as prolific or dynamic as I had hoped for, I appreciate the mid-tempo beat and pleasant instrumentation from the piano and guitar riffs featured in the song. His vocals are good and satisfying in CALL BACK. He doesn’t have the strongest set in SHINee, but he holds up well in CALL BACK. The ‘Will it be, Will it be, Will it be you?‘ hook was quite catchy, and I liked how his vocals carried that line. Similar things can be said with the rest of the choruses. The most disappointing aspect of CALL BACK is the lack of raps. We get some sing-rapping in the second verse, but it didn’t go as hard as we know MINHO could execute. Overall, CALL BACK is a better step in the direction I hoped MINHO would explore for his debut.

My take on the video is that MINHO is both waiting for and looking for the person he loves. In the lyrics, he is talking about his phone lighting up and he is hoping that person is contacting him. In the video, he searches for his lover amongst all the cars in the traffic jam. There is also references to him looking for his missing piece via the puzzle he is completing the video. The choreography scenes looked good. I liked how they weaved some of the choreography shots into the storyline. While it isn’t the best example of so, it is still a decent attempt of making everything feel connected.

As for the choreography, I liked it. But I don’t have much to say about it. I particularly enjoyed how MINHO and the dancers moved around the stage. It gave the choreography a cool flow.

Song – 8/10
Music Video – 7.5/10
Performance – 8/10
Overall Rating – 7.9/10

[Review] PINATA – A.C.E

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It has been a while since I last reviewed a song from A.C.E. The last review was for Changer back in 2021. Since then, the group has enlisted in the military and made a comeback earlier this year with My Girl (which I have yet to review), albeit without Kang Yuchan, who was still enlisted while the group was preparing for the comeback. With Kang Yuchan part of this comeback, the group returned with their 7th mini-album, PINATA, and the title track of the same name last month.

A.C.E is no stranger to EDM (see their earlier singles, Cactus or Callin’, as examples of their venture into EDM). But while PINATA follows in that direction of music, its poor execution leaves me wondering what happened to A.C.E from back then. The EDM that PINATA has gone for lacks that memorable factor. Their previous tracks featured a piercing and dynamic form of EDM that created an unforgettable piece. PINATA retains the bombastic and powerfulness their previous takes on EDM always had. But in PINATA, there was no sharpness and a strong muddled feeling. Then, there was the shouty delivery in the chorus, which somehow felt flat and obnoxious. This was by far the most disappointing aspect of PINATA, in my view. The shouty delivery isn’t anything new, but at least it should be dynamic enough to give the chorus some life. The verses and bridge were decent, but they didn’t have much going on for me to remember the song by. The most impressive part of PINATA was the high note at the end of the song and the lead-up to that high note. But while it was a stronger part of the song, it was too late to salvage PINATA by then.

The music video was okay. The dancers give the music video a wow factor, as do the members during their sexier close-ups. But I do feel like there was a limited budget when watching this, especially since the dancers wore the exact same outfit in all of the choreography shots, regardless of whether the members changed outfits or the set/location changed. Also, I am not exactly sure what the connection is between the tactical gear the dancers donned and the member’s suits/corsets, etc. aside from looking cool. Yeah, it is cool to look cool. But for the sake of it, not really. I wished there was a little more variety regarding the dancers’ outfits.

The performance is the strongest aspect of the comeback, with the music lending well to a powerful routine that A.C.E pulls off in a controlled and intense manner. There were aspects in the music video version which I really liked, such as the lifting of the members at the end and the white powder the dancers spit out just before the second chorus. However, I understand those are complex actions to pull off on stage multiple days a week.

Song – 6/10
Music Video – 7/10
Performance – 8/10
Overall Rating – 6.7/10

[Coming Soon] 2024 KPOPREVIEWED Awards

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Welcome to December, the final month of the year. In addition to being a stark reminder of how fast another year has flown by, around this time each year, I am officially announcing the reutrn of the KPOPREVIEWED Awards to celebrate the KPOP debuts, comebacks, performances, and artists that have graced our minds this year.

This year, the 2024 KPOPREVIEWED Awards, has been bubbling away in the background since October.

What does the 2024 KPOPREVIEWED Awards entail?

Like the last few years, the winners of majority of categories in the 2024 KPOPREVIEWED Awards will be decided purely by your votes! I have done the hard work of providing the nominations of who I think are the best in each category, but you will have the ultimate say from that list!

Best Song of 2024 and Best Artist of 2024 award winners will be decided based on fan nominations (you will be able to pick up to 3 songs and 3 artists each when voting opens) and my Weekly KPOP Charts. Both will be weighted equally (50% each).

More details regarding voting will be published when voting opens!

I will also be posting my personal choice in the KPOPREVIEWED’S Choice post.

When will it all occur?

Key dates for the 2024 KPOPREVIEWED Awards include:

  • Anouncement Post – 01 December 2024 (this post!)
  • Nominations Announcement – 10 December 2024
  • Voting Opens – 15 December 2024
  • KPOPREVIEWED’s Choice – 31 December 2024
  • Voting Closes – 31 January 2025
  • Winner Announcement – Late February 2025

What is the eligibilty period for the 2024 KPOPREVIEWED Awards?

  • An artist is eligible for nomination in any category (including Best Artist of 2024) if they had a comeback between 1 November 2023 to 31 October 2024 (inclusive).
  • A song is eligble for nomination in any category (including Best Song of 2024) if it was released between 1 November 2023 to 31 October 2024 (inclusive).
  • An album is eligible for nomination provided it was released between 1 October 2023 to 30 September 2024.
  • A performance is eligible for nomination provided it was performed between 1 November 2023 to 31 October 2024.

What will fans be voting on?

The categories your vote will decide include:

  • Best New Group/Soloists (Female/Male)
  • Best Subunit
  • Best Delivery (Vocal/Rap/Band Performance)
  • Rising Star
  • Most Underrated Artist
  • Best Non-Korean Artist in KPOP
  • Best Group/Soloist (Female/Male)
  • Best Group Dance Performance (Female/Male)
  • Best Solo Dance Performance (Female/Male)
  • Best Special Performance
  • Best ‘Return to Stage’
  • Best Stage Presence
  • Best Outfit
  • Best Concept
  • Best Music Video
  • Best Cover
  • Best Western Song By a KPOP Artist
  • Best Japanese Song by a KPOP Artist
  • Best Collaboration
  • Best Song per Genre (Ballad/Electronic/Pop/R&B/Rock or Band/Rap or Hip-Hop)
  • Best Remixed Version
  • Most Underrated Song
  • Best Album

You will also be able to nominate 3 artists and 3 songs to help determine Best Song and Best Artist of 2024. These votes will also help determine Most Voted Song and Most Voted Artist of 2024.

What will fans not be voting on?

Any catergory based on the blog and my Weekly KPOP Charts, as well as Best Side Track of 2024.

When will the winners be announced?

Some time in late February. I am unable to pick an exact date, as it will depend on a few factors (including how fast I can get through the count for Best Song and Artist of 2024 – these take the longest).

I will also be absent from the blog throughout January (trying to get some posts scheduled whilst I am away), hence why the voting period will end once I am back on board!

Come back on 10 December 2024 to find out the nominees of the 2024 KPOPREVIEWED Awards, and then on 15 December 2024 to cast your vote!

Make sure to follow me on Twitter (I know it is called X, but I still call it Twitter), Facebook and Bluesky (this is a new one for me!) for updates and reminders to vote. In the meanwhile, check out the blog for my song and album reviews!!!

[Weekly KPOP Chart] 4th Week of November 2024

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Welcome back to another Weekly KPOP Chart post! It is going to be another quick one, as there is a special post coming later today which I would like to finish off and post, so stayed tuned for that later today. But I gotta run some errands beforehand (per my normal Sunday schedule). So let’s get to it!

Non-Korean Song of the Week

As this blog focuses primarily on KPOP songs, I want to draw attention to a particular song that isn’t in Korean in this part of the Weekly KPOP Chart post. That song will be the top-ranking non-Korean song on each Weekly KPOP Chart post. This week’s highest-ranking non-Korean song is MOEVV’s TOXIC, which ranks in the 11th position.

The Charts

TWS’s Last Festival ranks in the top spot on the 4th Week of November 2024’s Weekly KPOP Charts. Congratulations to TWS!

PositionSong TitleArtistChange
1Last FestivalTWS(NEW)
2Like A FlowerIRENE (Red Velvet)(NEW)
3Whiplashaespa(▲ 6)
4Ice On My TeethATEEZ(▲ 4)
5When I’m With YouNCT DREAM(▲ 2)
6No DoubtENHYPEN(▲ 5)
7TRIGGERTHE BOYZ(▼ 1)
8Over The MoonTXT(▲ 5)
9POWERG-DRAGON(▼ 5)
10Letter To MyselfTAEYEON (SNSD)(▼ 9)
11TOXICMEOVV(▼ 9)
12number one girlROSÉ (BLACKPINK)(▲ 60)
13Shhh!VIVIZ(▲ 3)
14UnconditionalJAEHYUN (NCT)(▲ 56)
15APT.ROSÉ (BLACKPINK) & Bruno Mars(▼ 1)
16LOVE, MONEY & FAMESEVENTEEN ft. DJ Khaled(▲ 8)
17DRIPBABYMONSTER(▼ 7)
18CALL BACKMINHO (SHINee)(▲ 53)
19Love BomberMoon Jongup
(BANG&JUNG&YOO&MOON)		(▲ 53)
20HOME SWEET HOMEG-DRAGON ft. TAEYANG &
DAESUNG		(▲ 44)
21AutomaticVANNER(▲ 51)
22MantraJENNIE (BLACKPINK)(▲ 1)
23PINATAA.C.E(▲ 40)
24GPTSTAYC(▼ 7)
25Cherish (My Love)ILLIT(=)
26I’ll Be ThereJIN (BTS)(▲ 41)
27CRASHJAY B (GOT7)(NEW)
28GOLDITZY(▼ 16)
29Supernova LoveIVE & David Guetta(▼ 26)
30DerreBIBI(▲ 42)

[Review] LAST PARADE – BAMBAM (GOT7)

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It has been months since BAMBAM made his solo comeback with the single LAST PARADE and mini-album BAMESIS. I am finally reviewing the title track today, ahead of a future album review post focusing on the mini-album. It is the first solo Korean release of BAMBAM’s since early 2023’s Sour & Sweet comeback.

LAST PARADE sees BAMBAM venture into a much darker vibe than ever before. I like the idea of exploring a new side of the artist when it is done well, and I think LAST PARADE is a good example of it being done well. LAST PARADE opens up with some anthemic choir before settling for a hip-hop-centred sound. But the song catches you by surprise. Instead of a punchy or upbeat production, the track holds itself back – maintaining a sparse instrumental and allowing the tension to simmer and build rather than explode. It is an intriguing way to approach things, but this does give LAST PARADE a memorable to let the song linger in my mind once it is complete. But while the instrumental remains sparse, LAST PARADE does allow itself to turn into a dynamic piece via the electronic follow-through of the choruses. The rush of energy in this part of the song contrasts nicely with the rest and feels quite a satisfying release of the tension mentioned above. BAMBAM does well with his rapping and vocals, with the pre-choruses standing out the most to me. The only part of LAST PARADE that I didn’t like was how it ended, which made the song feel incomplete and unsatisfying.

The music video is split into three chapters. The first chapter features BAMBAM as a leader of a city, in an almost dictator-like manner from the looks of it. He has complete control of an army that defends the city. The second chapter features BAMBAM as the leader of a rebel group who isn’t happy with the leader BAMBAM. The third chapter features the rebellion, where both BAMBAMs meet and fight. I am unsure of the intent of the third BAMBAM, who we see at the start of the video yielding the same flag as the dictator version. But he is definitely away from the action and is very blase about what is happening above him at the end of the video. Perhaps he is a more evil ‘all-knowing’ character who tempts the dictator version of BAMBAM to do his dirty work? Aside from that, I really like the epicness of the city, the darker and creepy vibes channelling through the video, as well as the Hieronymus Bosch presentation style of the music video. Put all this together, and you get a cool music video.

I really like the performance. The verses and first part of the choruses really build intensity in the routine, similar to how the song does the exact same thing. But then, when it comes to the second part of the choruses, BAMBAM and his dancers release the pent-up energy to create a powerful waacking-like piece.

Song – 8.5/10
Music Video – 10/10
Performance – 9/10
Overall Rating – 9.1/10

[Review] Shhh! – VIVIZ

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It has been over a year since VIVIZ made their comeback with MANIAC. Since then, the trio embarked on and completed their first world tour V.hind: Love and Tears. At the start of the month, they returned with the single Shhh! and their 3rd mini-album VOYAGE.

Shhh! sees VIVIZ return with a more mature and edgy vibe. I like the idea of exploring this side of the group, but I wish the material was more engaging. Weeks after its release, the only memorable element of Shhh! is the pronunciation of “Boy Shhh!“, which is clever if it were intentional (I’m unsure if it was). The repetition also helped in this regard. Anyhow, I realize that the song has potential. But as the other elements don’t stand out independently or together, the biggest problem for Shhh! is that it is underbaked. The Latin influence on the instrumental is good and punchy at times. However, there is an apparent lack of it during the choruses. The front end of the choruses was incredibly plain and didn’t entice me enough to return to the song. More colour or flair could have done wonders for this part of the choruses. The concentration and added definition to the follow-through in the second and third runs of the choruses made these sections better and more engaging. My comment about the front end of the choruses being plain can also apply to the members’ vocals, the rapping and Shhh!‘s melodies.

My understanding of the song is that it speaks to their alluring side and how they use that to get the person they want. As such, the other person doesn’t need to waste time and speak – the members can get straight to the point (unlike me…). The music video comprises many solo and choreography shots, all of which look fine. I did like how the producers embraced more of that mature and edgy feeling of the song in the video. But as always, with music videos that only have solo and choreography shots, I would have liked to see more in this video. If right, my interpretation of the lyrics would have lent well to a plot where the members attract people to be with them, but there could be a consequence for anyone who falls for them (i.e., VIVIZ playing serial killers). Just an idea 🙂

The most defining aspect of the comeback is the body and booty shakes in the performance. They definitely take on that mature and edgy side of the song that I mentioned above. I liked how each section is different from the other body and booty shakes throughout the routine, keeping the performance fresh and exciting at all times.

Song – 7/10
Music Video – 7/10
Performance – 9/10
Overall Rating – 7.4/10