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.
Making their comeback earlier this month was RIIZE, who returned with the repackaged version of their 1st mini-album. Titled Riizing: Epilogue, the new mini-album consists of all the songs from their Riizing mini-album (released back in June of this year), the latest single Combo (the focus of this review) and an orchestral version of Boom Boom Bass (to be released on 13 September 2024).
You only need to listen to Combo once to understand why it stands out among the many newly released KPOP songs. The vocal delivery in this track, particularly in the chorus, differentiates itself from the pack and makes Combo feel so prolific. Particular shoutout to SOHEE and WONBIN, whose hoarse and raspy vocals in Combo made the song memorable and attention-grabbing. Truthfully, it is rather unexpected and might be too much for some. But I appreciated the earthiness and grunginess the pair brought to the song. The rest of RIIZE did exceptionally well. I also really enjoyed the insertion of rap-speak or relatively softer vocals in the choruses, which brought forth some exciting depth and gave the rest of the members a chance to add to the already expressive choruses. As for the instrumentation, Combo takes on a grungy 90s punk-rock genre. The crunchy texture for the guitar work and the heavy drumming just sound so good and give Combo so much oomph, just like the vocals in the choruses. Together, you have a winning Combo. Pity that this isn’t being promoted (as far as I am aware) because they totally should!
According to Soompi, Combo‘s lyrics tell the story of an extraordinary love in which two different people turn each other’s worlds upside down but ultimately complete one another. In the music video, the idea of the lyrics is represented by the bond RIIZE shares. Alone, they are sad, lonely and bored. Together, they have fun, light up and are full of energy. What makes this comeback extra special is that Combo and this ‘special video’ (as it is called) was released on their 1st debut anniversary. And a story about their friendship and bond carries much meaning on such a day.
Song – 9/10 Music Video – 9/10 Overall Rating – 9/10
Cast your mind back to February, when CHA EUN WOO made his solo debut with the mini-album ENTITY. The single STAY led the mini-album, which consisted of five songs in total (Six if you bought the physical version, but I only have access to the digital version). Today, I will finally put words to the page for the album review for ENTITY.
ENTITY Album Cover
1. U&I (너와 단둘이) – CHA EUN WOO eases us into his mini-album with the mellow U&I. It is quite a dreamy track with a jazzy influence coming through. CHA EUN WOO’s vocals are sweet and soothing, and the melodies have that sought-after swaying effect that I like. Altogether, it is a warm opening. (8/10)
2. Fu*king Great Time – The next song is a smooth R&B track, led by an electric guitar and some synth bass. Fu*king Great Time is definitely one of the bolder tracks on this mini-album for several reasons. One of them is the f-bombs that CHA EUN WOO drops so smoothly as part of the song delivery. It is definitely unexpected for CHA EUN WOO, who is well known for his boy-next-door charms in the KPOP industry. His deeper vocals are also highlighted so well in the song. F*cking Great Time is also the only track on the mini-album with a choreography routine. (9/10)
5. You’re The Best – The final track on the mini-album is You’re The Best, an indie folk ballad. The track is rather simple, with just an acoustic guitar at the helm of the background and CHA EUN WOO’s soft yet delicate vocals. Just like the first song, the swaying melodies are present in this song, and the lyrics of You’re The Best gives off warm vibes. This is also reflected in the music video below. (8/10)
BOYNEXTDOOR returned to the music scene yesterday with the new single Nice Guy and the new mini-album 19.99. It follows their earlier 2024 comeback of Earth, Wind & Fire and mini-album How? (which I have yet to review, but I can confirm that it is coming). Ahead of Nice Guy, BOYNEXTDOOR pre-release the single Dangerous last week, which I will be posting a review for later this week (the way I drafted it hinges on the review for Nice Guy to be published first, which is why we are here).
Since its release yesterday, I have given Nice Guy a few listens. Interestingly, the same thoughts have recurred on each occasion. I acknowledge that Nice Guy isfunky and groovy, which offers the song a fun exterior. This fits BOYNEXTDOOR’s repertoire of title tracks, which all have this fun element that makes them appealing. But for some reason, my mind keeps settling that the song’s delivery, especially when it comes to the chorus, feels constrained (more than usual, at the very least) and underbaked. I don’t get that same excitement from the members in Nice Guy compared to the other title tracks and even the pre-release Dangerous. Interestingly, I keep missing Nice Guy’s chorus. I think consistency is the issue here, as the chorus and verses all felt similar and didn’t really differentiate much between one another. And the lack of oomph from their delivery doesn’t help out. The only major difference I hear is the presence of Nice Guy‘s hook (i.e., Look at me, Look at my lines my girl…), but even that didn’t feel memorable enough for me. Even the other parts of the song don’t really catch my attention. Ultimately, all of this leaves Nice Guy in an awkward position where I don’t remember much from the song once it wraps, which isn’t the usual reaction to BOYNEXTDOOR’s title tracks.
I am not entirely sure what is going on in the video. At first glance, it looks like a hodgepodge of different scenes. But given the song is about BOYNEXTDOOR trying to get with the person they like, I think my guess is that the guys are trying their best to make the person fall in love with them. Things they have done in the video to win over the person include getting a job at the same workplace as that person (the pizza shop), trying to deliver food to the person they like (but they end up delivering to the wrong person entirely) and taking care of animals to win over the person. I did like the second chorus montage, where the different backgrounds are spinning into one another. It looked cool. The falling through-the-floor montage feels far-fetched, especially since I didn’t see its relevance to the video. But I do like how that led into the final bit, with the group dressed up in a classier way, and it pulled all the characters in the video (including the background characters into one scene).
I liked the choreography for this comeback. It has a lighthearted vibe, which works nicely with the song. We have to wait for more to see, but I think the choreography they perform towards the end of the music video at the party scenes is shaping up to be my favourite part. Again, this sequence embodies that lighthearted vibe but just gives something different that the rest of the choreography (from other parts of the music video) didn’t have.
Song – 6.5/10 Music Video – 8/10 Performance – 8/10 Overall Rating – 7.3/10
Welcome back to another Weekly KPOP Chart post! This is another short post today, as I have a fair bit of chores and adulting to complete today. I will also spend time today working on some posts I could schedule during the week (and actually get them scheduled rather than sitting there just in the drafts folder). So, let’s get going—here are the Weekly KPOP Charts for the 1st Week of September 2024 (which officially means Spring has kicked off where I am – and boy, I am feeling 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. Last week’s highest-ranking non-Korean song is, once again, NCT DREAM’s Rains in Heaven. It rose from 11th position to 7th position this week.
The Charts
Stray Kids’ Chk Chk Boom has risen, once again, to the top song on the Weekly KPOP Charts for the 1st Week of September 2024. Congratulations to Stray Kids for dominating my airwaves for the third week with Chk Chk Boom!
It has been almost a year since I posted an International Song Review post, a segment where I do mini-reviews for non-Korean songs released by some of our favourite KPOP artists. While I have covered some non-Korean songs this year, I have practically neglected this area of the blog, unfortunately, due to time pressures. Over the coming weeks, I will be looking to revive this segment to cover some great releases I have yet to cover on the blog and have chosen not to write in a separate standalone song review format.
Today, I will review non-Korean songs released in the last year by IVE, Kep1er, STAYC, YENA, and ITZY.
All Night – IVE ft. (SAWEETIE)
Language: English Release Date: 19 January 2024 Release Type: All Night (1st English Single)
IVE’s All Night is a remake of Icona Pop’s song of the same name and is marketed as their debut English single. The dance-pop instrumentation was fine, and Saweetie’s rap part was my favourite sequence in All Night. But I question what value IVE add to All Night. Yeah, their parts ring in my mind for a bit. But the members had no separate lines, and they all sang together for the entirety of the song. The promotional material could have easily said it was just one singer singing in the track, and I wouldn’t have known the difference. Furthermore, their vocals were oddly plain and lacked any characteristic that allows us to call it an IVE track. They were literally stripped of any identity in the song. There were some ad-libs towards the end, but they were very in the background, and I didn’t notice them until today.
As for the music video, most of it was IVE and Saweetie stuck in a small windowless office. If the video ventured anywhere else, it was either to the office lobby, the hallway or the elevator. Surely, the music video could have been a little more exciting and featured some choreography. I don’t think I am asking for much here. As for the performance, it was okay. Again, it was plain. But the members were all smiles, making the routine feel and look much better.
Overall Rating – 5.9/`10
Grand Prix – Kep1er
Language: Japanese Release Date: 22 November 2023 Release Type: FLY-HIGH (3rd Japanese Single)
Ending Kep1er’s busy 2023 was the release of Grand Prix. While most of Grand Prix was simply fine, the chorus was a big miss for me. I appreciate that it tries to be different, but it was just too much of a disruption from the flow and energy the verses were building up. The weightiness and heaviness didn’t match the brighter vibe the verses were going for. The dragged-out refrain just ended up feeling sluggish and felt awkward. To revisit an earlier point, ‘simply fine’ doesn’t mean that Grand Prix‘s other parts are okay. The verses didn’t have much to grab onto and were largely forgettable. But considering the entirety of Grand Prix, the verses were not the weakest parts of the song. Sorry that I don’t like this song, but I would recommend their more recent Shooting Star comeback in Korea.
As for the music video, it is obvious and logical to go with a racing concept. While it did, I expected more of the video to focus on the members in a car or the race track potentially, rather than in a store selling toy race cars. Also, their outfits could have better aligned with the concept. For the choreography, I thought it was a good form of edgy when it comes to the chorus. I may not like the song, but I can see past that to appreciate the performance.
Overall Rating – 5.9/10
LIT – STAYC
Language: Japanese Release Date: 6 December 2023 Release Type: LIT (3rd Japanese Single)
To be honest, I also don’t remember too much of LIT after nine months. Relistening for the purposes of this review, I recognise LIT‘s potential, thanks to its catchy chorus. However, the final product played it fairly safe. The instrumental keeps to plain synths and a cutesy sound, thanks to those twinkling sounds in the background of the choruses. Most Japanese tracks by KPOP artists follow this formula. Rarely does it work. More often than not, like in LIT, it feels constricting and forced. The members appear to contribute to this cutesy demeanour with their playfully toned delivery, though I am not as upset with this as it is their hallmark in KPOP. The ad-libs and the follow-up to the first and second choruses were definitely the best parts of the song, which is where the relevant members break away from the consistency of the track and do their own thing. I think the instrumental could have been reframed to be slightly edgier, which could have given LIT a breath of new life.
The music video shows the members enjoying their lives, reminding us it can be lit wherever you are. The choreography was okay, and there was nothing groundbreaking or new from the group here.
Overall Rating – 7/10
DNA – YENA
Language: Japanese Release Date: 7 February 2024 Release Type: DNA (2nd Japanese Single)
YENA’s DNA is her first original Japanese single. Based on her solo releases in Korea, DNA‘s venture into the pop-rock genre isn’t much of a surprise to me. What surprised me is how muted the song comes across despite the presence of a rock band alongside YENA in DNA. I am unsure what caused it, but I keep feeling an imaginary barrier prevents DNA from realizing its full potential. The fact that DNA doesn’t sound electrifying weakens the song’s appeal for me. Her vocals were solid and consistent throughout DNA, but the thought of it coming off plainly and too sweet also lingers. This dampens the appeal of the song further but doesn’t do as much compared to the instrumentation.
The music video shows YENA rocking it out with the band in the background. Her attire fits the JPOP landscape well, ticking the cutesy and edgy boxes. The post-production was an intelligent move from the production team, as the various sketches and effects give the video a little more than just the industrial-esque backgrounds.
Overall Rating – 7.4/10
Algorhythm – ITZY
Language: Japanese Release Date: 15 May 2024 Release Type: Algorhthym (3rd Japanese Single)
Personally, I enjoyed Algorhythm. The upbeat deep house instrumental was quite remarkable, and their delivery was fun and classy. Had they stopped after the second run of the chorus, I think I would have been fine with the track—though I can’t promise that I wouldn’t comment about its length if that were the case. The change-up that we get right after the second chorus was really unnecessary. It was obnoxiously abrasive and loud (relatively speaking, which says a lot if that comment is coming from me), which did not complement the rest of the song. And that is a pity, as I liked everything except the change-up instrumental break. It does make for a good performance piece, however.
For the music video, the first half features the members as robots. The glitches during this section made the footage look rather cool. Halfway through the video, it is revealed that the members were simply shooting a fun video within the music video, after which they attempted to go on a holiday (I presume). But when you think the video ends, the members disrupt that thought and have a dance break at the airport. Interesting concept. As for the performance, it is the best out of the five releases that form this post. The routine started off doll-like, and then the moves became much more human-like. But the peak of the routine is undoubtedly the powerful dance break, which is aligned with the disliked instrumental break.
Returning for the first time in over three years is BAEKHYUN (from EXO). We last heard a solo release from the EXO member in 2021, when he released Bambi – the title of his lead single and third mini-album. Yesterday, BAEKHYUN returned with his fourth mini-album, Hello, World! and the lead single Pineapple Slice.
If Bambi confirmed anything, R&B is definitely BAEKHYUN’s forte. So, it is no surprise that the new song Pineapple Slice (which has a very intriguing title) ventures into that domain again. And BAEKHYUN pulls it off, as expected. What sets Pineapple Slice apart from his past ventures into the genre is the groovy and textural synthwave instrumental in the background. It is a pretty satisfying piece to listen to, especially when it comes to the bassline, which makes the song pop out even more. BAEKHYUN does amazingly in the vocal department, infusing that sensual vibe associated with the R&B genre effortlessly with the grooviness of the instrumental. It is exciting to hear BAEKHYUN again, especially with his falsetto and charismatic vocals in the choruses. The melodies and hooks ring in my mind even after the song wraps up. Because of these (and practically the entire track), falling asleep last night was challenging. Does anyone have that problem when you listen to BAEKHYUN? No? Just me? Anyway, the music and BAKEHYUN himself slow things down in the pre-chorus. It is well appreciated after it makes the launch back into the chorus and the succeeding sequence much more impactful. I also liked how atmospheric the instrumental got for the bridge, and BAEKHYUN sounds the best in this part of Pineapple Slice. Overall, Pineapple Slice is a robust and solid comeback for BAEKHYUN, and I can’t wait to hit replay to listen to it again.
In the music video, BAEKHYUN plays a vampire who uses his ‘sweet like a pineapple slice’ charms to get with the person he is interested in. He is highly charismatic and flirty in the first montage of scenes. He shows off a more mysterious vibe when he is on the train. The video’s main scenes are the party scenes, demonstrating his control and power. At the start of the video, we see him (or rather, his bats) ravaging the other partygoers and putting them under his spell. Later, he revives them, just moments before he makes his move towards the lady who catches his attention and bites her neck. These scenes, as well as the choreography scenes, have a hint of sensual tension to re-emphasise BAEKHYUN’s charms.
Performance-wise, BAEKHYUN really shows his passion with this routine. He puts a lot of effort into his movements while also effortlessly executing the live vocals. This is what makes BAEKHYUN such a great performer. The routine complemented Pineapple Slice‘s upbeat nature and teased out that sensual tone within the track. BAEKHYUN and his dancers did a great job executing it all.
Song – 9/10 Music Video – 8.5/10 Performance – 9/10 Overall Rating – 8.9/10
Today, TZUYU made her solo debut with the new single, Run Away, and the mini-album Aboutzu. She is the third TWICE member to make her solo debut, following fellow TWICE members NAYEON (who recently returned with ABCD) and JIHYO (who debuted as a solo artist last year with Killin’ Me Good).
Run Away starts with TZUYU’s vocals and a simple piano riff. This opening sequence was rather intriguing, as there was a subtle emotional touch that grabbed my attention and had me waiting for more. The song then brings in a pounding beat, evolving into a disco-esque pop number once the chorus is reached. This trajectory was very entertaining, which made Run Away‘s instrumental a strong aspect of the new song. It is relatively simple for its style, yet also punchy and addictive. Strangely enough, I enjoyed the clean hollow drum beats at the 0:44 and 1:58 marks of the song. Very specific, but I thought it was worth mentioning. Unfortunately, nothing else stood out in the song. While I liked the opening sequence in terms of TZUYU’s vocals, they stayed in the same gear for the most part. This ultimately made Run Away feel flat and remarkably lacking in the character department. That emotional touch I mentioned is still present throughout the song, but there wasn’t any differentiation or variety in her vocals, effectively reducing that to nought. We did get a slight change in vocals during the pre-choruses, but this needed to be expanded to other parts of Run Away to make it more interesting. And because of the flatness, the melodies and hooks just didn’t stick out. I also hoped for a bridge and flair from a potential final third chorus. But those didn’t eventuate, as well. If it weren’t for the opening sequence and instrumental, I wouldn’t revisit Run Away as much.
In the song’s lyrics, TZUYU gives the person she is interested in a chance to ‘run away’ before entering a relationship with her. She sings about how once they are infatuated with her, she will show a different side of herself that only they will see. Whether this is a K-drama plot about a cold person opening up and falling in love, or the start of a creepy movie, we will never know. In the video, we see TZUYU show two sides of herself. The first is a more loving side of herself, while the second is a colder and more sinister version of herself. Depending on how you interpret the video – these can be two potential sides of TZUYU that the person could come across, or the video is recounting the events of TZUYU alluring the guy in the video into loving her before she reveals her proper darker side. Either way, it is an exciting premise that leaves an open ending. As for the choreography scenes, I liked the contrast in how they showed more elegant sides of TZUYU in the gown and on the red carpet. This probably adds some extra depth and backstory to TZUYU’s character – you never know which version is on our screen.
I often comment on facial expressions regarding this aspect of the review. They can make or break the performance. For today’s Music Bank performance, I felt TZUYU’s facial expressions were stiff and robotic, which affected the actual vibe of the performance. I hope it is nerves and that she becomes more comfortable performing the choreography, as the routine has a cool, sensual vibe that looks good. It just needs swift flow from the leading performer.
Song – 7/10 Music Video – 9/10 Performance – 8/10 Overall Rating – 7.8/10
Wish You Hell is the next album to be reviewed on the blog. It is WENDY’s 2nd mini-album since her solo debut with Like Water in 2021. Released in March this year, it features a total of 6 songs, including the title track that shares the same name as the mini-album.
While I don’t think this thought came across my mind when I checked out the mini-album back when it was first released in March, I believe that WENDY was trying to end all of us with this mini-album. I think consolidating my thoughts into words has brought this thought to the surface. Wish You Hell (the mini-album) highlights what WENDY is capable of. While the first half of the mini-album wasn’t as strong as the second half, it still has a lot to offer. And the second half, well, it was all 10/10 to me. Keep reading for my thoughts on each song below to find out why this mini-album is among the highest-ranked this year.
2. His Car Isn’t Yours – His Car Isn’t Yours is an R&B pop track with a really atmospheric instrumental. The bass comes at all the right moments to emphasise this side of the song. WENDY sounds stunning throughout the track, dreamy yet conflicted, as she sings about how the person she is with isn’t the person she is interested in. The track is also fully in English, which is long overdue. I wouldn’t mind listening to more English songs from WENDY in the future. (8/10)
3. Best Ever – Best Ever switches up the mini-album completely with a more cheerful and upbeat indie pop sound. The way she started this track set the contrast (with the previous song) in stone and made me go wow. I really liked the jazzy elements that make their way into the instrumental. It just gives Best Ever a whole new breath of life. WENDY just brings a smoothness and airy feeling that makes this track attractive. But it is the combination of WENDY and backing vocals that delivers the song’s “La da da da” hook, which is the best part of the song. Her breathy ad-libs were also amazing. (9/10)
4. Better Judgement – Better Judgement slows down the mini-album slightly with another R&B track. But it still packs a punch. The standout element in Better Judgement is WENDY’s vocals, which are captivating in this track. Her vocals alone have sold me on the song. Better Judgement’s instrumental is one of the simpler backings on the mini-album, composed of a pounding beat, acoustic guitar and some twinkling synths. The complexity this song offers comes purely from WENDY’s vocals. If there is any song on this mini-album that shows off WENDY’s vocals the best, it would be this one. (10/10)
5. Queen of the Party– Queen of the Party returns us to upbeat territory with a robust and dynamic number. And this one nails everything with ease. I loved the way the Queen of the Party builds in the pre-chorus. I loved how WENDY effortlessly delivers the choruses, particularly the “I’m alone, but the queen of the party” line. The bridge was stunning, and I also enjoyed her soaring vocals in that part of the song. Another 10/10 from me. (10/10)
6. Vermilion – Closing out the mini-album, WENDY returns to R&B territory with Vermillion. I like how dramatic and epic the instrumental is and how well WENDY complements this energy. The former is right my alley, and the latter is just another example of how well she can put her vocals on full display. Another easy 10/10 from me. (10/10)
HIGHLIGHT’s Switch On mini-album is the next album to be reviewed on the blog. It was released in March of this year. The mini-album features a total of five songs, including the title track BODY. As mentioned in BODY‘s full review (link is below, as usual), Switch On is HIGHLIGHT’s long-awaited comeback in over a year, following their November 2022 AFTER SUNSET comeback (led by the single Alone).
Switch On is another strong mini-album from these second-generation KPOP idols. HIGHLIGHT’s discography has always been one to look out for many reasons – one of them being variety. And Switch On has a lot to offer in this department.
2. Switch On – The song with the same name as the mini-album is quite a number. If I followed my usual mindset, the song’s composition should have made it feel sluggish and slow. So, I genuinely surprised myself when I realized I had liked Switch On. Switch On has such a powerful and sexy instrumental. The deep bass in the background, the unique yet magical flute-like sound that appears in the pre-chorus, and the groovy yet paced guitar work were just some of the elements that make Switch On’s instrumental so alluring. The anti-drop and resulting pace that serves as Switch On’s choruses works wonderfully. I particularly liked the dragged-out bass in the background in the central piece of Switch On. As for the group’s vocals, they were superb and did a really great job of complementing the music. My only problem with the pace was that it felt slightly repetitive by the end of the track. (9/10)
3. Feel Your Love (48.6Hertz) – Another song with great use of bass! And because of the bass, Feel Your Love(48.6Hertz)feels so much more impactful, and the depth it reaches is amazing. I really liked how the song contrasts the bass and depth with upbeat synths, rock influences, and some of the most amazing vocals from HIGHLIGHT that I have heard in a long time. I was immensely captivated by all the members, but my ears perked up when it came to DONGWOON’s vocals in the second verse and YOSEOB’s high note. A no-brainer 10/10 from me. (10/10)
4. How To Love – How To Love spins the mini-album and redirects it in a sweeter direction. This track is bound to bring a smile to your face. I can totally imagine a not-serious performance for this track, especially when it comes to HIGHLIGHT and their fun personalities (as highlighted in the title track of this mini-album). The “How To Love?” repetition is quite memorable. The guitar work brings me joy and I liked the overall warmness that the song brings. (8/10)
5. In My Head – The mini-album ends with In My Head, a rock-infused pop track. I liked the energy from the instrumentation, and the members sounded blissful throughout the track. It is a nice track overall. However, I wish In My Head was a bit more riveting. The track is short, which makes things blur. The short length of In My Head doesn’t allow the melodies to brew and grow, nor does it give the instrumental opportunity to be different. They needed something to stick instantly and I don’t think that element was necessarily there. (7.5/10)
Kicking off the week was DAY6, which dropped its 9th mini-album, Band Aid, led by the single Melt Down. This release comes almost six months after the band’s first return since 2020 with Fourever (their 8th mini-album) and the title track, Welcome To The Show.
Like everyone (based on what I am reading online), Melt Down also reminds me of DAY6’s very own Time Of Our Life era from 2019, which has steadily risen on the charts over the last few months. Melt Down‘s rock-leaning, super energetic and forward-propelling instrumental that makes you want to bang your head or, at the very least, tap your foot along is one of the highlights for me. Like his performance in Time Of Our Life, DOWOON shines the brightest in Melt Down thanks to his prolific drumming, a constant factor in the new song. I also liked how they gave the first verse its own peaks and troughs regarding rock intensity. This instantly gave Melt Down some initial punch, depth and made the song more interesting (which made me inclined to listen to more of the song). I wished something similar was done in the second verse, as that portion didn’t feel like a substantial follow-through. While I did think DAY6’s vocals were strong in Melt Down, I did find the song less memorable. None of the hooks and melodies jumped out at me as ear-catching as Time of Our Life‘s hooks and melodies did. Melt Down‘s melodies and hooks are growing on me, but I don’t think it is the same calibre. Despite its weaker moments, Melt Down proves to me why DAY6 are at their best when it comes to their energetic and upbeat tracks.
Melt Down is about the appreciative feelings one feels toward those who have supported them. In the video, the fact there is an audience part through the video tells me the members are appreciative of their fanbase, MY DAYs. As the video progresses, we see their different locations have colourful explosions. These explosions take us from the cold start of the video (where a snowman can exist, and you can see ice crystals on the members) to a more vibrant and warmer feel. The idea of explosions reflects the energetic bursts and rock intensity that the song features quite well. It isn’t one of those videos that simply (or subtly) infuses a warmer hue as the video progresses.
Song – 8/10 Music Video – 8/10 Overall Rating – 8/10
Welcome back to another Weekly KPOP Chart post! This is another short post today, as I have a fair bit to do—more chores and adulting—the usual boring stuff. I also want to spend more time today working on some posts I could potentially schedule during the week, similar to the album reviews I posted earlier in the week. So, let’s get going—here are the Weekly KPOP Charts for the 4th Week of August 2024.
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. Last week’s highest-ranking non-Korean song is NCT DREAM’s first English single, Rains in Heaven. It ranks in the 11th position this week.
The Charts
ZEROBASEONE’s latest comeback, GOOD SO BAD, is the top song on the Weekly KPOP Charts for the 4th Week of August 2024. Congratulations ZEROBASEONE!
I flip back to the start of the week when JAEHYUN made his official solo debut with the single Smoke and his first studio album, J. Previously, JAEHYUN teased his solo debut a week ago through a unique music video combining the tracks Dandelion and Roses into one video. Through the NCT Lab project, he has also released other solo singles (Forever Only and Horizon).
Smoke ventures into the hip-hop side of the R&B genre. This shouldn’t be a surprise, given that JAEHYUN has shone under the R&B spotlight before (see his pre-release singles). And it makes sense for him to do something a little different, like infusing a bit of hip-hop into the folds of Smoke, rather than just doing straightforward R&B (which we got two sides of last week). While this sounds good, I don’t think it is well executed (more on that in a second). I must really highlight the guitar present throughout the track. It added rhythm to push the song along. Towards the end of the song, we hear a jazzy instrumental background come into the mix, which I thought was an excellent trajectory for the track. The piano here really sounded great! The Smoke‘s verses and bridge were fine. R&B comes through strongest during the verses, and JAEHYUN sounds like he is in his element. On the other hand, the choruses of Smoke were questionable. The hip-hop style becomes more prevalent here, and I like the deep, bouncy beat of the central piece. But his spoken delivery just didn’t do it for me. It takes away the sultry flow of the R&B building in the verses and leaves a void that wants to be filled. It also dulls the song, which I found to be an issue in the performances. I get that such a chorus is an attempt to do something different (as noted above), but ‘doing something different’ shouldn’t detract from the rest of the song. Smoke‘s chorus then leaves another problem – how does Smoke reclaim its glory and stand out positively? I don’t think it has the means to. The only logical part of Smoke to look towards is the verses. But while I do like the verses, I don’t think the verses were as memorable as the void-creating choruses and could not have compensated for the choruses. I guess JAEHYUN should have just kept toRoses.
I am confused about how the music video and song relate. The song’s lyrics invite one’s lover on a sexy car trip. But the music video tells a reimagined story of Narcissus, a Greek mythology of someone falling in love with his own reflection. In the video, JAEHYUN plays a narcissist who desires to escape the “suffocating gaze of the outside world and face oneself” (this quote is taken from JAEHYUN’s commentary on the video – see the pinned comment in the YouTube comments for the video). Hence, he tapes or covers up all the gaps, holes, cameras, windows and mirrors in his room. But the narcissist he is, he ends up watching himself in his own mirror and sees his reflection in the bathtub. He is then interrupted by a person knocking on the door. Narcissistic JAEHYUN struggles with the constant knocking (and his desire mentioned above) and escapes through the couch, taking him into a different world to live out his desired life (which I guess replaces the part of Narcissus’ story where he disappears). The person knocking is revealed to be another JAEHYUN (dressed in white), which I guess represents the white flower that sprouts in the same place where Narcissus disappears in Greek mythology. In the video, the JAEHYUN in white ventures out into the world in place of the narcissist JAEHYUN we saw throughout the video. JAEHYUN’s acting throughout the video was very good, particularly when he struggled with his reflection in the mirror. The noir vibe of the video was also quite exciting and an aesthetic way of portraying this story.
I applaud JAEHYUN for performing during a week of turmoil for his group. It definitely would not be easy on JAEHYUN, and he should be acknowledged for that. I like how the choreography vibes with the different parts of the song. While I am not a fan of the choruses in the song, the way that part comes through in the choreography is my favourite part of the routine. And I like how the jazzy instrumental at the end is used for JAEHYUN and his dancers to show their performance skills in this comeback.
Song – 7/10 Music Video – 8/10 Performance – 8/10 Overall Rating – 7.5/10
During the week, CHUNG HA returned with a special digital single titled Algorithm. It was out of the blue and sudden, in that we only got five days notice of the single. This comeback comes five months after her grand return with EENIE MEENIE (ft. HONGJOONG of ATEEZ).
Just like how the release was unexpected, Algorithm is an unexpectedly fun and light-hearted dance track. I always wondered what her next release would sound like after she released the more hip-hop-driven EENIE MEENIE. I had no expectations, so I found Algorithm an unexpected pleasure. Algorithm leans more into the pop side of dance and fits right into CHUNG HA’s discography. This instrumental gives the track its ‘fun’ descriptor. But I don’t necessarily think Algorithm is title-track material, especially since I initially thought this was a commercial song. That is why the song is light-hearted to me, as it reminds me of past singles used to promote a product. CHUNG HA’s vocals, while really nice and pretty throughout Algorithm, also add to the lightness of the track. It also added a slight cuteness that bodes well. There isn’t anything wrong with being light. But each listen I have given the song since its release made me desire something to be added to the Algorithm to anchor the song and give it some weight so it isn’t just consistently light. A rap sequence, a heavy instrumental break where CHUNG HA and her dancers can show off their dance capabilities, or even an instrumental that goes harder could have been the answer to this. This isn’t a critique of Algorithm, as I gladly accepted and enjoyed the track. It is just something I thought could have boosted the song a little more.
The song likens the idea of falling in love with the algorithm associated with social media that gives you consistent content you like and want to see. CHUNG HA looks stunning as always in the video, and I like how the video touches on some viral trends, like the awkward dancing at the 1:04 mark of the video and the poses in everyday locations that gives off a magazine-esque vibe trend that follows soon after. Of course, CHUNG HA looks amazing despite the cringeiness these trends entail. The video also features fun cameos from GABEE (who appears as friend of CHUNG HA’s who ends up cursing at her), Hyo Kyum (a model who appears as the DJ) and Uhm Jung Hwa (a legendary KPOP artist known as Korea’s Madonna and famous actress who appeared as the titular character in k-drama Doctor Cha) and Bambi (who, according to the YouTube comments, is CHUNG HA’s dog).
The dance aspect of all of CHUNG HA’s comebacks is always the highlight of the comeback. While we haven’t seen a dance performance for Algorithm yet, what we see in the music video is fun and pretty. Nothing feels like a key move for this release, but that doesn’t mean it isn’t a great routine overall. I quite enjoyed the flow of it, and I liked how parts of the routine vibe with the music while other parts showcase sharp movements and formations.
Song – 8/10 Music Video – 8/10 Performance – 8/10 Overall Rating – 8/10
From the start of the week, I move to the end of the week to cover LE SSERAFIM’s comeback with CRAZY and their fourth mini-album of the same name. This comeback follows their February comeback with singles EASY, SMART and their third mini-album, EASY.
I personally feel LE SSERAFIM thrives best in a more upbeat environment. As such, I think CRAZY stands out more than their previous subdued comeback. The house EDM used in CRAZY is definitely a vibe and adds fun to the mix. I liked how meaty and heavy the beat felt, making the song robust. The members do follow through with their vocals. Their delivery gives off a serious tone, which contrasts nicely with the upbeat instrumental, adding some quirkiness to CRAZY. The rapping is solid in the track and is probably where LE SSERAFIM stands out best in CRAZY. They had some strong hooks in the song, such as “Act like an angel, Dress like crazy“, and some more grating hooks, like “All the girls are girling girling“. But despite how I perceive them, they all make CRAZY memorable and add flair to the song. When I first listened to CRAZY, two thoughts ran through my mind that still stay true after repeat listens to the song. The first is a lack of melodic material. I think more melodic material would have added some complexity to the track. Some people would argue that the track’s composition is minimalistic, but I feel that it is borderline in some regards. The second is the short length of the song. I know that is the trend nowadays, with most songs released in KPOP now being less than 3 minutes. But some tracks get away with their short length, as they do not feel as short as they are in reality. Unfortunately, CRAZY is short and feels short, a feeling that never sits well with me.
As the title suggests, things need to feel a little crazy. And where else is it best to do that besides the music video? Some of the best examples from this video that highlight the craziness are KIM CHAEWON wearing a satellite dish on her head as she sings about Pikachu, the lampshades in the aquarium, the underwater choreography bits, and HONG EUNCHAE slipping on the soap and ending in a fabulous pose. The craziness does make it a fun video to watch. The music video also features the Iconic House of Juicy Couture as the dancers in the video. They, too, added a lot of fun to the video, complementing the craziness that the LE SSERAFIM was showcasing. Their dancing was iconic and captivating. Their presence was an excellent way for KPOP to pay homage to the culture and people who form part of it.
A lot is riding on this comeback, particularly after the mixed response to their Coachella performance earlier this year. Based on what I heard in their live performance on Music Bank yesterday, they do not need to worry about those comments. The choreography for this comeback was incredible. There is a lot of inspiration drawn from vogueing and influences that we also saw from the music video, and you could see it come through in this routine. This helped create iconic moves for this comeback, such as the arms around their heads and the lifted legs.
Song – 8/10 Music Video – 9/10 Performance – 10/10 Overall Rating – 8.7/10
Another comeback from earlier in the week is OH MY GIRL’s Classified, the lead single off their 10th mini-album Dreamy Resonance. It comes over a year after their last comeback with their 9th mini-album, Golden Hourglass, and leading single, Summer Comes.
Classified is an intriguing track. It reminds me of Red Velvet’s Feel My Rhythm, another orchestral and synth composition. However, Classified is slightly different, with relatively less texture in its background. Don’t misunderstand — Classified still has plenty of texture through its bass and beat, making for a more pronounced bounce to the music. I enjoyed that side of the song, as it adds a playful element. The orchestral elements of the song make it dreamy and sophisticated. Together, these sides of the instrumental are beautifully balanced, making Classified feel and sound modernly energetic and classically elegant. The vocals in the song are spectacular. OH MY GIRL made their mark in this song, especially with SEUNGHEE, HYOJUNG and their ad-libs in the background of the second and last choruses. I loved the melodies and flow they brought to Classified. Now, the vocal parts are not 100% perfect. Some parts in the verses didn’t meld as nicely with the instrumentation as I had hoped for. And it was these moments that stood out to me in the first listen, which had me thinking it was a questionable song. But repeat listens have definitely warmed me up to those moments. What the repeat listens haven’t warmed me up to in Classified is the rapping. It sounded awkward, making me question why it was even needed in Classified in the first place. MIMI had a good vocal moment that the producers could have continued to explore in place of the rapping. But besides those minor flaws, Classified is still a sound track and an excellent addition to OH MY GIRL’s repertoire of artistic hits.
My understanding of Classified‘s lyrics is about cherishing the memories we made when we were younger, especially when people in those memories grow up and apart. The music video looks to be set in a dollhouse with the OH MY GIRL members acting as dolls who lived in that doll house. The music video interprets the lyrics by focusing on the idea that we all have made memories with our toys as we were growing up. But as we all grow older, we will unlikely play with those toys again. As dolls in the video, OH MY GIRL are wishing us the best and hoping we only remember the good memories. We also see OH MY GIRL venture into the fake outdoors and a fake city, as if they are putting themselves into our shoes and imagining what it is like beyond the dollhouse. I like how the end of the video confirms my interpretation by showing us the plushie’s POV and the young girls running off into the distance, leaving their schoolbags and plushies behind. It is a cute video overall.
The accompanying choreography for this comeback is elegant. However, I don’t find myself focusing too much on the choreography, as I am distracted by OH MY GIRL’s vocals. This limits me to only remembering the introductory sequence. But that is fine, as the intro sequence for this routine is definitely one of the most beautiful intros I have seen to date and is the standout sequence in my mind in this routine.
Song – 8/10 Music Video – 9/10 Performance – 8/10 Overall Rating – 8.3/10
ZEROBASEONE is back, returning on Monday with their 4th mini-album, CINEMA PARADISE. The lead single for this comeback is GOOD SO BAD. It follows ZEROBASEONE’s earlier 2024 comeback with You Had Me At Hello, led by the singles SWEAT and Feel The POP.
GOOD SO BAD kicks off the week strongly, in my point of view. I was drawn to the song within the first couple of seconds with the electronic muffling of the chorus. This sets up the song exceptionally well. From there, GOOD SO BAD follows through, eventuating it into a great song. This is as good as a first impression gets! I really enjoyed GOOD SO BAD’s electronic synth-pop instrumentation. It is so good that I wouldn’t mind listening to the instrumental version of GOOD SO BAD on loop. There were a few things within it that stood out to me. The first is the retro touches the instrumental had channeling through itself. The second is the forward trajectory of the instrumentation. Both of these, along with some excellent bass, really made the choruses pop out. Smooth melodies also help make GOOD SO BAD feel so satisfying. Put it all together, you get GOOD SO BAD flowing like butter, giving the new song its major selling point. The vocalists brought those smooth melodies to the table, sounding vibrant throughout the rest of the song. The lightness of their vocals made GOOD SO BAD approachable. As for the rapping, I enjoyed the pace of the rapping. The delivery still had a bit of a punch at times, but all fitted in nicely with the song’s tempo. The only lacking part of GOOD SO BAD was the ending, which felt like it was missing elements to draw it to a close. A cliché high note or ad-libs would have been an easy way to signal the end is coming. We got some in the bridge, but it felt too early. If done right, it would have closed out the song in a clean, simple, and satisfying manner and earned the perfect rating from me.
I was surprised to see Yoo Ji Tae feature as a novelist or writer in the music video. He begins the video by writing a line that says to let go of the special someone due to the pain they bring. But the video flips the script, with ZEROBASEONE falling in love with that special someone in a movie or show. In the lyrics, the song tells us to hold onto that special someone (unlike what was written by Yoo Ji Tae’s character in the initial seconds of the video). A singular line in the song’s chorus says it all – “The whole universe is saying ‘Don’t let her go’“. As the movie or show develops, something causes Yoo Ji Tae’s character to rewrite the script to change from ‘letting go’ to ‘Don’t let her go’. In the end, it is revealed that he is the writer of the movie or TV show that ZEROBASEONE acted in throughout the video. I thought it was a fun video with a unique but clever storyline. I also really enjoyed the vibrancy and youthfulness the members brought to the video, which made everything else feel bright and full of life throughout the video.
Like the song and video, I liked the vibrancy and energy the members brought to this performance. The routine also had a fun and light-hearted element, making it feel approachable. This made the whole routine worthwhile to watch. Their synchronisation and how easily they made the choreography flow were probably my highlights.
Song – 9/10 Music Video – 9/10 Performance – 9/10 Overall Rating – 9/10
I am unsure if this is the right word to describe the overall song, but what comes to my mind is the word ‘sonic’. But yeah, GOOD SO BAD feels sonic and I like it.
KPOPREVIEWED 