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.
Earlier this month, it was confirmed that YEONJUN would make his solo debut with his first mixtape, GGUM. The mixtape consists of only one song with the same title. Meanwhile, TXT is currently in the midst of their third world tour, ACT: PROMISE.
GGUM will be polarising. At the onset, there is a lot within the track that I can see people being against—the song’s shortness, the chorus’s emptiness, and the lack of YEONJUN in a pure and raw form. GGUM is definitely more of a performance piece than a musical piece. Interestingly, I am part of the group that actually enjoyed GGUM. If you have been a long-time reader of my blog, you probably know I like dynamic tracks. If it has an adrenaline-rushing effect, I tend to enjoy it. GGUM has that effect on me. I put it down to a range of factors. The electronic instrumentation, which leans GGUM into hip-hop territory, doesn’t disappoint. It is full of vibrant and edgy energy. The striking piano that forms part of the choruses definitely makes an impression and I cannot stop playing that part of the song. GGUM‘s refrain is very catchy and has me coming back for more. The track also offers various vocal styles – from high-pitch autotuned vocals to YEONJUN’s lower and breathier tones to the grungier “GGUM chomp chomp“. There is a lot of variety in this two and a half minute length song. The only disappointing aspect of GGUM is that it doesn’t utilise all that we know YEONJUN has to offer. But it still has a fair bit to offer.
GGUM is about YEONJUN’s confidence on stage, and the music video shows that confidence. Spitting gum into other people’s hands, putting his feet on the desk, flipping the bird, taking over the microphone, spitting out water, and cursing into a walkie-talkie shows us YEONJUN’s aggressive confidence. His overly confident self puts people off him, but he continues doing what he does. I feel sorry for that host, who got the wrong end of the deal regarding YEONJUN. He pushes her out of the way to take over the microphone and is the first to be exposed to the bubble that YEONJUN blows from his gum.
Elsewhere in the video, he impressively executes the choreography. As mentioned earlier, GGUM lends itself well as a performance piece. The associated routine proves just that. These parts of the music video leave me super impressed. I look forward to the chorus parts of the routine, which screams out confidence (on par with the concept of his solo debut). Meanwhile, the entirety of the routine really shows us what he has to offer in this department. I mean, come on, he effortlessly pulls off that split during the second chorus.
Song – 8/10 Music Video – 8/10 Performance – 10/10 Overall Rating – 8.4/10 [Updated on 27 October 2024 due to calculation error]
The second album to be reviewed tonight is THE BOYZ’s third and final part of their second studio album, PHANTASY. This part is titled Love Letter and features three songs (hence why I described it as a single album in my previous post), including the title track Nectar and December 2023’s Christmas single Dear. The length of this third part of their second studio album is disappointing, and I wish there was more to it. PHANTASY began with Pt. 1 Christmas in August (led by LIP GLOSS) and Pt. 2 Sixth Sense (led by WATCH IT).
2. Hurt Me Less (환상통) – THE BOYZ turns to pop-rock in Hurt Me Less. I quite like the striking nature of the first line of the song. It was quite memorable and rang in my mind after the song finished. Hurt Me Less also contains strong vocals and rapping from THE BOYZ. SNWOO’s rapping in the second verse just has so much oomph to it (seeing this part in the recent performances on their world tour re-confirms this). The entire bridge and final chorus montage are amazing, especially with the ad-libs and kick to the pop-rock instrumentation. A strong track overall. (9/10)
3. Dear – The ballad Dear was released in December last year, well before this part of the album. If you didn’t know this, I am sure the instrumental should be enough to indicate this. After all, the classical balladry instrumental carries the Christmas twinkling sound. I am sure THE BOYZ’s fans find Dear very soothing and emotional. Listening closely, the members sound very heartfelt. Their harmonies really make this song comforting and warming. (8/10)
Overall Album Rating – 8.5/10
Teaser image for [PHANTASY] Pt. 3 Love Letter / Nectar
Guess who forgot to schedule a post yesterday! Me! To make up for my forgetfulness (and tiredness) I will be posting two album reviews today. They are on the shorter side of the spectrum, given they are single albums. But I hope that would be sufficent to make up for not posting yesterday! First up is YooA’s solo comeback from earlier in the year with Borderline. It features 3 songs, including the title track Rooftop. Borderline is her first solo comeback since Selfish in November 2022.
2. Love Myself – Relistening to the single album for this review, I found myself getting lost in Love Myself. The groovy vibe and the chorus’s fast-paced nature are two reasons I got so into the song. YooA’s delivery throughout the song in both the vocals and rapping styles was very cool and chic. I particularly like the ‘Louder louder’ that launches us into the chorus. Talking about the chorus, it was catchy, and I loved the thrill it gives off. Love Myself is a solid side track from YooA! (10/10)
3. Shooting Star – Shooting Star is pleasantly fine. I don’t have much to say about the song besides noting that it is very consistent. Her vocals and instrumental were all similar throughout. I liked the cosmic effect the instrumental had, and YooA’s vocals were nice. But I would have liked something more to the Shooting Star to make it more engaging and appealing to the wider audience. (7/10)
LIGHTSUM made their comeback at the start of August with POSE!. It is their first comeback since last year’sHoney or Spice.
POSE! goes for a subdued groove. It is nice and pleasant, but it isn’t striking, which LIGHTSUM really needs in its discography. Personally, LIGHTSUM’s comebacks come and go, and I have never remembered much from them. This track, unfortunately, comes and goes in the same manner. When I find it, I liked it. But when it finishes, and I have moved on to the next song, POSE! becomes a very distant memory. Anyhow, back to the actual song. In addition to its subdued grooviness, the melodies and hooks are playful yet soothing and have a lot of potential. These melodies also showcase the members’ vocal abilities. As a result, all the members sounded good throughout POSE!. There is an excellent house beat within the verses, which comes in hard. It was brief, but it was probably my favourite bit of POSE!. I wished there was more of this in POSE!. This would have given the song a bit of edge and further complexity. It also could have doubled up as an element to give POSE! its strikingness that I mentioned was not evident in the song at the start.
The entire video of POSE! was shot in a house. I understand the simplicity side of it (though it does look like CUBE Entertainment gave this comeback a tiny budget based on this video). The song itself doesn’t call for anything complicated. However, I wished there was a bit more than just the house. Maybe some good old choreography scenes would have worked fine as that additional element. As much as I find the standard closeup and choreography formula to be typical, it would have at least would have given the video a little more to mention. At least the colour scheme they had going on was muted, which suits the song’s subdued nature.
The choreography for the comeback is okay. It was not their best, but it was still pleasant to watch. I did wish there was a memorable key move in the routine to remember the performance by. This could have made the routine more appealing and pulled more of my attention towards the performance (which usually would help build up the song’s appeal for me).
Song – 7/10 Music Video – 7/10 Performance – 7/10 Overall Rating -7/10
Next up on the blog for review is BAEKHO and JESSI’s collaborative single Nutty Nutty. It was performed for the first time at the recent Waterbomb Festival in Yeosu, and BAEKHO officially released the single earlier this month as the third single from his ‘the [bæd] time’ Project.
BAEKHO and JESSI knew what music would excite the crowd at the Waterbomb Festival, and they delivered that unfiltered in Nutty Nutty. It has been an addictive song for me over the last few days, with the chorus playing in my head repeatedly. The track’s party anthem nature draws me in. The beat is super punchy, the energy is wild, and the intensity makes the track so thrilling. The heavy beat gives Nutty Nutty drive, while the EDM and flutey synths add a lot of flair to the song that bumps the excitement. The metallic and tinny percussion throughout the track adds texture and helps make the track feel fast-paced. The length of the track might be a problem if it were another song. Nutty Nutty is admittedly repetitive, though this is what makes the track memorable for me. Anything longer might not have worked out in Nutty Nutty‘s favour and appeal. Plus it is short and sweet for the concert format. BAEKHO performed solidly throughout the track, though I wished he was a little louder during the choruses. The instrumentation drowned him out in the first portion of the chorus. He fairs better in the second part of the choruses, where he is noticeably louder. JESSI was definitely the more prolific half of the pair and gave Nutty Nutty a lot of her personality. But I felt like this is expected of JESSI, who tends to have loud hip-hop tracks that really grabs your attention. Overall, Nutty Nutty is a short yet strong collaboration between the pair.
There isn’t a music video for this release. Instead, BAEKHO released a performance version (below) featuring GABEE and a live performance version filmed at the Waterbomb Festival in YEOSU (where he performed the song twice—once without JESSI and a second time with JESSI). The performance version below is fairly simple, with BAEKHO, GABEE and the dancers performing in a dark room with some lighting to give the set some dynamic flair. The camera angles capture BAEKHO and GABEE’s expressions and the performance that makes the video. The performance is sexy and punchy, depending on which point you are tuning in. It plays to BAEKHO’s strength and shows off his appeal, which has been on point throughout his entire Waterbomb Festival campaign. GABEE was very charismatic and bold throughout the routine.
Song – 9/10 Music Video/Performance – 8/10 Overall Rating – 8.6/10
Welcome back to another Weekly KPOP Chart post! This is another short post today, as I have some more chores and adulting to complete today. Some of today will also be spent working on some posts for scheduling during the week. So, let’s get going—here are the Weekly KPOP Charts for the 2nd Week of September 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 KATSEYE’s Touch. It is in the 6th position this week.
The Charts
TZUYU’s Run Away is the top song on the Weekly KPOP Charts for the 2nd Week of September 2024. Congratulations to TZUYU!
In February, Moon Byul released her first studio album, Starlit of Muse, and the title track TOUCHIN&MOVIN. Last month, the MAMAMOO rapper made her solo comeback with a repackaged version of Starlit of Muse, renamed Starlit of Twinkle. Leading the repackaged album is the title track Is This Love?. And now that I have reviewed the new single, keep your eyes open for the upcoming album review of Starlit of Muse/Starlit of Twinkle.
Is This Love? is a fun and bright pop track. Moon Byul has previously released pop-centric songs before, and Is This Love? follows in the same vein. However, while my thoughts on the song are generally positive, I think Is This Love? does fall short in some regards as it doesn’t steal the throne from Moon Byul’s other pop tracks, such as C.I.T.T (Cheese In The Trap) or LUNATIC (I know I gave the latter an 8/10 in the song department, that can be bumped up to 9/10 upon reflection). My initial impression about the song always featured a passing thought about a slight plainness cloud of some sort is lingering around the song. The chorus is when the music is bubbly and exciting, where you expect it to be. I liked how punchy the central piece was, how the upbeat energy exuded made me smile, and Moon Byul’s vocals pierced through the synths and instrumentation. It was a catchy and well-constructed part of the song, but I think the material could have been more robust. Is This Love?‘s verses were plainer, but they did give the song some variety. Compared to the rest of the song, the pre-chorus does slow things down. But I liked how the song ramped back up to the exciting chorus from the slowed moments. The only thing that I think Is This Love? could have done more fulfilling was the shouty backing that leads into the final chorus. I know – a really super minor detail. But how they cut it off felt incomplete and left me hanging. I wished that wasn’t the case.
Is This Love?’s lyrics speak to the feeling of falling in love, but Moon Byul asks about it ‘for a friend’. With such lyrics, this sounds like quite a cute video. In the music video, we see Moon Byul ‘asking around for that friend’ in a public way – think of a news broadcast, music show, sports, drama, commercial, or home shopping channel. In any media on TV, Moon Byul asks the question about falling in love ‘for her friend’. Towards the end of the video, the public recognises her and chases after her; all the while, she still says it is a misunderstanding and that she isn’t the one asking. It is definitely a fun, eventful and colourful video to watch.
Now that I am watching the performance in detail for this review, I have realized that it has some similarities to TWS: plot twist, which dominated at the start of the year. The song definitely has that plot twist influence, as well, now that I think about it. Moon Byul’s stage adds a slight cutesiness and bubbliness to the routine, making it fun to watch. I wonder what story she is trying to tell on stage, given that she is basically flirting with a male and female dancer as part of the routine.
Song – 8/10 Music Video – 8.5/10 Performance – 8.5/10 Overall Rating – 8.3/10
As part of SEVENTEEN’s compilation album, 17 is RIGHT HERE, which dropped in April of this year. The album consisted of the title track MAESTRO, 3 unit tracks (which I will finally start reviewing today) per the group’s hip-hop, performance, and vocal units, Korean versions of all their Japanese singles, and all their title tracks since their debut. The first unit track I will focus on is the Hip-Hop Team’s LALALI.
I will say it now – the Hip-Hop Team’s track is the best of the 3 unit tracks featured on 17 is RIGHT HERE. Maybe I am finally warming up to hip-hop tracks, as there have been some outstanding releases this year. But that might be a discussion for another day. Back to LALALI. I can’t remember if there has been a track from the Hip-Hop Team where each member exuded so much confidence, and their respective deliveries were packed with so much energy. Each member was super engaging in LALALI, and I find myself trying very hard to resist joining the team in a little impromptu concert wherever I am listening to LALALI. If I had to pick a particular unit member who really surprised me, it has to be WONWOO, who went super hard in the second verse. In addition to the members themselves, LALALI wouldn’t be as successful if it hadn’t been for the instrumentation. It was definitely super energetic and loud, but in a fun and dynamic way. The chorus was also super catchy and addictive. I found the more simmering-like sound to be an interesting centrepiece in LALALI. It was suspenseful and created some tension in its own way, but it also made the members stand out when they amped it right back by shouting the song’s title. Honestly, LALALI is a very smashing and memorable track in my books.
LALALI expresses the message that you can do anything you want. They depict this in the music video through the Hip-Hop Team being rebellious and carefree. The quartet breaks the rules and social norms and gets wild throughout the video. I loved how VERNON had the old senior ladies vibing with him, while WONWOO won an arm wrestling contest against a digger. MINGYU was butting into the game that the old men were playing (but earning praise for making the right move), while S.COUPS was busy not sweltering in the sauna with the other men. They are energetic and hyper when they are together, reflecting the energy of the song’s choruses super well.
Song – 9/10 Music Video – 9/10 Overall Rating – 9/10
Earlier this week, we saw BOYNEXTDOOR return with their 3rd mini-album, 19.99, and the title track Nice Guy. But last week, BOYNEXTDOOR pre-released the single Dangerous. This review focuses on the pre-release single, which also got the music video treatment. As noted in Nice Guy‘s review, we last saw BOYNEXTDOOR through their Earth, Wind & Fire comeback earlier this year.
Right off the bat, I instantly get a sense of goofiness from Dangerous. This is re-confirmed when you read the lyrics, which speak to their rebellious phase, which they do not want their parents to know. Very relatable! The pre-release focuses on the hip-hop genre, a slight deviation from their regular work. But not an extreme deviation – after all, they are produced by ZICO, a well-known hip-hop artist in the KPOP industry. Since Dangerous‘ release, I have been nodding along to the song’s beat. The synths are a bit slinky, but they are backed up with some good bass that makes the beats more pronounced. The members delivered the song with a goofy and playful demeanour, giving Dangerous that personable and relatable feel I mentioned above. Their rapping was solid. However, they could have made Dangerous even more playful if there were a few serious melodies. Again, like most songs released this year, Dangerous is severely short. But I think this plays in BOYNEXTDOOR’s favour. Dangerous is not meant to be taken seriously in any way, and a short pre-release is a good vector for that. It keeps the song short and sweet without directing too much attention towards it, which may be perceived as very immature, which has implications for the artist.
The music video shows one of the members stealing their parents’ car keys (as they sleep) so they can go out and have some fun with the rest of the group at the karaoke. However, they lose the keys in a rubbish skip, leading to a frantic search to find them (otherwise, the poor guy has to return home and explain why the keys are missing). And the night wraps up with a welcomed breakfast featuring some meat. We see some memes in the video, and the members try on their parents’ belongings (which I am sure we all had a snoop around before). It is a fun video, and I like how straightforward and literal they interpreted the lyrics. I also like how the video ends with the parents none the wiser, allowing BOYNEXTDOOR to continue their rebellious phase the next night.
Despite being a pre-release, BOYNEXTDOOR hit the weekly music shows this past week to perform their pre-release single. The members ensure they show just how fun the routine is throughout the performance. I liked the ending the most, with their odd shuffle around the stage.
Song – 8/10 Music Video – 9/10 Performance – 8/10 Overall Rating – 8.3/10
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
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