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.
Welcome to the final and most important post for the 2023 KPOPREVIEWED Awards – the announcement of winners to each categories!
Just a bit of a recap of what has happened thus far, I announced the nominees back in November 2023, after which fan votes were gathered to help determine the winners of most categories for a 2 month period (up until mid-January 2024). I did go on a break after that, but since returning from the break, I have been working extremely hard to finalise the counts and prepare this post.
As there is a fair bit of categories to get through, I have split them over three pages under this post. You can find weblinks to the pages at the top or bottom of each page, or you can navigate to via the numbers at the bottom of each page.
So without further ado (as I feel like I am posting this quite late), I present to you the official winners and honourable mentions (the nominee that placed second) of 2023 KPOPREVIEWED Awards – most of which are determined by you!
Best New Male Group of 2023 Nominees: BOYNEXTDOOR, EVNNE, RIIZE, THE WIND, xikers, ZEROBASEONEBest New Female Group of 2023 Nominees: EL7Z UP, FIFTY FIFTY, KISS OF LIFE, LOOSSEMBLE, ODD EYE CIRCLE, tripleSBest New Female Soloist of 2023 Nominees: CHUU, JIHYO (TWICE), JINI, JISOO (BLACKPINK), MIJOO (LOVELYZ), ROA (ROCKING DOLL)Best New Male Soloist of 2023 Nominees: JAECHAN (DKZ), JIMIN (BTS), Joohoney (MONSTA X), Jimin (BTS), Jung Kook (BTS), RM (BTS), V (BTS)
Most Underrated and Rising Star Awards
Most Underrated Artist of 2023 Nominees: cignature, CSR, LUCY, NMIXX, SECRET NUMBER, THE NEW SIX (TNX)Rising Star of 2023 Nominees: DKB, CRAVITY, FIFTY FIFTY, H1-KEY, KWON EUN BI, XDINARY HEROES
Best Band, Rap and Vocal Performance Awards
Best Band Performance of 2023 Nominees: FTISLAND (for Sage), LUCY (for HAZE), ONEWE (for Omnipresent), ROLLING QUARTZ (for FEARLESS), W24 (for Voyager), Xdinary Heroes (for Break The Brakes)Best Rap Performance of 2023 Nominees: AGUST D (BTS) for Haegeum, Dynamic Duo & Lee Young Ji for Smoke, J-HOPE (BTS) for on the street, MARK (NCT) for Golden Hour, RM (BTS) for Wild Flower, Stray Kids’ Rappers for S-Class.Best Vocal Performance of 2023 Nominees: Ailee for I’ll Hold You, AESPA ft. Naevis for Welcome To My World, APINK for D N D, BIG NAUGHTY & Lee Suhyun (AKMU) for Hopeless Romantic, BTOB for Wind & Wish, LUCY for HAZE.
Best Subunit Award
Best Subunit of 2023 Nominees: BSS (SEVENTEEN), NCT DOJAEJUNG, NCT DREAM, MAMAMOO+, MOONBIN & SANHA (ASTRO), T5 (TREASURE)
Best Soloist Awards
Best Male Soloist of 2023 Nominees: AGUST D (SUGA – BTS), KAI (EXO), KANG DANIEL, KEY (SHINee), TAEYANG (BIGBANG), WOODZBest Female Soloist of 2023 Nominees: HWASA (MAMAMOO), JEON SOMI, JO YURI, KWON EUN BI,LEE CHAE YEON, SUNMI
Best Group Awards
Best Female Group of 2023 Nominees: (G)I-DLE, aespa, IVE, LE SSERAFIM, NewJeans, TWICEBest Male Group of 2023 Nominees: ATEEZ, NCT, SEVENTEEN, STRAY KIDS, THE BOYZ, TXT
Welcome back for the Weekly KPOP Charts segment. Apologies for the delay in posting this one. I have been working hard on the 2023 KPOPREVIEWED Awards to post it at the end of the month, as previously planned. More on that below! And so is the rest of the Weekly KPOP Charts for the 3rd Week of February 2024.
Last week, I mentioned I may be pushing the 2023 KPOPREVIEWED Award into March. But good news, I am on track to deliver it on 29 February 2024 – this coming Thursday, my local time.
This does explain why I have not been posting since Saturday’s album review – I have been working on it intensively over Sunday through to today to get the bulk of the post ready. Tomorrow will be final touches before it goes live on Thursday. I don’t have an official time as to when it will be posted, so keep your eyes peeled for Thursday.
I am hoping to get a review into tomorrow, should time permit me to. But the focus will be making sure the winners announcement post will be ready in time.
Throwback Song of the Week
Yup, I am back listening to some older KPOP tracks. Last week’s throwback song was B1A4’s 2017 release A Lie.
Non-Korean Song of the Week
As my focus on this blog is primarily on KPOP songs, I draw attention to a particular song that isn’t in the Korean language in this part of the Weekly KPOP Chart post. That song is the top ranking non-Korean song on each Weekly KPOP Chart post. The past week’s non-Korean song of the week is TWICE’s I GOT YOU.
The Charts
Congratulations to IU, who’s latest comeback with Shopper, is the top release for the Weekly KPOP Charts for the 3rd Week of February 2024.
We continue to bounce around the past year through the album review segment. Today, I am reviewing D.O’s 2nd mini-album, Expectation – his first solo release since finishing his military enlistment and solo debut back in 2021. It also follows on from D.O’s participation in EXO’s long awaited comeback with Cream Soda earlier on in the last year. Expectation features a total 7 tracks – the title track Somebody, the pre-release track I Do and five additional tracks.
Just some overall impressions on this mini-album to hope entice you to check out the mini-album if you haven’t yet – it is a highly recommended one from me. In hindsight, it should have been nominated for Best Album of 2023. But as I reviewed it way too late, I missed that opportunity and have robbed D.O of a potential win in that category. Massive apologies! But do check out the mini-album and let me know which is your favourite track as I have a few on here.
2. Wonder (기적) – I quite liked the upbeatness that Wonder featured. The indie pop sound came through so nicely, with the acoustic guitar being a really nice constant to keep the song grounded. The beat to Wonder is also definitely foot-tapping worthy. D.O’s vocals brings so much sweetness and cheerfulness to the table, and the melodies were just so captivating. I like the additions to the instrumental as Wonder went on, such as the claps we hear towards the end. These additions enhanced the cheerfulness and happy vibes that comes off the song, and made the indie track a little punchier so it wasn’t too consistent from start to end. Overall, a very easy-going and easy-on-the-ears listen that I personally enjoyed very much on this mini-album. (9/10)
3. I Do (별 떨어진다) (Pre-Release Track) – I Do was released back in early September, around two weeks before the official release of Expectation. My thoughts on Wonder can be reflected on I Do just as well, but there are some minute differences that does set it apart from the latter song. Firstly, I Do feels a lot more simplistic thanks to its instrumentation. I felt we steered towards more straight-forward pop in I Do and the only main instrument that makes up the backing is an acoustic guitar (with some bass). Simplicity can be said about the melodies as well, which I felt became even more attractive and addictive the more I listened to the song. And finally, D.O vocals were just stunningly effortless in I Do. (10/10)
4. Lost – Packing a punch is Lost, which is probably my ultimate favourite on this mini-album. Lost conveys a much heavier dose of emotions given the lyrics focus on a breakup. But we are not talking ballads here. Lost is a pop track, with the chorus featuring thumping beats that drive the song forwards and a darker pop-rock-like motif that adds complexity to this mini-album. I feel like this could be his answer to a dance track and would love to see how he would present this to us on a stage. With his vocals, you can hear how he ups the ante with more passion and power when it matters the most to make this an impactful and unforgettable song. (10/10)
5. Ordinary Days (내일의 우리) – Every time Ordinary Days plays, I get lost in it. I just find myself getting whisked away with the paced nature of the instrumental, and D.O’s vocals serves as the perfect vehicle to take me away. Everything is definitely a lot more delicate in Ordinary Days, compared to the other songs, but this shouldn’t scare you away from thinking it is just another ballad or is too slow-paced for you. (9/10)
6. The View – The View was the song that spoke to me the least on this mini-album. But I still find it to be quite pleasant one. D.O’s vocals are still captivating enough to fall into, and I liked the indie coffee shop inspiration behind the instrumental outro that closes out the song. I just wished there was a bit more to the song, such as a more memorable melody. (8/10)
7. Lost (Acoustic Version) – While I don’t tend to make comments on alternate versions of a song in my album review, the acoustic version of Lost felt like needed to be spoken about. Even without the oomph from the instrumentation of the original, this version still manages to come off as stilling. And I love the raw and unprocessed nature of his vocals in this version. I won’t include a rating for it, but it is definitely on par with the original.
With TWICE’s pre-release single for their latest album release (their 13th mini-album, With YOU-th) now reviewed, it is time to turn to the big release of the day – TWICE’s comeback single ONE SPARK.
ONE SPARK is a good song, from my point of view. It feels sophisticated, classy and mature in a bigger picture sense. But unfortunately, the first and second run at the chorus flattens out the song. This feels rather disappointing given the edgy and impactful second half of the pre-choruses that leads into the choruses. The third and final run at chorus actually had a dynamic touch thanks to the added clapping effect and detailing to the instrumentation, which allowed it to feel more alive and satisfying to make up with the flatter effect. For me, the problem stems from the melodies and hooks in the centrepiece of ONE SPARK, which doesn’t have much bite to them. But they do set a good foundation to build upon to get to that next level. Had ONE SPARK featured stronger melodies and a more prolific hook in its earlier choruses, ONE SPARK for sure could have taken to the next level. Elsewhere in the song, the members executes ONE SPARK in solid fashion, with good vocals and brief touch of rapping just before the final chorus. Both MOMO and NAYEON had standout parts in this song, with MOMO’s edgy style coming through the first second half of the pre-chorus and NAYEON’s vocals to close out the song (without any instrumentation) was an interesting yet effective ender to the song. The dreamy parts of the pre-chorus, courtesy of MINA and TZUYU were a strong runners up. While the foundation of ONE SPARK is good and it succeeds at that bigger picture level, improvements can be made to make it even better.
The music video captures that sophisticated, classy and mature feel quite well. And I liked that initial impression from the music video. I like the idea of the elevator going upwards, with the numbers at the top of the elevator signifying their journey since debut to ‘timeless’. It pairs well with song’s lyrics, which highlights their never ending passion to get to that ‘timeless’ point in their careers. And the scenes scattered throughout the video amongst the elevator scenes shows the members together, further highlighting that their collective passion together is what got them to this point in their careers.
The choreography for this comeback is awesome. The music video definitely puts the best foot forward during each part of the song, but I am sure the rest of the routine is just as good. From what I could see, the routine in the verses look interesting, the first half of the pre-choruses felt graceful, the second half of the pre-choruses that ramps us up to the choruses felt edgy, the choruses themselves looked lively and definitely not flat like the song came off. The choreography associated with the final chorus itself looks exciting.
Song – 8/10 Music Video – 8.5/10 Performance – 9/10 Overall Rating – 8.4/10
This might not be the TWICE review you were expecting to see today – ONE SPARK‘s is coming shortly after this one. But before I can review the title track from their 13th mini-album With YOU-th, let’s dive into the pre-release single, I GOT YOU, released earlier in the year whilst I was away from the blog. This latest comeback follows one from their SET ME FREE Korean comeback and Hare Hare Japanese comeback from last year.
Now, before we really get into the song, I GOT YOU is an all-English track, similar to last year’s MOONLIGHT SUNRISE pre-release to READY TO BE. And in previous years, I would have covered this in an International Song Review (ISR) post. But as you may also know, I have also been lagging behind greatly in that segment. So moving forward to help out with coverage, some songs that I usually would cover in an ISR will be lifted into a standard full song review post. This will be on an ad-hoc basis and will be determined in the moment.
Anyhow back to the song, I GOT YOU fits into the ongoing resurgence of retro that has been ongoing for a while now. More specifically, it is a modern take on 80s synthpop. To me, it doesn’t have anything special or unique within it that really makes it its own piece, But that doesn’t mean the synthpop backing to I GOT YOU isn’t enjoyable – it is. I also found it to be breezy and refreshing piece, great for a long road trip. I particularly liked how it had drive, which was particularly important given how soft all of their vocals and melodies were. The drive definitely helps moves things along and gives the track some life. Back on the vocals, the soft nature of their voices gives I GOT YOU a pleasant exterior, which also adds to the enjoyment of the track. I also liked how each members’ individual vocal tone and colour was featured in this track. No member was masked or processed in a way that takes away from their vocals, and I appreciate that. My only issue with I GOT YOU is the slightly muddled ending due to some of the ad-libs and extra bits going on in the backing. The added bits just makes the final chorus lose its crispness. But that is a super minor issue, in an overall lovely song from TWICE.
I GOT YOU is an ode from the group to each other, that they will always be there for one another. The music video sees the members sail through a storm, which probably represents hard times and rough patches throughout their careers. But during the storm, the members aren’t scared. Rather they are full of smiles and enjoying each other’s company. In the context of the storm/hard times/rough patches, some of the members are see in the lighthouse, helping the rest of the group navigating their way through the storm. Throughout the video, we see the members embrace each other and come together as a group in different scenes. You can definitely sense the simple enjoyment of being around one another, as well as the friendship and bond they share. Apart from the video’s meaning, I also liked the scenery throughout the video, from the boat scenes (when the seas are calm and the sky is stunning), the shoreline and the grassy fields with the flags flying high.
The choreography that we can see in the music video adds a little bit of complexity to the video, which helps offset the simplicity of everything else we see in the comeback. But on stage at their Mexico concert, where they performed I GOT YOU for the first time, there was no choreography. Pity, because in addition to be slightly complex looking, the routine actually looks like it brings a nice flourish to the release.
Song – 9/10 Music Video – 9/10 Performance – 8/10 Overall Rating – 8.8/10
Last week, I reviewed one of IU’s pre-release singles, Love Wins All, from her newly released mini-album The Winning. Following that, IU released another single from her mini-album, Holssi, which I will return to review at a later date. But for this review, I will be focusing on Tuesday’s release of Shopper, which coincides with the official release of The Winning.
Shopper has a message of ‘do not stop until you get what you want in life, no matter what stands in your way’. IU makes it a bit more complex by likening the above to a shopping spree in a supermarket, telling us to not worry about our greed and what other thinks as we put things into the trolley. A rather interesting concept and analogy. To present this musically to us, IU brings her usual sweet sounding vocals into a electropop rock mix. I liked the guitar flourishes in the background, which helps add a retro touch to Shopper. What I also like is with such a positive message, the music is incredibly bright and felt rather celebratory to help us realise that uplifting message. The melodies were just graceful, and I enjoyed the echo line that ends off each line in the verses. The soaring chorus was truly wonderful and is bound to bring a smile to your face if you hadn’t already started doing so earlier in Shopper. I do think she could have gone a bit further towards the end to really give Shopper an end that didn’t sound like a rehash of the rest of the song. But as it was, the end was still quite satisfying enough to enjoy.
Opening up the video is a narration from DPR IAN (who also appears in the music video alongside IU), which focuses on a mysterious magical shop and questions who has placed magical items around the store for people to find and unlock their powers (‘Was it a god? A fairy? Or maybe a thief?‘). The story then shifts an auction, where IU steals a magical bat. She is chased after the guards, and later holds DPR IAN’s character hostage and forces him to go on the run with her. While it was a hostage situation at first, it looks like DPR IAN’s character ends up joining her the road (though I have a theory that she might have purposely picked him – he was the only character to not be distracted by the money she throws into the air at the auction to be distracted). Not sure where she is going, but I am assuming she has to use the bat in the right place (which she does to party-fy the music video), those whom help her along the way (i.e., the stall owner in the desert and DPR IAN’s character) are gifted with an invitation to the magical shop to find those items and unlock their powers. The ending does have a fun and cute vibe to it, which matches up with the song quite nicely.
Song – 9/10 Music Video – 9/10 Overall Rating – 9/10
Moon Byul from MAMAMOO makes her return today as a solo artist after a year with her first studio album Starlit of Muse and the title track TOUCHIN&MOVIN. Ahead of the new single release, Moon Byul did pre-release the music video for Think About, which I have yet to review (and will get back to it at a later date). While she has not promoted as a solo artist in the last year since her 2022 Christmas promotions with PRESENT and CHEMISTRY, Moon Byul has been active as part of the MAMAMOO+ subunit alongside Solar.
Moon Byul delves right back into the funky and groovy with TOUCHIN&MOVIN. While the track is somewhat unexpected for MAMAMOO’s resident rapper (if that is where you are most familiar with Moon Byul), it isn’t anything foreign to Moon Byul – the solo artist, who has released something similar in the past in the form of LUNATIC (as an example – more upbeat than retro, but TOUCHIN&MOVIN is definitely a different sound that she continues on from the former release). Back to TOUCHIN&MOVIN, I really like the feel-good vibes and animated energy that the track effortlessly delivers in its instrumentation. Added to the funky guitar and groovy beats are brass and synths elements which does a whole lot, such as infusing even more energy, adds a cool edge and introduces punch into the song. Altogether, it was very hard not to feel all of the energy in its first release. I also like how Moon Byul doesn’t shy away from channeling the same energy through her vocals, which were quite consistent and grounded throughout TOUCHIN&MOVIN. It was definitely an engaging piece. The melodies had a nice ring and hook to them, which helps boost the memorable aspects of the song. There is only one thing I think could have potentially enhanced TOUCHIN&MOVIN and taken it to another level – a more substantial hook with more bite to it (to drive up the memorable factor even more).
If the brief was to keep it fun, light-hearted and simple, then this video takes the cake. Keeping to that is definitely on point for this song, and so it accompanies TOUCHIN&MOVIN well. For the entirety of the video, we see Moon Byul casually dancing to the song with her dancers, performing the track in some standard places like a restaurant and on a train. Personally, I wished there was a bit more to the video to make this aspect of the comeback more visually memorable.
Based on what I can see in the music video, the choreography looks fine. I do like how expressive the routine was. A more dynamic and longer instrumental break could have given Moon Byul and the dancers more material to work with in the routine, but what we got also looked quite good.
Song – 9/10 Music Video – 7/10 Performance – 8/10 Overall Rating – 8.2/10
Making their comeback today is LE SSERAFIM, who returns with their 3rd mini-album and latest title track, both of which are titled EASY. This comeback follows another successful year for LE SSERAFIM, who capped it off with the all-English hit and Overwatch 2 collaboration single Perfect Night.
Just like Perfect Night, LE SSERAFIM’s new song is a bit too consistent for my liking. EASY is pretty much a blur that I don’t really register much of, based on the few listens I have given the song ahead of this review. Before I know it, the song has breeze over my head and I am moving onto the next song without much thought. Not exactly the best outcome for any title track. The producers really needed to find a relatively striking element that fits the the current arrangement to really draw attention back to the song. We did get a muted flute-like sound and some really low and unsettling synth work just prior to the choruses, but neither of them struck me. Rather, both contributed to the blur. Similarly, the vocal work also added to the blur. I did think the group showed a solid effort in the song. But their vocal delivery was too light to anchor the song to our minds. It isn’t all bad news for EASY, as the additional listens I have given EASY for the purposes of this review did manage to allow me to register some aspects of EASY. I do appreciate the pleasantness and the easy going vibe that the group and their producers went for in this hip-hop/R&B track. The melodies might have an ear-wormy effect on me if I can give the song more listens. But the lack of anything stimulating in the track or anything to remember EASY by doesn’t really work in the song’s favour.
It was announced recently that one of the major broadcasting stations in South Korea (KBS) would be banning the broadcast of the music video for EASY, citing concerns due to the ‘risk of imitation’ (which attracted attention to its vagueness). Now, watching the video, I kind of agree with this ban (which I wish to reiterate is a rare occurrence). To provide some context, the song itself is about making life easier in tough situations. But there are scenes in the video that doesn’t really connect with the lyrical message of the song, such the dropping of a connected hair dryer into a water-filled bathtub and some representation that alludes to self-harm (the thorny rose vine that forms part of the swing that one of the members hold onto). I like to give the benefit of the doubt, but even I am left scratching my head on the meaning of these scenes. On a lighter note, I did like the darker atmosphere that the video had going, as well as the editing, which I thought was a cool aspect of the video.
Watching the stage performance for EASY, it is clear to me that the group is really good at engaging with the audience. The members really show an alluring and charismatic side to themselves whilst on stage. To match with the song, the choreography is light and rather smooth, while also striking a balance to keep up with the rhythm and beat of the song.
Song – 6.5/10 Music Video – 7/10 Performance – 9/10 Overall Rating – 7.2/10
Welcome back for the Weekly KPOP Charts segment. It has a little while since the last one, which was posted before I went on an extended break for a holiday. But I am now back and ready to return to continue the segment!
If you remember back to the last one I posted (2nd Week of January 2024), I announced that the Weekly KPOP Charts for the remainder of January 2024 were to be cancelled and that I will bring back the segment from the 1st Week of February 2024. Unfortunately, that didn’t pan out as I hoped, so I have merged the 1st and 2nd Weeks of February 2024 together. But from here on out (until my next extended break, whenever that may be), the normal weekly transmission will occur.
Things will look a different as a result of the cancellation and merger, which I will explain down below. Let’s go!
UPDATE – 2023 KPOPREVIEWED Awards
If you remember a while back, I was hoping to post the winners of the 2023 KPOPREVIEWED Awards that YOU voted for by the end of this month. While I did work on it somewhat during my break, I don’t think I will hit that deadline, and may need an extra week or so. I will confirm next week how much more time I need. Apologies for the delay and I am endeavouring to get it done as soon as possible, soI can move onto even more exciting stuff for 2024.
The Charts
Congratulations to (G)I-DLE, who’s latest comeback with Super Lady has topped the Weekly KPOP Charts for the combined 1st and 2nd Week of February 2024.
For those who are wondering, the golden (NEW) represents songs that were released whilst I away and have no been part of the chart system yet. The purple (NEW) represents the songs that were already in the chart system before I went on break (I have put them down as ‘new’, as it would not be possible to compare to charts from 5 weeks ago).
Also making their comeback whilst I was away from the blog is CIX, who returns after 8 months following the likes of Save Me, Kill Me and the mini-album OK Episode 2: I’m OK. Their newest comeback is with their first ever single album 0 or 1 and title track Lovers or Enemies.
Whilst subdued, Lovers or Enemies brings forward vocals, a funky sound to the group, and catchy hooks and melodies. It is honestly quite a fun track, which I have been going back and forth to ever since it was released. I find it very hard to put down. The funky and 80s retro undertones, thanks to the guitar and synth work in Lovers or Enemies, really gives the song such a fun vibe. The way it is kept subdued, however, was quite clever as it allows the group to deliver their vocals in a minimal (and what felt like an) effortless manner. Sure, opting for a more subdued sound in what easily could have been a more upbeat track (I can definitely here the potential for this direction in Lovers or Enemies) can have an opposite effect on the song, and CIX could have definitely been more expressive. But I felt that this technique kept the song interesting for more, and there was some character and personality to their vocals particularly when the song dips in the pre-choruses. Those were interesting and cool parts of Lovers or Enemies. BX’s rapping was very cool in the second verse and I like the contrast he brings to the song with his rapping. My major complaint is how short the song is. I honestly think the producers could have introduced a dance break to give Lover or Enemies some extra few seconds, but also it could serves us with some more oomph, honing right into the funky and retro synth affair that the song has going on. But overall, a really great song from CIX.
I find that the music video can be up for multiple interpretations. My initial thoughts on the video was that the female character was recreating robots of her lover (which, I guess, was a short-lived relationship and have now become enemies) and putting memories into the robots to make it look like they were lovers all this time. The members give her the choice of being lovers or enemies in the song’s lyrics, and she chose the former. I also felt the story could have been told from the perspective of the members, who are robots awaiting instructions from their creator to either be a lover or enemy. That explains a lot of the earlier scenes in the video where she is thinking about what to do with them, and why they it looked like they were still stuck on the manufacturing process.
While the song was subdued, I did like how they kept the choreography for this comeback quite upbeat. It was definitely a strong routine, overall. I also commend the group on how charismatic and alluring they looked and made the choreography looked.
Song – 9/10 Music Video – 9/10 Performance – 9/10 Overall Rating – 9/10 [Updated on 3 March 2024 due missing music video and overall rating]
As we move past the Lunar New Year holiday (Happy Lunar New Year to those who celebrate it!), we are now starting to see some new releases pop up. One of them is CHA EUN WOO’s solo debut with the single STAY and his first mini-album Entity, which officially dropped today. For those who may not know, in addition to being a successful actor, CHA EUN WOO is also a member of the male group ASTRO, who debuted back in 2016.
Honestly, I wasn’t sure what I was expecting with STAY and the idea of CHA EUN WOO’s solo debut. But what we do get sounds very nice. It may not be the most prolific song out there presently, nor does STAY really rock the boat. But it has its charms. I particularly really like the acoustic guitar in the instrumentation. It makes for a nice and pleasant background for this track, but there is enough heft in it to give STAY some bite and substance. Similarly, CHA EUN WOO does a great job at expressing his emotions and bringing that to the forefront. In a way, he made the song stilling and captivating with his vocals, which by my standards means it is a successful and strong solo debut. I did wish there was a bit more to the song, just to give it more of that memorable factor. But honestly, STAY was a very well executed and I enjoyed the release with the limited listens I have provided the song thus far.
Mistaken for a date at first, the music video features CHA EUN WOO and India Eisley. The video sees the CHA EUN WOO’s character struggling post break up with India Eisley’s character, becoming floored and unsure what to do once he crossed path with her again. The song’s lyrics expresses the desire for someone who has parted way with you to stay, and what I described above that we see in the video fits the brief quite well. The constant repeats of the same scene suggests his inability to move on due to these feelings, and he is only able to progress with his life once he acts on those feelings and desires. The horrible traffic jam also appears to be another visual representation of that. Honestly, a well put together video and a strong concept for this solo debut.
Song – 8/10 Music Video – 9/10 Overall Rating – 8.4/10 [Updated on 3 March 2024 due to calculation error]
Following their debut with TROUBLE in 2023 (which caught my attention , grew on me considerably, and placed the group on my radar), EVNNE is finally back with their second mini-album, Un: SEEN and their latest title track UGLY.
The aspect of EVNNE’s new song that really sells UGLY to me is its instrumental, which opts for a club-like banger dance motif. The thumping nature of the instrumentation and the bass we get in UGLY is quite satisfying and sets up the song well. Both verses showcases the group’s rapping abilities, giving the song some dynamic moments. On the other hand, more variation on the vocals side would have made UGLY‘s verses more interesting. We do get a better showing of vocals in the bridge, though that sequence also lacks dynamic flair. The rapping and chanting that soon follows the vocals in the bridge are livelier (if not the liveliest moment in the song). But the biggest disappointment for me comes during the chorus. Firstly, I wished there was more oomph of some kind in the centrepiece of UGLY, either through concentration or intensity, so we can really tell the chorus apart from the rest of the instrumentation. There really isn’t anything that sets it apart from the rest of the instrumentation. Secondly, the “We Sla-la-la-la-lay” hook was good, but felt underbaked. It could have been some more profound or its delivery could have had more dimension to feel ‘more baked’. And thirdly, the vocal melodies in the second half of the chorus dulls out the chorus even further. Better vocals do come into play during the chorus (which I appreciate), but it isn’t the catchy centrepiece that I hoped for in UGLY.
The song is about embracing your differences and not caring about what others think about those differences. And in the video, we see just that. The group are depicted as teenagers being picked on by other students, as they are always surrounded by the other students. Throughout the video, we see the members show off their powers in self-defense, which is probably why they were being picked on in the first place. When they do embrace their powers, things become better for the members. They are partying in the club and there are smiles on their faces.
The choreography routine looks great. Its intense, just like the music, and shows off an edgier and darker side to the group. Towards the end, the choreography becomes a little more fun and loose, which I liked. Nothing necessarily stands out on its own in the routine. But like yesterday’s review, it is the whole package that stands out.
Song – 6.5/10 Music Video – 8/10 Performance – 8/10 Overall Rating – 7.3/10
For the last few months of last year and so far this year, I have yet to cover any new debuts on my blog. I will slowly get around to reviewing those new debuts that I have missed over the coming weeks. One of those new groups starting out is Pledis Entertainment’s latest male group (and their first since SEVENTEEN’s debut back in 2015), TWS. A 6-member group, TWS stands for Twenty-Four Seven With Us and consist of Shinyu, Dohoon, Youngjae, Hanjin, Jihoon and Kyungmin. They debuted with the single Plot Twist, a pre-release single titled Oh MyMy:7s (which I will return to review another day) and the mini-album Sparkling Blue back in January of this year.
Described as a group who will be tackling “boyhood pop”, Plot Twist is just that. A very noticeable youthful vibe attempts to sweep us off our feet in Plot Twist. And for the most part, it is successful. The vibrancy, refreshing energy and pop influence is definitely all there and instantly apparently in Plot Twist. I really like the pop rock tinge that the song does carry in its backing, and how the song incorporates ‘plot twist’ in its backing to create a dynamic title. The different percussion definitely keeps the track lively and every sequence is slightly different to what we hear earlier in the track. The members sound great, with solid vocals and rapping from them all to pull off Plot Twist. And the vocals and rapping do help bring that youthfulness to life. However, I do feel like the single could have benefited from being longer, just to give more opportunity for us listeners to sink our teeth into it. As it stands, it feels like a brief introduction to the group that highlights the potential of the six members as a unit, but there isn’t anything in Plot Twist to make the member standout themselves. The 2.5 minutes of run time just doesn’t allow that opportunity and I feel like that might be an untapped resource to really help TWS kick off their careers. Overall, I really like Plot Twist and the final product. But I wished there was more to the song to let the members shine.
The music video and lyrics of the song depicts the excitement and nervousness of meeting for the first time. I like how the video and lyrics depicts both the idea of first meetings in the context of friendship and potential relationships. But I also like how the video also serves as a first meeting between us and the group. In the video, we see the members draw up a checklist that includes three lines: 1. Say Hi, 2. Strike up a conversation and 3. Awesome first impression. While our first meeting with the group was successful and all three items on the list should be checked off, I did like the humour in the video, with the members putting a question mark around item three, right after one of the members falls on the train and tries his best to recover from that. I also liked the group’s depiction of the school boy concept. This concept has been done countless times in the past, but it definitely feels refreshing for this video.
One thing they really made sure they showcased in this debut is their choreography skills. This performance was amazing to watch and I am in awe in everything they did. It was sharp, lively, fun, energetic and a whole lot more adjectives that might take us a while to get through. It suits the song and its youthful vibe so well. There wasn’t really a particular moment that stood out to me as the entire routine did that instead. Definitely a group to watch out for on the stage at the very least.
Song – 9/10 Music Video – 10/10 Performance – 10/10 Overall Rating – 9.5/10
Another big release over the last few weeks is (G)I-DLE’s comeback with Super Lady, the lead single off the group’s second studio length album 2. This follows on the pre-release single, Wife, which is also featured on the same album (I’ll be back to review this single separately in the future), their previous Korean comeback with Queencardlast year and their debut with their first Western singles I Do and I Want That.
Super Lady is a grower, growing immensely on me over the last few weeks since its release. For the most part, my thoughts on Super Lady has remained the same from the beginning. But I do find myself fair more addicted to the song since my first listen. I very much liked everything in Super Lady, with the exception of the club-like breakdown we hear in the bridge and as the backing of the final sequence of Super Lady. I personally find it cuts the powerful and empowering tone that (G)I-DLE, and in particular Soyeon (who produced the song alongside Pop Time, Daily and Likey), had set up in Super Lady, and opts for a cliche breakdown that doesn’t show off the uniqueness that we know (G)I-DLE can pull off. I wished the song had better maintained that powerful/empowering tone throughout to the very end, as that had some substantial bite and would have really made the song a home run for me. Aside from that, Super Lady is a powerful track that (G)I-DLE knows how to handle extremely well. Soyeon’s introduction was commanding and kicks off Super Lady with a bold opening that practically sets the tone from the get-go. From there, the members follow up with strong vocals and rapping that highlights their skill set and talent. When it comes to the chorus, I really like the unapologetic catwalk vibe that is given off the music, while the tenacity and the ‘in-your-face’ nature of the song helps sell Super Lady‘s messaging so well.
Super Lady‘s music videois a homage to strong females we have seen in pop-culture and history. For example, each member portrays a strong female who have made a name for themselves in their respective story or chapter in history. Soyeon portrays Athena (the Greek Goddess of War), Minnie portrays Medusa, Yuqi portrays Cruella de Vil from 101 Dalmatians, Shuhua portrays the Queen of Hearts from Alice in Wonderland, and Miyeon portrays the Egyptian Queen Cleopatra. In addition to those characters, it is theorised that the song’s lyrics also makes references to currently active female groups like IVE, LE SSERAFIM, EVERGLOW and aespa. Even the black and white palette used in the video for the background, outfits and styling reminds me of 2NE1’s I Am The Best music video (though there was a bit of colour in that video). I also really liked the stadium stage setting the video was also set on. It looked epic up close and the crowd cheering at the end really seals the deal that (GII-DLE are Super Lad[ies].
The choreography definitely reflects the song well. It is powerful, shows us who is boss and definitely showcases (G)I-DLE in their strongest mode yet. I really like the domino sequenced move in the verses, and the chorus routine looks very catchy (though I will put that towards the Super Lady dance challenge that I am seeing on my social medias).
Song – 8.5/10 Music Video – 9/10 Performance – 9/10 Overall Rating – 8.8/10
I am back from my break and I have a lot to get through. It was particularly busy whilst I was away, but I am hoping to make use of the current holidays to post some reviews before the industry ramps up again. And I kick off my coverage once again with the biggest release of 2024 thus far, IU’s Love Wins All, which has been chart topping since its release. This new single will form part of IU’s comeback next week with her 7th mini-album, The Winning. This is IU’s first comeback since 2021’s Celebrity, LILAC, strawberry moon and Winter Sleep. Though, she did participate in collaborations since then, such as with Jay Park for GANADARA and SUGA for People Pt. 2.
My thoughts on IU’s latest song is fairly simple – I really like the song. Love Wins All is a stunning ballad and has been since I first heard it a few weeks ago upon release. The energy in this ballad starts off quiet and soft. But as the song progresses, it builds upwards thanks to the instrumentation and IU’s vocals. Yet it does so in a manner that keeps Love Wins All very delicate from start to end. The building orchestral instrumentation actually adds in an epic vibe that is suitable for the context of a ballad, while IU’s vocals were so graceful from the moment Love Wins All begins to the moment it ends. Love Wins All is definitely a beautiful addition to the repertoire of ballads that IU has under her belt, and the chart topping performance the song has already delivered since its release proves once again why IU is a digital queen in KPOP.
The music video features V from BTS, who is currently enlisted in the Korean military, and IU herself. In this video, V and IU play a couple, who have been surviving in a post-apocalyptic world despite having disabilities. V’s character is blind, while IU’s character is deaf. In the video, whilst out-running the silver cube then ends up taking them at the end of the video, the pair discovers a camera that allows them to envision a different life together in which the apocalypse did not occur. In this alternative life, the pair spend their time together in love and also get married. They choose to follow that vision by dressing up in a wedding dress and tux in the post-apocalyptic world, before they are captured by the silver cube. Both don’t go down without a fight, but both end up perishing with one another in hand, making for a tragic end to a beautiful love story. Now, there is a bit of controversy around the difference in life where the characters are shown to have their disability vs. what they see in that camera. Personally, I actually can’t tell if those camera visions were a life without their disabilities. Sure, the pair looked better, but there was no clear clarification if that was a life without their disabilities. But I may have missed an explanation in another video somewhere, so I am happy to be corrected. But from how I see it, it was a great video that shows love between the pair did end up winning despite the sad ending for both characters.
Song – 10/10 Music Video – 10/10 Overall Rating – 10/10
I am back tomorrow with song reviews that I have missed whilst on my break, plus other new releases that will be released during the week. In other words, a lot to get through. But before I am officially back tomorrow, there is one last album review that I have scheduled – Dreamcatcher’s VillainS. It is their 9th mini-album release, and their second one of 2023 (the first being Apocalypse: From Us, which featured the title track BONVOYAGE). VillainS features the title track OOTD, three side tracks and an intro track – a grand total of five tracks. As usual, thoughts on each song are below.
VillainS Album Cover
1. Intro: This My Fashion – Kicking off the mini-album and the new chapter in Dreamcatcher’s career is the intro track This My Fashion, which features a repetitive autotuned or robotic utterance of the title and a more electronic rock sound profile. I found this track to be a little unsettling, thanks to the lack of anything else in the track (the lack of vocals means I will not be rating this song and including it in the ‘overall album rating’). But it definitely means that This My Fashion has an intriguing aspect to it which beckons me to listen on.
3. Rising – To me, Rising sounds like a throwback to their earlier rock works that they built their name on. And this throwback is definitely well executed by the group and their producers. Dreamcatcher sounds more mature in this track. The hooks and melodies in Rising are catchy and their delivery in this song just shows us how well they meld into the genre now. Also, the rock gears towards the metal corner of the genre, which feels weightier. All of this makes for a highlight on this mini-album. (10/10)
4. Shatter – While I do like the set up to Shatter and its more experimental sound profile of electronica and punk, I felt like some parts of the song were relatively softer than the rest and this left the track unbalanced, in my opinion. I wished where the vocals were soft, they were actually intensified. This would also allow the instrumentation to go harder to really fully appreciate the best of both worlds. I did like the clever interwoven classical influences in Shatter, giving another dimension to the song. (8/10)
5. We Are Young – Dreamcatcher hits the club in We Are Young, going with a progressive house sound. It is definitely a different take on the group’s usual sound, which we all know has been more rock leaning. The drop and subsequent instrumental that makes up the chorus was very satisfying and hits the spot quite well. Interestingly, the verses and bridge feature softer vocals and a more delicate touch from the members. In the bridge, the way Siyeon transitions We Are Young from these vocals back to the club vibe is probably the best bit of the song and a profound way to end of this mini-album. (10/10)
KPOPREVIEWED 