[Review] CRUSH – ZEROBASEONE

One of the most successful debuts of the year (and in KPOP ever) has made their first comeback this week. Previously, ZEROBASEONE set records with their 1st mini-album Youth In The Shade, such as becoming the most pre-ordered debut KPOP album and being the first ever KPOP debut album to sell more than 1 million copies. This week, the group returns with their 2nd mini-album, Melting Point, and the lead single CRUSH.

CRUSH starts off strong, in my opinion. YUJIN’s smooth vocals to open up the song, TAERAE’s powerful line, RICKY and GYUVIN’s punchy delivery, JIWOONG’s slightly shouty rap line and MATTHEW’s sleek rapping all came together to create quite a first verse. I also enjoyed the the incline in the instrumentation towards the chorus. But things started to unravel when CRUSH opts for a descending melody to lead into the first chorus. I am not a big fan of the cluttering drum line that takes centre stage in CRUSH. While it is undeniably striking, it is also very jarring and detached from the rest of the instrumentation. The vocals also take on a shouty motif, which makes sense given the group has to channel the same energy in order to be heard over the drum line. But it also feels unimaginative. Somehow, the drumming does meld well into the second half of the chorus. While I do like the more melodic turn this half of the chorus takes, I do find it a bit plain and unexciting. If the song opted for a structure like the one final chorus but with a much stronger melody, I would have enjoyed CRUSH a lot more. The second verse comes along and features some rapping, but nothing as memorable as in the pre-chorus (which we do get a repeat of). CRUSH‘s bridge was a bore and there is nothing to remember it by. While CRUSH does attempt to do something bolder with the clanging drumline, that itself doesn’t sit well with me. And everything else, aside from the first verse and final chorus (albeit a strong melody), just didn’t feel memorable enough.

The music video is pretty cool. The post-production special effects, which made the members feel statue or art-like, definitively took the video to the next level. The cinematography of these same shots look super cool. ZHANGHAO’s shots at the start and end were without doubt the most memorable shots of the video, with the knight armory and sword in the rock. It made think of King Arthur and the Excalibur. I feel like there should be story in all of this, but I am not entirely sure. I wished the song had a similar effect.

The synchronisation makes for a very cool dance performance. I did wish the moves were sharper, just to give the performance a greater knife-edge impression. But it was a good routine, overall.

Song – 6/10
Music Video – 9/10
Performance – 8/10
Overall Rating – 7.4/10

[Special] 2023 KPOPREVIEWED Awards – Nomination Announcement

Welcome to the Nomination Announcement post for the 2023 KPOPREVIEWED Awards! Today, you will find out whom I have nominated under each category of the 2023 KPOPREVIEWED Awards.

In total, 36 categories and the nominations associated with the categories, are announced today. 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.

On 10 November 2023, I will be posting the KPOPREVIEWED (i.e., my) Choice of winners for the 2023 KPOPREVIEWED Awards. And voting will officially begin on 15 November 2023 at 12AM AEDT.

But until then, I present to you the nominees for the 2023 KPOPREVIEWED Awards.

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

Artist Categories

Best New Group and Soloist Awards

Best New Male Group of 2023 Nominees: BOYNEXTDOOR, EVNNE, RIIZE, THE WIND, xikers, ZEROBASEONE

Best New Female Group of 2023 Nominees: EL7Z UP, FIFTY FIFTY, KISS OF LIFE, LOOSSEMBLE, ODD EYE CIRCLE, tripleS

Best 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), WOODZ

Best 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, TWICE

Best Male Group of 2023 Nominees: ATEEZ, NCT, SEVENTEEN, STRAY KIDS, THE BOYZ, TXT

Best Overall Artist of 2023 – Grand Award

Once again, you will be help decide, in combination with my Weekly KPOP Charts, who will be awarded the ‘Best Overall Artist of 2023”. Think it like the Artist Daesang that is awarded at the end of the Korean award shows for the biggest and most successful artist of the year.

All you have to do is name 1 to 3 Korean artists in the voting form, once voting begins on 15 November 2023. It can be any artist from any category above, or another artist (provided they released music between 1 November 2022 to 31 October 2023) who you think is worthy of becoming the ‘Best Overall Artist of 2023’.


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

[Review] Feel Me – Golden Child

It has been over a year since Golden Child’s last Korean comeback with the single Replay and the mini-album AURA. Apart from one Japanese comeback (CRAYON), the group has been fairly quiet. That was until yesterday, when the group released their newest single Feel Me and the single album of the same name. The group is currently down one member – this time being Y (who is carrying out his military enlistment), while the group did regain Daeyeol (who completed his military enlistment earlier this year).

Feel Me brings a very satisfying and enjoyable dose of rock to the table. It had me feeling the track from the very first listen I have Feel Me yesterday. I really like the retro profile that the rock elements in Feel Me has, which is a refreshing change to the ongoing rock presence that is happening in KPOP. Both the drumming and guitar work in the background just hits me in the right spot when I listen to the song, though I think more bite to the guitar riffs at the end of the song. Feel Me also features some atmospheric synths in the background, which complements the rock sound extremely well. All of the instrumental works hand-in-hand with the members vocals, which brings some really nice and crisp melodies to the song. All of this creates a very delicate atmosphere, yet also keeps Feel Me punchy and dynamic as you would expect from the rock genre. The rapping was nicely done, working towards the subdued nature of the rest of the song, rather than overpowering with an intense sequence. Come to the think of it, I also quite liked the contrast between the verses and choruses. The high note and electronic glitchiness that occurs in the lead into the final chorus was serves well as the peak of Feel Me. However, I wished this was backed up with some more prolific ad-libs to just give the final sequence a bit more edge. The wait that Woolim Entertainment made us go through was definitely unenjoyable, but I am glad that Golden Child was able to return with such a good song after this year hiatus.

Feel Me tells us the story of youth who have grown together, expressing the beauty of youth and a comforting message (taken from Soompi). And we see that in the music video, with the members hanging out with one another – having fun and also go through some hard times with one another. I also think the video highlights the concept of losing someone, which could be due to different circumstances, such as the members going separate ways. Someone on YouTube did point out that 2024 is Golden Child’s 7th year since their debut, which usually means contracts are up for renewal (though I am hoping this group continues on past 7 years). It is a good portrayal of the ‘coming of age’ concept, which I am sure everyone can really relate to in some way. The haziness of the video was a nice touch, as it makes us feel like we are reminiscing Golden Child’s story in this music video.

Choreography-wise, I like how it feels pretty breezy and not as intense. This complements the music extremely well. No move really stands out. But I have to admit, seeing them perform Feel Me hits differently. Solid performance skills and delivery definitely made Feel Me worthy of a few replays.

Song – 9/10
Music Video – 8.5/10
Performance – 8/10
Overall Rating – 8.7/10

[Review] MANIAC – VIVIZ

It has been fairly quiet from VIVIZ lately, with their last release being PULL UP from January of this year. The female group makes their comeback today with the single MANIAC, which is the lead single from their 4th mini-album, Virus.

MANIAC is another song to fall into the subdued trend that is happening in KPOP. But it falls quite hard into the trend, as I don’t feel there is much going in on the song. More on this in a second. Describing MANIAC as subdued is quite an interesting takeaway for me, given there are rock elements in the chorus that does help boost the profile of the song. I really like the crunchiness that these rock elements bring to MANIAC and being subdued with rock elements does bring an intriguing factor to the song. There is also a slight grooviness to the song, as well. But beyond that, everything else feels flat. The vocals felt very processed, and I am not sure if all of it was necessary. Furthermore, there isn’t much character to VIVIZ’s vocals, which also contributes to the flatness of the song. MANIAC also falls flat on the melody front, with nothing sparking any interest from me. There are some decent moments in the song which do speak to me, such as the opening hook of MANIAC‘s chorus and the flow of the bridge. But these only add up to making MANIAC an alright listen. I do hope that more listens do help me get into the song, as it has only been a few hours since MANIAC‘s release. But I am probably not going to hold my breath over that.

The music video does feel a lot more interesting, as it shows an alternative reality where VIVIZ, who are a band who has been through some rough times in this alternate reality, splitting up and going their separate ways. It starts with SinB stepping away with a solo career, then Umji leaves Eunha behind to do some travelling and Eunha ends with an office job. But the love the members have for each other bring them all back and their reunite in the end. I am not entirely sure if that is the real story behind the music video, as I can’t work find the meaning of the lyrics or the song’s message anywhere on the internet. But for now, my interpretation makes sense in my head and I quite like the story it is telling me. Aside from that, the colours in the music video look super nice and dreamy, which I think works well with the group.

The choreography for the comeback is pretty good. It brings out a slight sensual energy and fits in well with the song as is. I do hope that diagonal formation bit occurs on stage, as that formation used as a transition looks cool.

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

[Special] 2023 KPOPREVIEWED Awards – Coming Soon

It is my greatest pleasure to announce that the KPOPREVIEWED Awards is coming back for 2023!

Once again, it has been a crazy year of amazing songs, captivating performances and show-stealing comebacks from our favourite artists, including some who return after a lengthy hiatus – proving to the audience that they still got what it takes to thrive in this industry.

Below are the key dates for the 2023 KPOPREVIEWED Awards:

That’s right, voting this year reopens for a 2-month period. So there is plenty of time for you to think long and hard who you think is the best artist, which performance was the most stunning and which was your favourite song of 2023.

Just a quick side note: due to a holiday I am taking in January and February 2024, I won’t be able to finalise the winners until the end of February 2024. I know it is a lengthy wait and I do apologise for that, but this is in consideration of what happened earlier this year and the amount of time it took me to finalise the 2022 KPOPREVIEWED Awards after voting closed.

Anyway, important details below in terms of the eligibility period for the artists, performances and songs nominated (or can be nominated in terms of the Grand Award categories):

  • An artist is eligible for nomination provided they released a song between `1 November 2022 to 31 October 2023.
  • A song is eligible for nomination provided it was released between 1 November 2022 to 31 October 2023.
  • An album is eligible for nomination provided it was released between 1 October 2022 to 30 September 2023.
  • A performance is eligible for nomination provided it was performed between 1 November 2022 to 31 October 2023.

And with that out of the way, here are the categories for this year’s KPOPREVIEWED Awards:

Please note that the Blog related and KPOPREVIEWED Decided categories are not fan-voted categories and winners will not be unveiled until 29 February 2024.

So tune in on the 5 November 2023 to find out who is nominated this year in the 2023 KPOPREVIEWED Awards, which will be followed by the KPOPREVIEWED Choice on 10 November and then fan-voting beginning on 15 November 2023.

[Review] Rising – tripleS

tripleS is one of the debuts this year that I have yet to review on the blog. Today, I will finally get around to reviewing their March 2023 debut with lead single, Rising, from their debut mini-album Assemble. What makes tripleS an interesting debut is that the group is still expanding via the addition of new members to reach the group’s confirmed 24 member lineup. As such, throughout 2023, tripleS has seen the addition of new members to form new subunits – +(KR)ystal Eyes, Acid Eyes, LOVElution and EVOLution (I will be returning to reviewing these unit’s releases in the future). But as of today, 16 members have been announced as part of tripleS’ final lineup, with more subunits and new members on the way. tripleS’ debut back in March with Rising only features 10 of the members – Yoon Seo-yeon, Jeong Hye-rin, Lee Ji-woo, Kim Chae-yeon, Kim Yoo-yeon, Kim Soo-min, Kim Na-kyoung, Gong Yu-bin, Kaede and Seo Da-hyun.

Rising definitely heads in the right direction in terms of a being a standout debut track. While I didn’t pay too much attention to the track when it was first released, I did turn my head towards the debut track a few times since then. And those few times have managed to convince me that Rising is a likeable track. Rising‘s rhythmic groovy instrumental and beat is quite sleek and keeps the song moving along. It also gives off a subdued vibe to the dance pop track, which is very much on trend in the KPOP industry. The instrumental steers closer to the pop genre as we get into the chorus territory, and I liked the bright and boosted energy they manage to give off during this sequence. The “La La La” in the background is a catchy element that I am surprisingly not tired over despite it being repetitively looped. The instrumental sequence we get following the post first chorus and its flourishes keeps the dynamic energy going. The vocals and rapping from tripleS in Rising is very solid and that subdued vibe comes off in a charming manner through their delivery. But while I do like Rising, there are some flaws and lacking elements that ultimately holds back the track for me. The biggest flaw is that Rising‘s shortness, which I also see as a strength. I liked that Rising is filling, as it does have a fair bit to it in a short amount of time and doesn’t mess around with that. But at the same time, the shortness does mean there isn’t opportunity for Rising to do more, such as having a similar (but not the same) instrumental sequence following the final chorus. In addition to that, I feel like Rising also lacks a catchier centric hook and melodies that could have taken the song to the next level. But overall, a very strong debut effort that I honestly should have reviewed earlier.

The music video sees the group hang out with one another after the sun goes down to dance, watch dance performances with one another and attend a concert of their favourite artists (i.e., themselves). The video highlights Rising‘s lyrics well, which calls out society for saying they support the dreams of individuals, but ultimately looks down on the individual who want to be different. In the video, it is the group’s love for dance that people say they support, but the same people who gives them weird looks for pursuing that passion – such as the other school students at the bus stop. By extension, sneaking out at night probably alludes the members parents do a similar thing to them. But the video also does show that the members have each other and are connected with one other by their common dream. I also like how the video ends with how it started, with the members sleeping on the bus travelling home after a busy night.

The choreography is good, but I think it could have been better. The routine could have been more polished with better synchronisation between the members on stage. I also felt like the members were pretty focused on looking cool and serious, which resulted in the dance moves looking less powerful then what it could have been.

Song – 8.5/10
Music Video – 8/10
Performance – 7/10
Overall Rating – 8.1/10

[Review] Guilty – TAEMIN (SHINee)

After over a 2 year hiatus as a solo artist (due to his mandatory military enlistment), TAEMIN is officially back with a brand new mini-album and title track, both of which are titled Guilty. The last time we heard from TAEMIN (as a solo artist) is through his Advice comeback in 2021. More recently, following the completion of his military enlistment, TAEMIN did return as part of SHINee’s comeback HARD from earlier on in this year.

Haunting is how I would personally describe Guilty. And it does that from the very first second, thanks to the instrumentation. The mix of some low beats and orchestral elements makes Guilty super atmospheric and evocative. The orchestral elements also adds a striking component to the song, at the same time. This in combination with TAEMIN’s vocals creates quite a piece. TAEMIN captivates with his singing in Guilty. For the most part, he sings in a slow and dragged out manner. It feels sensual and sultry, which is a style that we know that TAEMIN does best. We also get some powerful moments from TAEMIN via high notes and some stronger and really heavenly vocal work at other points in Guilty. The second verse also features some rapping from the soloist, which fits in amazingly well, and some deep whispery vocals in the pre-choruses that adds to that haunting vibe that I mentioned at the start of this section. Guilty is also definitely well-produced, with a lot of thought put towards the planning of when the vocals or instrumental comes into play. This just makes Guilty even more riveting and captivating to listen to, overall. If I had to be critical about something, I would have like more memorable melodies. But honestly, the music and vocals take care of that side of things for Guilty anyway.

The music video features a zombie-esque storyline (how fitting for the day before Halloween). But rather than it being gory and another horror conceptualized music video (beware – there is still some of this, like the emerging hands that looks like it was going to bend his neck just before the first chorus, but we are shown soon after that TAEMIN is just jerking around like zombie and TAEMIN’s zombie bite mark which he digs his fingers into), there is actually more to the video than just brain eating zombies. The zombie virus shown in the video is compared to the idea of selfish love portrayed in the lyrics of Guilty, where it causing pain to the other person while claiming it as one’s own way of loving (taken from SOOMPI). It is definitely a different and unexpected take on something that is quite terrifying and it keeps it quite terrifying. TAEMIN’s acting in this video is superb, with the zombie-like jerking throughout the video and the emotions you can see on his face when he is stilled and thinking about his lover.

If what we see in the music video is the choreography (i.e., the jerky movements that we saw during first chorus), then this is going to be a routine that you do not want to miss. It feels very artistic and contemporary. The ‘arm under the shirt’ move brings a sensual vibe to the table, which I thought looks very cool. The rest of the routine that we did see in the music video also captures the music quite well. For now, I am giving it a 9/10, just because it is unknown what the entire routine will look like. But it can be an easy 10/10 should the stage performance for Guilty replicate all of what we see in the music video (and I will return to update the review accordingly if that is the case).

Song – 9/10
Music Video – 10/10
Performance – 9/10
Overall Rating – 9.3/10

[Review] HEARTRIS – NiziU

NIziU is JYP Entertainment’s resident Japanese female group, who made their debut back in 2020, following their formation through the survival program Nizi Project. Since then, they have released an abundance of title tracks, including Step and a Step, Take A Picture, Poppin’ Shakin’, Clap Clap, Paradise and Coconut. But today, NiziU makes their South Korean debut with the single album Press Play and the title track HEARTRIS.

HEARTRIS is a playful and cutesy synth-pop track that, from what I know of NiziU, suits the group quite well. If you haven’t noticed, the song’s title, HEARTRIS, is a play on the ‘Heart’ and the infamous ‘Tetris’ game. Parts of the synth work for this song resembles the 8-bit style of the background tune that you hear while playing a game of Tetris. But to suit the group and give it some modern zing, HEARTRIS‘ background is a lot poppier and much more colourful, which still works super well. We also get some cool piano-like work in the verses’ background and a dreamier motif that serves as the song’s pre-chorus. It is definitely a nice relief from the constantly energy that comes from the 8-bit styled instrumental. The vocal work HEARTRIS is super strong, working effortlessly to convey the cutesy melodies that are contained in this song. The rapping was also a great addition to the song, giving HEARTRIS a tinge of cool energy to make the song feel less ‘overly cute’. HEARTRIS‘ hooks are super catchy and addictive, as well. My favourite has to be the sing-song chanty “I’m coming down” post-chorus hook, which I honestly cannot get out of my mind. Overall, HEARTRIS is a very strong debut for the young yet seasoned group.

The music video sees the group following Felix (from Stray Kids), who is definitely known for his handsome looks. At first, I thought the group were following him because they had a crush on him, which is the path in which I would expect most KPOP music videos to go down. But instead, it turns out that they were following him for the blue teddy bear attached to his backpack. And Felix, well, he ended up falling into the manhole in the road. Guess it is not his day. Later on, it shown that the members have been busy, hunting for the teddy bears (and tricking countless people, at the same time) and have only one left to find. And that final teddy bear happens to go past their basement windows, which causes all of the members to spring into action to retrieve the bear (using whatever means necessary). Honestly, this was a very refreshing and lively take on a common KPOP music video trope, and makes for an interesting watch. I also like the anime version of the members and Felix.

The choreography for this debut is super cool. I really liked their use of angles in the routine, especially with the tutting we see towards the end. This angles is definitely the most recognisable part of the Tetris game, so it is a nice element to have in the choreography to connect the concept and the choreography together. The synchronisation and the members’ bubbly expressions, from what I can see in the music video, are also worth mentioning.

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


[Album Review] REBOOT (2nd Studio Album) – TREASURE

As mentioned in my last review for TREASURE last week (i.e. the kaboom version of their side track B.O.M.B), I would be posting an album review for REBOOT this weekend. And here it is! REBOOT dropped at the end of July with BONA BONA as the lead title track. Ahead of the comeback, TREASURE also dropped the until track MOVE, which is also featured on this album. In total, 10 songs feature on the album.

As the name of the album alludes, REBOOT kicks off a new era for TREASURE and I think the studio album really shows that. Some of the songs, especially in the beginning, holds true to that. While some other songs do fizzle out towards to the end. But nonetheless, REBOOT shows a promising future for TREASURE. Let’s hope that YG Entertainment doesn’t get lost (again) with what to do with TREASURE and ‘reboot’ them again.

REBOOT Album Cover

1. BONA BONA (Title Track)Click here to read the full review for BONA BONA. (8.5/10)

2. I Want Your Love – The element that wins me over in I Want Your Love is the instrumentation. The dance pop track features some really cool club beats and synths that reminds me of the music from ‘00s that I grew up on. The vocals and rapping were very solid efforts from the members. The vocals, particularly during the pre-choruses, also carry the same nostalgia. I really like the whispery underlay in the bridge, as well. I think a more memorable hook would have made I Want Your Love the ideal song. What we got was pretty good in itself, but it just lacks that really ear-worming effect. (9/10)

3. Run – When I hear Run, I find it very hard move away from the song. Run takes us down a very energetic rock path that has me bouncing along. Honestly, the energy that the members convey is enough for me to rate Run a 10/10. I also like the addition of electronic synths to give Run some zing, and a really cool and clangy hip-hop second verse. Their vocals and rapping were superb, pretty much keeping up with the dynamic tempo that the track was running (Ha!) at. That anthem bridge and high note at the end was really great, as well. (10/10)

4. MOVEClick here to read the full review for MOVE. (9/10)

5. G.O.A.T (ft. Lee Young Hyun of Big Mama) – The first unit track on the album is by the rap unit (Choi Hyunsuk, Yoshi and Haruto). The energy in this track is very show-stagey, which I am digging. The brass elements emphasises this further. I like the playful and dynamic approaches to the delivery which the rappers adopt,, which makes G.O.A.T a very fun and playful listen. The anthem chorus was perfectly executed by the members. Lee Young Hyun from Big Mama features on this track and she comes in towards the end. Her vocals and adlibs just effortlessly fitted into the rap-centric track, carrying us off in the end alongside the rappers in another head-banging end to the song. (10/10)  

6. Stupid (멍청이) – All members return for Stupid. The upbeat energy is toned by a small bit to make way for this vocally centric track. The track still pounds away with a heavy beat, but it also features some really nice acoustic guitar riffs in the background. Other than that, Stupid steers into pop energy territory, which comes off it was nostalgic, as well. It reminds me of some previous works by done previously by other YG Entertainment groups like iKON and BIGBANG. Unfortunately, the hooks aren’t there in comparison to the other songs on ahead of the track and I felt the drumming was little heavy handed, particularly when we entered the bridge of Stupid. (7.5/10)

7. The Way To (어른) – The vocal unit (Jihoon, Junkyu and Jeongwoo) stays on to perform The Way To, taking us down a balladry path. It is a beautifully orchestrally instrumented ballad, paced in a way that allows you to take everything in the track all in. You can feel the emotions behind the members vocals. I did think the melodies were slightly underbaked, with the vocals feeling “quite short” in terms of being drawn out to matched the pace of the ballad. But still a lovely listen. (7/10)

8. Wonderland – Summery beats and energy comes back into play alongside all of the members in Wonderland. While the track is a decent listen, I think Wonderland is my pick for the album’s plainest track. Everything in the track, from the instrumentation to the vocals/rapping, felt very ordinary. I also don’t feel much of TREASURE’s usual energy in the song. (7/10)

9. B.O.M.B – I reviewed the kaboom version of B.O.M.B already, so I will be taking my rating of that version to implement in this review. I also did make some comments on the album version of B.O.M.B in that review, so click here to read the full review of the kaboom version of B.O.M.B. (8/10)

10. Lovesick () – The final track on the studio album is Lovesick. It was previously featured on the group’s 1st Japanese mini-album, which was released last year. It is a wholesome and dreamy track to finish on. Lovesick features a simple instrumental, melodies and hooks – all of which makes it easy on the ears and is a nice way to ease out of the album. I can imagine having this track on the background, while staring outside the window and taking in the prettiness of a bright day. (8/10)

Overall Album Rating – 8.4/10

REBOOT Teaser Image

[Weekly KPOP Chart] 4th Week of October 2023

Welcome back to the Weekly KPOP Charts, this time for the 4th Week of October 2023. Once again, it is going to be another short intro to get right into the post, as I have some posts to draft and schedule for this week. Plus, something special is coming this week. Plus the usual Sunday chores that comes with adulting life. So I am going to get right to it with the Weekly KPOP Chart post for the 4th Week of October 2023. (Honestly, how is it already November?)

Recap of the past week

Here is a recap of what I posted:

Joining all those new releases above this week are the following songs:

  • DANG! (hocus pocus) – Billlie
  • Gummy Bear – Do Hanse ft. BIGONE
  • Like Heaven – KWON EUNBI ft. Paul Blanco
  • Truth or Dare – PIXY
  • JOURNEY – DV.OL
  • RUCKUS – GHOST9
  • Gum – JESSI
  • Listen to this Song – Park Boram
  • Plastic Candy – Haeseul (ARTMS)
  • Loved – B.I
  • Fallin’ – Mark Tuan (GOT7)
  • Poppin’ Love – WayV
  • To My Boyfriend – ILY:1

Throwback Song of the Week

It has been a T-ARA type of mood this week. And during this type of mood, I have been listening to a lot of T-ARA’s Sugar Free. As such, Sugar Free is this week’s Throwback Song.

Non-Korean song of the week

THE ROSE’s Wonder is this week’s top Non-Korean song of the week. It ranks in the 4th position this week.

The Charts

Congratulations to SEVENTEEN and their comeback single God of Music for debuting at the top of my Weekly KPOP Charts for the 4th week of October 2023. For more of the charts, keep on scrolling down below.

Pos.SongArtistChange
1God of MusicSEVENTEEN(NEW)
2B.O.M.BTREASURE(▲ 26)
3In The MoodWHEE IN (MAMAMOO)(▲ 75)
4WonderTHE ROSE(▲ 76)
5Perfect NightLE SSERAFIM(NEW)
6Talk SaxyRIIZE(NEW)
7Chasing That FeelingTXT(▼ 4)
8Give You My AllHIGHLIGHT(▲ 35)
9I’m Crying Over YouKwon Jieun(▲ 69)
10RINGOITZY(▲ 68)
11STRANGERSUNMI(▼ 10)
12Good EnoughCHANYEOL (EXO)(▼ 3)
13BaddieIVE(▼ 9)
14I Love My BodyHWASA (MAMAMOO)(▲ 18)
15You & MeJennie (BLACKPINK)( 3)
16Love ItYOUNITE(▲ 26)
17TROUBLEEVNEE(▼ 13)
18Fact CheckNCT 127( 16)
19InvincibleEVOlution (TripleS)(▲ 18)
20THIS IS LOVEQueenz Eye(▲ 58)
21Hongdae R&BBIBI(▲ 55)
22Back For MoreTXT with Anitta(▲ 45)
23StarDAWN ft. 10CM(=)
24HOWLCHUU(▲ 49)
25RockstarJay Chang(▲ 53)
26I’ll Be ThereJay Chang(▲ 18)
27SageFT ISLAND(▲ 51)
28SKIP OUTRoa (Rocking Doll)(▲ 50)
29nothing butYoung K (DAY6)(▲ 17)
30Your CityJung Yonghwa (CNBLUE)(▲ 48)

Songs leaving the charts

The following songs have wrapped up their nine week run in the charts system, and will no longer be on the charts from next week:

  • Baggy Jeans – NCT U
  • Smooth Sailing – cignature
  • IN MY ROOM – Lim Young Min
  • SALTY BOY – ONEWE
  • Omnipresent – ONEWE
  • PADO (wave to me) – PENTAGON
  • I don’t wanna lose you – COiBLEN
  • SYNCHRONIZE – X:IN
  • SEOUL (Such a Beautiful City) – H1-KEY
  • Different Hearts – GINJO & SOLE
  • On My Way – Kim Woojin
  • Elevator – BAEKHO
  • WANT – B.I.G

[International Song Reviews] Anne Marie and Minnie ((G)I-DLE), LE SSERAFIM, ITZY & CHEN (EXO)

Another International Song Review post is here. Last time I covered MISAMO’s Do Not Touch, from20’s Bad Revenge, SEVENTEEN’s Ima – Even If The World Ends Tomorrow – and The Rose’s Back To Me. This time, I am covering Anne Marie and Minnie ((G)I-DLE)’s Expectations, LE SSERAFIM’s Perfect World, ITZY’s Ringo and CHEN’s Light Of My Life.


Expectations – Anne Marie & Minnie ((G)I-DLE)

Language: English
Release Date:
9 March 2023
Release Type: 
Expectations (Digital Single)

I start off this post with Anne Marie and Minnie’s collaboration single, which I was promptly reminded of last week when they (and Expectations) were nominated for Best Collaboration at the 2023 MAMA Awards. For me, Expectations is very much on trend with the current sound of pop music in the Western world. I really like the instrumentation, which has an addictive vocal synth in the background, some really refreshing guitar work and the slight punkish pop rock sound in the chorus. Both Anne Marie and Minnie’s vocals are quite good and sound well-rounded. The bridge is probably a really good example of this. As for the chorus, the centrepiece of Expectations feels like an anthem, both easy to follow and easy to commit into our minds. I like how the instrumental makes way for the vocals at certain points within Expectations, allowing the vocals to have moments of impact. Overall a strong showing from the pair, with a song that has an impactful message telling you to go on your own way, rather than following the expectations of everyone around you.

The music video is a miss for me. I think I watched it once when the song was first released, but I definitely have not gone back since then. It is super cheap, and I think the company behind this video (Warner Music Korea) could have done a lot better. It honesty looked like two random rooms were chosen on the fly and the producers just gave a microphone to the pair to sing into. No additional styling or budget was given to give the rooms some life or identity. At least, there was some post production to the video, but even that was pretty ordinary.

Overall Rating – 7.1/10


Perfect Night – LE SSERAFIM

Language: English
Release Date:
27 October 2023
Release Type: 
Perfect Night (Digital Single)

Perfect Night is the newest track in this post, dropping only just yesterday. I would describe Perfect Night to be a pretty track, thanks to subdued instrumentation consisting of the twinkling synths, trap beats and the rhythmic guitar. This formula unfortunately doesn’t push any boundaries and doesn’t offer the usual upbeat energy that LE SSERAFIM puts behind their title tracks (which I kind of was hoping for in this collaboration – more on this in a moment). In fact, the instrumentation remains pretty much the same through and through. On the flip side, however, I found that LE SSERAFIM’s smooth and light-on vocals went quite well with the instrumentation subdued nature. Again, this is through and through Perfect Night. I think with that comment, you can probably guess that I found Perfect World to be quite consistent. As usual, I say consistency can be a good thing. But in the case of Perfect Night, I find the consistency to be a problem, where that multiple listens to Perfect Night might wear off the current charm and prettiness that I get from the song. At the moment, I find this new song to be “just nice”, but I don’t know if that is how I would describe the song the more I listen to it.

As mentioned above, this release is actually a collaboration with the game Overwatch 2. Essentially, LE SSERAFIM are celebrities in this virtual world, and the OVERWATCH characters make their way to watch LE SSERAFIM’s performance of Perfect Night. The characters experience some problems, such as bumper to bumper traffic and forgetting the tickets. But having abilities, the characters bypass these issues quite easily. But the video ends happily with the characters enjoying the LE SSERAFIM concert. I also like the slight node to Fearless with the dance studio that LE SSERAFIM started in for this music video. As for the choreography for this release, it looks quite nice and matches up with the prettiness that the song embodies.

Overall Rating – 7.8/10


RINGO – ITZY

Language: Japanese
Release Date:
18 October 2023
Release Type: 
RINGO (1st Japanese Studio Album)

RINGO is a fairly new release that I haven’t actually checked out yet. So my thoughts on RINGO here will be my first impression. RINGO is a very in-your-face type of song, kicking off with some bold beats. I like the Latin tinge and the bombastic feel that RINGO brings to the table. The chorus concentrates all of this into a singular strong central piece, which comes off as both memorable and intense. The hooks were fantastic, as is the dance club energy that comes off RINGO‘s centrepiece. However, the disappointment aspect in the chorus, for me, were the vocals. They felt very shouty and was definitely pitched higher than what it needed to be. This approach makes me nervous for the group, because it makes things more difficult for the group and creates a needless form of tension in the song. Yes, the members needed to be heard over the bombastic energy coming off the background, but surely the producers could have been a lot clever about how to approach this. On the other hand, Ryujin’s rapping, particularly, in the second verse, leaves me impressed. Overall, I do like what RINGO has to offer and there is enough in the track for me to enjoy and remember the track by. But I think better execution in terms of production would have made RINGO feel more at ease.

RINGO is about forging one’s story, rather than following a story that is already set out for them, such as in the fairytales. The word RINGO is the Japanese word for ‘apple’, and the music video begins with the infamous fairytale of Snow White (which we all know features an apple). The bitten apple in the story turns into a sword and shield, the very same sword and shield that is later held by Lia. This represents that the members don’t need a prince charming (or another ‘saviour’) to help them out. Instead, we see the members protect themselves when they are under fire and finding their own way out of situations. We also see the members pick their own apple and taking a bite out of it, regardless of if it is forbidden or poison, going against the fairytales to create one’s one story. The choreography for this release is equally as strong and powerful as the song and story behind the music video. I like the many apple biting references and also that power walk that kicks off the final chorus.

Overall Rating – 8.5/10


Light Of My Life – CHEN (EXO)

Language: Japanese
Release Date:
17 August 2023
Release Type: 
Polaris (1st Japanese Mini Album)

In the lead up to the release of Polaris, CHEN dropped a single from the mini-album each week. This ended on 17 August 2023, when CHEN dropped the final and lead single Light Of My Life and the full mini-album. Light Of My Life is another beautifully executed and really well-done ballad to add to CHEN’s repertoire of ballads. But what I like about Light Of My Life is that it doesn’t conform to the ballad numbers that CHEN has previously released before in Korea. Instead, he opts for a mid-tempo band instrumentation and some orchestral touches in the instrumental, which is distinct from his previous tracks that were just orchestrally instrumented. The band instrumentation really helps make the track more powerful, in my opinion. It added some punchy moments that we haven’t heard in CHEN’s ballads in the past. The band instrumentation also allows CHEN to really show off his vocals and give Light Of My Life so much more oomph. When the combination of the instrumentation and his vocals peaks in Light Of My Life, you find these to be the most powerful moments in the song, and are truly breath-taking. Overall, a breath-taking number.

The music video features CHEN at two locations – the more memorable location (in my opinion) is on the moon. I thought the moon was a clever concept. The song’s lyrics features a message of finding the light, which implies that someone is in darkness. And the source of light in the night (which is when we commonly find ourselves in the dark) is the moon. So having CHEN sing on the moon, with the light shining of him is a clever way to represent light in the darkness. The second location is the city scenery, which were briefer moments in the video. CHEN doesn’t look sad in these scenes, even if the lyrics do feel emotionally charged. Instead, I think these scenes represents finding one’s way. And the only way to do that is if you get up and move about. For me, this was a super nice video to watch and works perfectly with the song.

Overall Rating – 9.6/10

[Review] Talk Saxy – RIIZE

RIIZE just made their debut with Memories and Get A Guitar at the start of September. It hasn’t even been two months on, but the newly debuted group from SM Entertainment has returned with their first comeback single, Talk Saxy.

I really do want to like Talk Saxy. After how much I enjoyed Memories and Get A Guitar, I had high hopes for RIIZE. But despite the listens I have given Talk Saxy since its release earlier today, I cannot seem to form a positive impression towards the song. Talk Saxy features (quite appropriately) saxophone riffs and 808 drum sounds in its instrumental. And boy, does it not shy away from using that brass. But as much as I love myself some brassy elements in my songs, the saxophone feels distorted at times in Talk Saxy and this makes the central instrumental element come off as scratchy. It isn’t all bad, but it could have been better. The 808 drum sounds was a nice accompaniment to the saxophone and gave Talk Saxy some much needed oomph. I also think there are some guitar riffs in the pre-choruses, but I might be mistaking that for even more saxophones (I hope I am not). I do think Talk Saxy could have used a bit more in the instrumental department to give the track some flair. A prime example is more piano in the bridge to accompany the smoothness of the vocals (and lack of the brassy element). Another thing that I noticed was the uninteresting chorus. Both the rapping and vocals in the chorus felt bland. It is like the producers removed all of the members’ own style and charms to create a chorus that could be executed by anyone in the team. But by doing that, the producers also created a soulless central piece. On the flip side, I found the members’ personality and style to be so much more prevalent in the verses. There was some good moments in terms of delivery in the verses, but it all disappeared when we entered the chorus parts of Talk Saxy. And that pretty much dulled the song for me.

The music video feels as simple as the song’s make-up was. For me, the music video felt very focused on the bright lights that made up the words “Talk Saxy” in the background and the members wearing baggy old school shirts that reminds me of hip-hop from the 1990s. It is definitely a good and trendy look. The use of lighting on this set to either show the members or their silhouettes was pretty cool idea, as well. But the rest of the music video (i.e. the gigantic speakers and focus on the colour red in the members’ outfits) just fizzles out and becomes a distant memory. I wished there was more balance.

The choreography for this comeback is quite good. I like the ‘Kick It‘ part of the choreography and also the prancy-like style they go for in the outro of the song. I also enjoyed the bouncy nature and the wide arm movements they had going on in the middle of the routine.

Song – 6/10
Music Video – 7/10
Performance – 8/10

Overall Rating – 6.7/10

[Review] B.O.M.B (kaboom Ver.) – TREASURE

TREASURE returned last week with a gift for their fans. B.O.M.B is a side track off TREASURE’s second studio album REBOOT, which was released a few months back. As a bit of a teaser for this coming weekend, a full album review post on REBOOT will be coming your way. But ahead of that, I wanted to review the new version of B.O.M.B, otherwise known as the “kaboom version”. In other TREASURE-related news, the title track off REBOOT is BONA BONA, which also dropped alongside the album.

Had I gone forward with just the album review, B.O.M.B (the side track version) would have been described as “a really pleasant pop track from the ’00s”. I would also made specific comments on the dreamy instrumentation and the really smooth melodies that made the song pleasant. I probably also would have said something about the catchy hooks, in addition to the melodies, particularly around the choruses. The ‘kaboom version’ of B.O.M.B retains all of that, but adds more to the instrumentation to give it liveliness and energy. And honestly, this does help make the song feel more fun and energetic, which I think would have been well received by their fans. Whether all of it was necessary is a different matter up for discussion. I am definitely on board with the brass and extra bass that was added to the song. However, I felt the bomb dropping and explosion sound effect and the inclusion of a hip-hop dance break was cringy and embarrassing. But even while I feel this way about these specific elements, they didn’t detract from B.O.M.B whatsoever, and everything that was the side track version of B.O.M.B is very much still there. So overall, the side track version of B.O.M.B is probably my preferred version, but I don’t mind the kaboom version, as well.

We didn’t get a music video for this kaboom release, but rather a performance video. As such, I will be combining both the video and performance components of the release together. The hip-hop concept that they went with for this comeback makes sense for TREASURE, but I am not entirely sure about the song. But at least they keep it casual and don’t lean too much into it. We do get some closeup of the members, and a dance battle break that the members keep lighthearted and fun. As for the choreography, I find it to be quite good. It suits the group and the song in many regards. The choreography and energy feels youthful, which fits in with the members. The key moves during the chorus felt cutesy, which goes hand-in-hand with the lyrics which is about how one’s crush makes them feel giddy and alive.

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

[Album Review] 13egin (7th Mini Album) – INFINITE

INFINITE made their grand return in July 2023 after a five year hiatus due to military enlistments and their departure from Woolim Entertainment. The mini-album, titled 13egin, also celebrates their 13 years career, which has definitely been fruitful over the years particularly in the 2010s. 13egin features a total of five songs, including an introductory track and the title track New Emotions. Like some other albums that I have been reviewing lately, 13egin has a fundamental issue of featuring the weakest track as its title track. Don’t get me wrong, I am glad to hear INFINITE in any form after so long (and hope that they continue to regularly release new music as a group into the future). I just think there are other songs on the mini-album that could have served as a better title.

13egin Album Cover

1. Intro: 13 – This introductory track really got me excited for what is to come on the mini-album. The mysterious piano and suspenseful interwoven vibration synths leads into some groovy guitar and synth work. The strings that come into play in the latter parts of 13 throws me back to some of Infinite greatest works, which have involved strings in some way. No vocals, so no score. But damn, 13 was amazing!

2. New Emotions (Title Track)Click here to read the full review for New Emotions. (7/10)

3. Time Difference (시차) – It seems like Time Difference is the more liked track on the album from what I can see online, and I completely agree with the public here. I really like how the track doesn’t require any powerful or dynamic elements (which is usually what I look for) to really sell the track. Instead, Time Difference features really pleasant atmospheric vibe, with its trendy synth line. I like the small additions to the song, which are well placed to maintain a consistent grooviness to the song. The members’ vocals are really well done, bringing a touch of brightness and a refreshing melody to the track, whilst all keeping aligned to that pleasantness mentioned above. (10/10)

4. I Got You I Got You opts for a more upbeat pop number, yet the beats, string and synths elements in the instrumentation do continue the pleasantness that we heard in the previous song. The members do another amazing job in I Got You with their vocals, especially with how dreamy they made the song feel. In some cases, I liked the crispness the members themselves added to the song. Everything comes together to create a summery vibe that felt very clean and fresh. (9/10)

5. Find Me – The mini-album ends with a ballad, which gets me excited. INFINITE is one of the groups that I look to for amazing ballads. But rather going down the purely classical orchestration backing that INFINITE has done multiple times before, Find Me features some atmospheric synths and band instrumentation. However, the track does maintain the beautiful sound of the piano, which makes this track quite fulfilling. Once again, the members’ vocals are beautifully delicate and dreamier than in the last track. (9/10)

Overall Album Rating – 8.8/10

13egin Teaser Image

[Album Review] MY WORLD (3rd Mini Album) – aespa

MY WORLD Teaser Image

After holding onto a draft for the album review for aespa’s MY WORLD for quite a while now as I was due review the album’s pre-release single separately ahead of the album review, I have decided to forgo those plans and post the album review now instead. MY WORLD is the aespa’s 3rd mini-album, led by the single Spicy, the pre-release single Welcome to My World and four additional side tracks. aespa’s vocals are a recurring element I comment on throughout the album, with their showcase of skills in this department being consistently superb throughout the album. MY WORLD also becomes my highest rated album this year. Find out why I thought so positively of the mini-album down below.

MY WORLD album cover
MY WORLD Album Cover

1. Welcome to My World (ft. nævis) – This alternative pop track is so dreamy yet has such a haunting vibe, both of come together to create an impactful and memorable piece. Part of this is thanks to the vocals, which I give two strong thumbs up for. Like come on, the harmonisations are so beautiful and breath-taking. The instrumental also contributes to that dreamy and haunting vibe, as well. The orchestral sequence at the ending makes for such a cathartic ending. Despite it being a more vocally centric track, Welcome to My World still manages to incorporate some synths into its backing. Nothing too crazy that disrupts or destroys the delicate nature of Welcome to My World, but just enough to make it feel like it could be branded as an aespa track. An easy 10/10, in my opinion. (10/10)

2. Spicy (Title Track)Click here to read the full review for Spicy. (9/10)

3. Salty & SweetSalty & Sweet starts off in a very bold manner, going for a darker and edgier vibe. The members do a really good job with channeling these vibes into their delivery, creating a very riveting and impactful track to listen to. The bass, beats and synth work in the instrumentational also has this trippy energy to it, making Salty & Sweet a very intriguing listen. (9/10)

4. ThirstyThirsty is another great showcase of vocals from aespa. Their vocals are just so sleek and captivating throughout this side track (if they hadn’t been yet in the other side tracks). Thirsty also revisits the dreamy vibes heard earlier in the first track of the mini-album, with their vocals also exuding this. The rapping felt so clean, as well. The instrumentation is basically your standard R&B backing, but the members really do take it to the next level. (9/10)

5. I’m UnhappyI’m Unhappy is much more straight-forward track, in comparison to the other side tracks on this mini-album. The bouncier beat and bass in the instrumentation is quite consistent and felt playful. The squealy synth was a nice touch in cutting through this consistency. The vocal work and rapping felt uncomplicated. But nowhere along the way do I find I’m Unhappy to be a bore. It was all very interesting and another strong side track from the group. (9/10)    

6. Til We Meet Again – The final track steps away from synths and into acoustics and simple band instrumentation. The acoustics of this track creates a very warm and inviting atmosphere, while their vocals (which have been top notch throughout the mini-album) makes us stay with their comforting aura. Til We Meet Again also revisits another aspect from earlier on in the mini-album – stunning harmonisations that just felt like icing on the cake. (8.5/10)

Overall Album Rating – 9.1/10

MY WORLD Teaser Image
MY WORLD Teaser Image

[Review] God of Music – SEVENTEEN

Kicking off this week is SEVENTEEN, who returns with their 11th mini-album SEVENTEENTH HEAVEN and the title track God Of Music. Once again, SEVENTEEN has exceeded expectations by breaking records with the new mini-album, including becoming the most pre-ordered album release in KPOP industry once again. This is SEVENTEEN’s first comeback since their 10th mini-album FML (lead by the singles Super and F*ck My Life) and their first Japanese compilation album ALWAYS YOURS (lead by the single Ima – Even if the World Ends Today –.

Punchy feel-good energy is how I would describe God of Music. SEVENTEEN’s new song does not disappoint in any department, with the song making me do a bit of a boogie within the first listen. More repeats of the song since its release has me practically up and dancing. The liveliness of God of Music is thanks to the soul funk genre that the group went with. Plus God of Music had some extra lively elements that really helped enhance the energy and brightness of the song, such as the electric guitar riffs in the pre-choruses, the brass detailing in the background and that retro synthesizer riff in the instrumental break. The vocals and rapping are very strong in this track, both matching the energy that is coming off the instrumentation without much trouble. They blend with one another in the song, making everything feel super cohesive and strengthening the song further. The vocals in the pre-chorus propels God of Music forward in a manner that just sounds and feels so dynamic. The chorus itself features a really nice bright melody in the first half and then follows up with the punchy and catchy “Kung chi pak chi kung kung chi pak chi yeah” line. The verses themselves had some really nice rhythm and I liked the anthem-like direction that had going towards the end. Everything in God of Music melds together so well in the track, creating a super energetic and blastful song that feels just right.

The music video begins by setting the scene of a world where music has somehow disappeared. But this same world has SEVENTEEN in it, who reintroduces music into society. The song itself is an ode to music, celebrating how it can bring everyone together no matter where or who you are. We see music reach different life forms in the music video (from humans, ants, DJ donkeys and snails – the slower dragged out form of the music when the snail appears at the end of the video made me laugh). We also witness music reach people in different locations, including what seems like an urban American city, to the grassfields in the countryside and to the hospitals (which is a clever way of featuring S.Coups, who is sitting out most of the promotions to recover from a surgery). The bridge scene where SEVENTEEN and the crowd are marching across at the end was epic. Needless to say, the music video really matches up with the music and appropriately spreads the positive message in a fun and bright visual format.

We only get to see a small portion of the choreography in the music video. But from what I did see was a very lively and fun routine that pairs well with the music. I wish I can say more than that, but that is only what is on offer at the moment. Given that this is SEVENTEEN routine, I am willing to bet that the rest of the choreography will be fantastic, as usual.

Song – 10/10
Music Video – 10/10
Performance – 9/10

Overall Rating – 9.8/10