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.
The countdown to INFINITE’s long awaited comeback is officially underway. But prior to the group’s comeback, INFINITE’s leader (Kim Sung Kyu) has managed to slide in a solo comeback with his latest single Small Talk and his fifth mini-album, 2023 S/S Collection. Last week, Kim Sung Kyu and Small Talk topped my Weekly KPOP Chart for the 1st Week of July 2023. And in that post, I promised to review Small Talk during the week – so, here we are! We last heard from Kim Sung Kyu through his Savior comeback from mid-2022.
If I am being honest, I personally do not have much to say about Small Talk. This shouldn’t be taken as a criticism, however. To me, Small Talk is straight forward song with some groovy and fun appeal. The mid-tempo upbeat nature of Small Talk does make it stand out in Kim Sung Kyu’s discography, given that Kim Sung Kyu hasn’t really venture down the more upbeat nature of music with his solo work. Even though this is new territory for himself, Kim Sung Kyu does keep true to his roots in Small Talk by having band instrumentation make up the entirety of the song’s background. The guitar work was charming and made the song likeable. I particularly really enjoyed how they were utilised in the instrumental break, bringing a funkier groove to the song and consolidating the already mentioned funky and fun appeal that the song had consistently going on. Small Talk also serves as a nice refresher for Kim Sung Kyu’s vocals, as it has been a while since we heard from the artist. And the melodies and hooks in Small Talk were catchy and had a nice ring to them. Overall, Small Talk is a really nice yet different addition to his solo repertoire. And given how it is lined up right before INFINITE’s comeback, it serves as a nice way to ease back into my Inspirit (INFINITE’s fanclub name) mindset.
The music video sees Kim Sung Kyu’s desire to communicate with the people around him (even if it is just some small talk), despite being in a society where people are more isolated due to technology, social norms and the active decision to not participate in conversations (me, every time I find myself in some sort of training at work). The video captures all of this in a slight comedic manner, with the people around Kim Sung Kyu refusing to acknowledge him even as he is pushed around or as he has a breakdown (i.e. the train scenes), actively seeking ways to avoid communicating with him (i.e. the office scenes), or just decide to film him whilst he is doing something wild (i.e. him sitting on an utility pole, and everyone just filming him instead of trying to get him down or talk him out of the dangerous stunt). At one point, someone does listen to him, but ends up bleeding from the ear. Yikes! Apart from the concept, the video features a nice pastel brightness that fits in with the song and a small amount of choreography that adds a bit of more fun to the video (but not enough to warrant a separate section for this review).
Song – 8/10 Music Video – 8/10 Overall Rating – 8/10
Welcome back to another International Song Reviews post. Last week, I continued the coverage of 2022 releases, including Japanese songs from ITZY, LOONA and Rocket Punch, and an English from JAMIE. During this week, it dawned on me that we are already in the latter half of 2023 and I haven’t reviewed any 2023 non-Korean releases yet. Pretty behind schedule, if you also just noticed. So, today, I am going to start my coverage of 2023 non-Korean releases (and return to the existing 2022 songs in later posts). In this post, I will be covering two Japanese songs released by trendy Korean artists (STAYC & Stray Kids), one English song from earlier on in the year (TWICE) and one very fresh English-language release that dropped just yesterday (Jung Kook’s solo debut).
Poppy – STAYC
Language: Japanese Release Date: 23 November 2022 Album: POPPY (1st Japanese Single)
Before you say it, yes, STAYC’s POPPY is technically a 2022 release. But it was not eligible as part of the 2022 KPOPREVIEWED Awards, so I am considering it as part of the upcoming 2023 KPOPREVIEWED Awards (and hence have included in my list of 2023 songs). For me, the strongest aspect of POPPY was its chorus, which was definitely catchy and addictive. I really liked the slightly monotonous and breathy approach that the producers and members utilised in the first half of the chorus, followed up with a very vibrant set of melodies in the second half. Combined with the quirky and bouncy synths, POPPY ended up being a very cool and fun track from my point of view. Elsewhere in the song, we got strong vocals and rapping from the group. Altogether, POPPY is a successful extension of their discography and highlights their pop style. The music video is indeed colourful, which works well with both the song and the Japanese market. It creates a playful atmosphere, which appeals to the latter as well. I did like the retro flair the music video, bringing in a 90s element to the video. But I aloo enjoyed the modern special effects that were used to help fill out the background. The choreography feels catchy and fun, just like the song and music video. There is also a more apparent cutesiness to the choreography, which I don’t find too overbearing to watch.
Overall Rating – 8.4/10
Seven – Jung Kook (BTS) ft. Latto
Language: English Release Date: 14 July 2023 Album: Seven (Digital Single)
I figured I prioritise Seven’s review, given it is one of the biggest comebacks of this past week and it could potentially take months for me to actually review Seven per the usual schedule. But before we begin, I am genuinely surprised Jung Kook’s solo single would be in English (and that there is an explicit version). It was quite unexpected when I checked out the songs yesterday, but I am not upset about it. There is a lot to like in Seven. I really enjoyed the up-tempo nature of the song, with the glitchy beat really driving the song forward. This instrumentation works really well with Jung Kook’s vocals, with the pairing of these elements feeling well-rounded and balanced. The ‘Monday, Tuesday, Wednesday, Thursday, Friday, Saturday, Sunday‘ hook is very catchy and Jung Kook makes this roll along so effortlessly. The verses are very clean and straight-forward. Latto makes an appearance in what is supposed to be the bridge of Seven. While I am not too troubled by this featuring, I was not entirely fond of the sound effects she was adding to the song. I felt that this should be been maintained in the explicit version, rather than the clean version.
As for the music video, it was unexpectedly a funny watch. Throughout the video, we see Jung Kook chase after Han So Hee after the pair had an argument. He wants to make amends, while she is not having it. We see these events transpire over dinner, in a flooded laundromat, on a train and a very stormy day. At one point, Jung Kook supposedly dies whilst chasing after her. We cut to his funeral, in which he miraculously wakes up and Han So Hee reacts by giving him the biggest eye and head roll. In the end, Han So Hee does relent and forgives him, and the pair walks away into the distance. Jung Kook also preformed Seven on Good Morning America, so the comeback does have some choreography to it. It isn’t anything major or epic, but it shows Jung Kook’s stage presence and style.
Overall Rating – 9.1/10
The Sound – Stray Kids
Language: Japanese Release Date: 28 January 2023 Album: The Sound (1st Japanese Studio Album)
Just like how I said POPPY is a successful extension of STAYC’s discography above, the exact same comment can be applied here for The Sound and Stray Kids. The Sound is your classic Stray Kids track, complete with a full dosage of intensity and ‘noisy’ synths that people have previously described Stray Kids comebacks. I do find that The Sound is a lot more electrifying and the chorus is probably their most in-your-face effort to date. The group nails the vocals and rapping aspects of the song, which isn’t much of a surprise for me. Though, I am appreciative that the members can still be heard over the instrumentation. Otherwise, the combination of intensity and synths could easily drown out the group. If I had to be critical of anything, I am bit disappointed at the short length of the track. it just felt like it was over so soon. But on the flip side, they did pack a lot in and pulled it off. The music video depicts two sides of the group. On one hand, the group lives a peaceful life. But ever so slowly, the members can feel the presence of energy that shows the group’s more intense and powerful side. I liked how the music video depicts the energy as a tornado and intense storm (which they can see in the distance). The special effects were super cool, especially the effects that depicts the sound energy and the moments in which the house is being ripped apart by the storm. Choreography-wise, I like the clock-like formation, the group’s embracement of the song’s intensity by incorporating vibrations into their performance and the group’s command of the stage.
Overall Rating – 9/10
MOONLIGHT SUNRISE – TWICE
Language: English Release Date: 20 January 2023 Album: Ready To Be (12th Mini Album)
Another reason to why I am looking at 2023 releases now in this segment is that I am slowly getting around to writing album reviews for certain releases which include an English song that was pre-released or promoted as part of the comeback, which is very much a growing trend in KPOP nowadays. And TWICE’s MOONLIGHT SUNRISE is on that list of songs that I need to review before I write the album review. All my thoughts on MOONLIGHT SUNRISE in this review comes after the song has grown on me a lot. MOONLIGHT SUNRISE does indeed sound pleasant and has a decent ring to it. But my craving for something more out of MOONLIGHT SUNRISE still stands. However, it lacks the energy and punchiness that makes it a prolific TWICE track. It feels constricted and limited, which leaves the song deflated and monotonous (but not in a good way like in POPPY). As the song progresses towards its end, we do get a teaser of what MOONLIGHT SUNRISE potentially could have been like, with JIHYO and NAYEON’s soaring vocals and ad-libs really helps bring life back into the song. Had the song mirrored similar energy in its body and gone further in the end, then MOONLIGHT SUNRISE would have been set up to be a much better track. But as it is, even though decent enough, MOONLIGHT SUNRISE still feels lacking. For the music video, it showed off the visuals of the members really well and I enjoyed the purple hue that was quite prominent. The group appears to be appealing to their lover to come by, which we do see happen at the end with the car rolling up by the love heart lock house. Honestly, however, I haven’t really returned to the music video since its release, just because there isn’t too much in it to pull me back. On the other hand, the choreography was a very big positive for this pre-release. The group shows a more mature energy and executed the moves so well. I also enjoyed the synchronisation and smoothness, particularly during chorus.
Ahead of their upcoming comeback next Friday, NewJeans made their return with their pre-release single Super Shy last week. Since its release, the song has risen to the top of the charts, proving once again NewJeans’ power and popularity in the industry. We last heard from NewJeans through their very successful Ditto/OMG comeback at the very end and start of this year.
Whoever is choosing the songs for NewJeans’ comebacks is doing a fantastic job. Their releases thus far have been top notch, consistent and super catchy. And Super Shy is no different to the small yet impactful discography that NewJeans boasts thus far. Super Shy‘s instrumental is just like the song title and lyrics – super shy. For the most part, the song features atmospheric synths that can just be barely heard and staccato drumming that feels quite prominent and brings good rhythm to the song. Both the synths and drumming weren’t bold or spontaneous, but rather they stay in their lane and is quite consistent. Towards the end of the short song. Super Shy bring in a light sprinkling of electronic synths that gives the song a very subtle funky/groovy undertone, which keeps the song from feeling too consistent for its 2.5 minute run. The members adopt a very consistent lighter and innocent sounding tone in Super Shy that gives off the impression of the members being shy, which reflects well with the title and lyrics of the song (which is about finding the courage to confess to a first love). The combination of this lighter and more innocent sound from the members also brings a very appreciative level of brightness to the song that just fits super well into that summery vibe the industry is going through at the moment. And it helps that Super Shy has super easy and enjoyable melodies to tie everything up together with. Overall, a strong pre-release that promises great things for the actual title tracks (yes, double title track situation once again) that will be released in a weeks time.
The music video for Super Shy was quite bright and vibrant, in terms of both energy and visuals. Both regards suits the song quite well. The idea of flashmobs feels refreshing (however, it isn’t the first time we see a music video use flashmobs in KPOP) and the place in which they shot the music video feels lively. It is my understanding, from the Wikipedia article, that the video was shot in Lisborn, Portugal. I also like how the world is still going around them.
The choreography was quite cool and was an interesting watch. There were moments in the song where there wasn’t a prominent beat, and to see the members still pull off choreography during these moments was quite the aesthetic. The up-tempo and speed of the choreography makes it a difficult routine, particularly during those non-beat moments. Definitely a worthwhile performance to watch.
Song – 10/10 Music Video – 10/10 Choreography – 10/10 Overall Rating – 10/10
Officially making their debut yesterday was ZEROBASEONE, the new male group formed via the Boys Planet survival show that aired earlier this year. The final lineup of the group consist of Kim Ji-woong, Zhang Hao, Sung Han-bin, Seok Matthew, Kim Tae-rae, Ricky, Kim Gyu-vin, Park Gun-wook and Han Yu-jin. It has also been confirmed that the group will be active for 2.5 years. But for now, let’s focus on their debut with In Bloom and their first mini-album, Youth In The Shade. ZEROBASEONE is already setting records with this first mini-album, which earns the group the title of million-album seller already within one day of its release and sets a new record for the most pre-ordered and sold debut album in Korea.
In Bloom is a pleasant dance track to debut with. And for the most part, I think it is a strong effort from the group. The instrumental for In Bloom earns a big tick of approval from me. The recognisable and iconic synth line of Take On Me by a-ha adds such a bright pop to the song, while the beat and other instrumentation of In Bloom mordernises the song towards the 2020s trends It also enables a fast paced atmosphere that in turns allows for an upbeat choreography (more on this in the last part of the review). Altogether, In Bloom feels quite fresh (even though the song does feel safe) and is quite vibrant without doing too much. It helps that the vocals and melodies keeps the song from going overboard, with the aforementioned pleasant side of In Bloom coming through these elements. The members do infuse a youthfulness to the song and I do like the flow of both vocals and rapping. This creates an harmonious approach with the instrumentation, which in turn gives off that bright and energetic atmosphere that I found to be enjoyable. I did think more could have been done to make the song more memorable and potentially punchy like the song it pays homage to, such as stronger hooks and melodies that really stay with you after the song finishes. At the moment, In Bloom doesn’t really pull me back in via this department when the song ends. And as already mentioned, there is also a relatively feeling of safeness to In Bloom which I cannot seem to shake despite the couple of listens I have given the song so far. But as a debut track, I think the new group has done a great job as putting In Bloom as a foot forward into the industry, which they will undoubtedly soar in.
For the music video, I quite enjoyed their concept. The song is about the group’s “determination to sprint toward “you” as they take their first meaningful step toward an inevitable end”, and I quite liked how the producers introduced a gaming concept to bring that to life. The members are searching for flowers individually that are required for them to progress onto the next stage of the game. We see the members work together to clear the first stage, while the second stage is a bit harder given they have to work alone. In the end. all the members arrive at the final door, completing the second stage of the game. There was also a brief moment in which the members “left the game”. Not sure what the significance of this part of the video is, but I guess it could be that the members had the option to explore a different world, but chose to go back towards that “inevitable end” with “you”. Overall, a well concepted video that works nicely with the pleasant side of the song.
As for the choreography, it feels energetic and youthful – all of which suits ZEROBASEONE at this stage of their careers. The group has good chemistry with one another and there was a vibrant element to the choreography that made it enjoyable to watch.
Song – 8.5/10 Music Video – 9/10 Performance – 8.5/10 Overall Rating – 8.8/10
After two pre-releases over the last month (Let Me In and Hear Me Out – the latter I have yet to review) and a bit of uncertainty with EXO long awaited comeback due EXO-CBX’s threat of withdrawal from SM Entertainment (which has since been resolved), we have finally arrived at the release day EXO’s 7th studio album, EXIST. The title track off the album is Cream Soda, which music video also drops today with the rest of the album. While this is the group’s first comeback in two years (their last being Don’t Fight The Feeling), it does not feature KAI and LAY, who are sitting out of the comeback due to military enlistment and solo promotions in Japan respectively. KAI’s vocals, however, is featured on the album and the pre-releases’ music videos.
Cream Soda revisits the sensual and mature sound profile with this dance pop track, a sound profile which the group previously visited most infamously inLove Shot. However, while the former song really went for the some very concentrated sensual energy, Cream Soda‘s dance pop side gives the newer song some bounce and liveliness. This helps give an upbeat and refreshing tinge that feels right for EXO’s trajectory given their vast repertoire of past releases, and also keeps the group’s new song trendy and relevant. The brass and drum beats gives Cream Soda fanfare and some intensity (which in turn allows for some strong choreography – more on this later). Cream Soda is also described to have an exotic rhythm, which I can totally hear and this adds to that refreshing vibe. The vocals are amazing and showstopping in this comeback, with the members slipping into falsettos effortlessly for the chorus. The rapping was punchy as it is presented to us, with Chanyeol and Sehun giving as a dynamic and energy-packed rap sequence which goes super well with the verses’ instrumentation. The melodies and hooks in Cream Soda are slowly catching on, and I can definitely see Cream Soda growing on me in the near future (if it has not reached its max appeal yet). Overall, both Cream Soda and EXO served and delivered in this long-awaited comeback.
I found Cream Soda‘s music video quite good and alluring to watch. I liked the moody lighting, which goes well with the sensual lyrics and meaning behind the song. The members gave off a luxurious vibe for their dinner party, even though they ended up trashing the place. Elsewhere in the video, the members looked super good and amazing. Out of all the members, D.O stole my attention in this comeback. The more concrete looking dance set was super cool and minimalist, though the choreography set with the building front as the background felt like it has been done one too many times. It reminded me of the background of their 2023 Love Shot performance at the SMCU Palace show and brought nothing new to the table for EXO. I liked that the video still acknowledged KAI with a name card at the table. But I didn’t notice anything for LAY, which was odd. I know he left SM Entertainment, but he still an EXO member at the end of the day and deserves to be acknowledged in some form.
It doesn’t feel right that KAI is missing from this choreography. This routine would have been within his wheelhouse. But the remaining seven members did a really good job. The music video, which is what I am basing the choreography aspect of this review on, fails to really highlight a key move in my opinion, which disappoints me a bit. However, I liked the subtle sensual moves in the routine, and that there were moments where the members did reflect the intensity in the relevant sections to give off a strong performance.
Song – 9/10 Music Video – 8/10 Performance – 8/10 Overall Rating – 8.5/10
The next album to be reviewed on the blog is THE BOYZ’s BE AWAKE, the group’s 8th mini-album, which was released back in February of this year. The mini-album features the title track ROAR and five additional side tracks. This comeback is the first comeback from the group since BE AWARE / WHISPER in 2022 and also marks the return of Eric, who had taken a hiatus due to health reasons in early 2022.
If there was one aspect that was showcased in most (if not all) songs on BE AWAKE, it was THE BOYZ’s vocals and rapping. I particularly enjoyed their deep and raspy vocal tones featured in the first half of the mini-album, and how well fitted (and sometimes unexpectedly good) the rap sequences were on this mini-album. This consistent showcase of the members really helped make BE AWAKE a captivating mini-album and is a definite improvement from BE AWARE (which got a fair reaction from me). Check out the mini-album below to see if you agree with me (and my overall rating of the mini-album)!
BE AWAKE Album Cover
1. Awake – Kevin’s narration at the start, the group’s vocals and rapping were bone-chilling and so riveting to listen to. The R&B and EDM instrumentation for Awake came together to create a paced and sensual atmosphere, with the members really showing the latter through their deep and raspy tones. The song also features elements from the title track, which makes it an ideal track to kick off the mini-album and lead into the title track that follows. (9/10)
3. Blah Blah – Blah Blah changes up the mini-album, diverting to a brighter territory (compared to the opening and title track). The producers of Blah Blah do maintain the deep tones from the earlier in the songs, allowing the track to still fit into the mini-album. But they offset this with some subtle groove in its melodies and hooks. However, I did think there was room for Blah Blah to do a bit more on these fronts, just to make the track more appealing. That being said, though, Blah Blah’s central piece was smooth and velvety to listen to. (8/10)
4. Savior – The 4-minute track on this album has a lot of great moments/elements. Some of my favourite include the hard-hitting and dynamic rap that changes up Savior out of nowhere; the groovy EDM that without a doubt enables THE BOYZ to show off some create choreography; and the sensual energy from the R&B motif at the start of the song, showcasing the members’ vocals. Savior pulled me back a few times when the mini-album was released, and it continues to do so months after its release. Definitely a sign of a great song. (10/10)
5. Horizon (숨) – Horizon is the BE AWAKE’s answer to a ballad piece. The instrumentation is made up of a range of balladry regulars, such as acoustic guitar, piano and orchestral strings. I liked that the track builds as it progresses, ending with some dramatic drumming. This helps makes the ballad more riveting, yet also maintaining a peaceful exterior. In addition to that, the vocals and rapping in the track are so captivating to listen to. A strong ballad, overall. (8/10)
6. Diamond Life – Ending the mini-album is Diamond Life, which has a lot more crunch thanks to its electronic synths. I vividly remember when I first checked out the album months ago, this track caught me off guard (more so scared me) as it a dynamic and bolder track following on from a calm and peaceful ballad. There are catchy bits in the song, and the vocals and rapping were solid works from the group. I would have liked Diamond Life to have a bit more of a zing to it, just to close out the mini-album on a lesser consistent note (as the song does feel a bit repetitive after listening to it a couple of times. (8/10)
Overall Album Rating – 8.4/10
ERIC’s teaser image for BE AWAKEYOUNGHOON’s teaser image for BE AWAKESUNWOO’s teaser image for BE AWAKESANGYEON’s teaser image for BE AWAKEQ’s teaser image for BE AWAKENEW’s teaser image for BE AWAKEKEVIN’s teaser image for BE AWAKEJUYEON’s teaser image for BE AWAKEJU HAKYEON’s teaser image for BE AWAKEJACOB’s teaser image for BE AWAKEHYUNJAE’s teaser image for BE AWAKE
Welcome back to the 1st Weekly KPOP Chart for the second half of 2023. Crazy indeed at how fast the year is going by! I am planning one of two album reviews for later tonight, so keep your eye out for these. In the meanwhile, I have a lot to do as it is chore day in my residence. So I better get cracking if I want to get those album reviews out for you! Here is the Weekly KPOP Post for the 1st Week of July 2023.
Recap of the past week
This part of the Weekly KPOP Chart will be slightly altered to be easier to prepare. More lists, and less text, which means you will get to the charts much quicker (I hope!). This past week, I posted reviews for:
Joining the new release of HWEEK are the following songs:
Sea&U&I – polar
Twenty – Swan (PURPLE KISS)
All The Way Up – Thunder
Roller Coaster – NMIXX
Close The Shutter – Super Junior L.S.S
Someday – BOL4 ft. Ha Hyunsang
Shhh – KISS OF LIFE
Metronome – ph-1 & Kieta (ciipher)
UN-NORMAL – Queenz Eye
Write & Draw – Kim BoA
Super Shy – NewJeans
New Jeans – NewJeans
Youtiful – Stray Kids
Do It Like That – TXT ft. Jonas Brothers
Psycho – JUN (SVT)
BET ON ME – ITZY
Throwback Song of the Week
U-KISS made their return the previous week with The Wonderful Escape to celebrate their 15th anniversary, and I was checking out all the new content they have been releasing as part of promotions for this comeback. Neverland popped up on their Killing Voice and Killing Dance videos (by DINGO Music), which I have picked as this week’s throwback song!
Non-Korean Song of the Week
Each week, I feature the highest ranking non-Korean song by a Korean artist in this part of the Weekly KPOP Charts. For the 1st Week of July 2023, that song is TWICE’s Hare Hare.
The Charts
Congratulations to KIM SUNG KYU for rising to the top spot on this week’s KPOPREVIEWED’s Weekly KPOP Chart with his latest single Small Talk. I have yet to review Small Talk, but I can confirm that I intend to write a review for Small Talk later this week.
FYI – There were a few big jumps on the charts this past week. This is because I have been trying to listen to all the new releases from the previous week in which I was away from the blog. They didn’t get a chance to rank on last week’s Weekly KPOP Charts, and so they rose straight from the bottom to the top 30, leading to the big jumps in position. As for more of the charts, keep on scrolling down.
Pos.
Song
Artist
Change
1
Small Talk
Kim Sung Kyu (INFINITE)
(▲ 68)
2
LUCKY!
KIM JAE HWAN ft. BOBBY (iKON)
(▲ 13)
3
Queencard
(G)I-DLE
(▲ 5)
4
Hate Rodrigo
CHOI YENA ft. YUQI ((G)I-DLE)
(▲ 62)
5
HARD
SHINee
(▲ 22)
6
The Wonderful Escape
U-KISS
(▲ 12)
7
S-Class
Stray Kids
(▼ 3)
8
BITE ME
ENHYPEN
(▲ 15)
9
Overdrive
I.M (MONSTA X)
(▲ 60)
10
Who’s Next
LAPILLUS
(▲ 59)
11
HWEEK
TEEN TOP
(NEW)
12
Dive Into
Han Seung Woo (VICTON)
(▲ 57)
13
OVERDRIVE
WEi
(▲ 56)
14
Move
T5 (TREASURE)
(▲ 31)
15
Hare Hare
TWICE
(▲ 54)
16
SOS
KANG DANIEL
(▲ 4)
17
But I Like You
BOYNEXTDOOR
(▲ 34)
18
ERASE ME
ONEUS
(▼ 2)
19
Hear Me Out
EXO
(▲ 27)
20
Crazy Like That
VERIVERY
(▲ 49)
21
Take Two
BTS
(▲ 48)
22
Kick It 4 Now
The New Six (TNX)
(▼ 17)
23
Contrail
Baek Yebin
(▲ 46)
24
Broken Melodies
NCT DREAM
(▼ 14)
25
SHALALA
TAEYONG (NCT)
(▲ 4)
26
Hold Tight
Flash (from FANTASY BOYS)
(▲ 43)
27
Twenty
Swan (PURPLE KISS)
(NEW)
28
Good Enough
Xdinary Heroes
(▲ 41)
29
Let Me In
EXO
(▼ 1)
30
BLUE MOON
N.Flying
(▼ 19)
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:
A much shorter gap than compared to last time again! Not yet ‘on a roll’ status, but I am hoping to smash out more of these International Song Reviews posts over the next few weeks to make sure I catch up on them as soon as possible. Last time, I focused on DRIPPIN, Rocket Punch, Kep1er and KANG DANIEL’s international releases from 2022. Today, I am still focusing on 2022 releases, but the attention is focused on ITZY’s Blah Blah Blah, JAMIE’s 3D Woman, what appears to be LOONA’s final song ever (:( aka. LUMINOUS) and Rocket Punch’s DokiDoki Love. Let’s go!
Blah Blah Blah – ITZY
Language: Japanese Release Date: 5 October 2022 Album: Blah Blah Blah (2nd Japanese Maxi Single)
Ahead of their impending Korean comeback at the end of the month, it is time that I review Blah Blah Blah, ITZY’s latest Japanese comeback track which was released in October 2022. Blah Blah Blah is a song that shows off a more intense side of the group. The instrumentation of Blah Blah Blah definitely feels more abrasive and textural. However, I am particularly not a fan of the more typical and squeakier synths that were used as bookends in the introduction and end of Blah Blah Blah and post first chorus. The members did a great job with their vocals and rapping. The more chanty approach helped made Blah Blah Blah charming and appealing, as well. As for the music video, I really liked the colours in the video. The music video primarily used black and white in its sets. But the members’ outfits and some post-production elements present in the latter half of the video introduces small amounts of colour that really pop out. ITZY themselves looks amazing throughout the video, and I liked how the video’s concept brought out their intense and fierce sides. The choreography was definitely cool, and shows off a confidenct and sassy side which works well with the rest of the comeback.
Overall Rating – 8.3/10
3D Woman – JAMIE
Language: English Release Date: 5 October 2022 Album: One Bad Night (3rd Mini Album)
JAMIE made her comeback with 3D Woman, in October of last year, following on from her Pity Party release from earlier on in 2022. The track showcases a mature sound and side of JAMIE. It features a slow and sensual vocal delivery from JAMIE, and an alluring and hypnotic trap instrumentation. It does get repetitive as it progresses, but it is still a strong foot forward for JAMIE. However, had the final chorus not been too much of a repeat of the what we heard earlier in the song, 3D Woman could have been a bold hit. As for the music video, I didn’t know exactly what was going on. But it was definitely a sexy music video to watch. My best guess about the plot is that the video depicts JAMIE as a femme fatale, who is part of a group of empowered and confident woman. A guy at a club is seen making a move on a particular lady at the club (whom I think is identified as a possible new recruit at the start of the video), but three ladies whom are at the club with JAMIE get in the way and drag her away from the guy. The guy ends up being distracted (and later gagged and bounded) by JAMIE, while the lady whom he was making a move on taken away and recruited to be part of the team of empowered and confident females. The video ends with as a group of ladies, including the newly recruited lady, walking by the bound and gagged guy. She takes one look at him and leaves him behind with her new friends.
Overall Rating – 7.4/10
LUMINOUS – LOONA
Language: Japanese Release Date: 28 September 2022 Album: LUMINOUS (2nd Japanese Single Album)
As mentioned above in the introductory paragraph to this post, LUMINOUS potentially could have been LOONA’s final song ever following the group’s lawsuit against and departure for Blockberry Creative earlier this year. There may be potential for a regroup, as the members have predominately stayed with one another as they signed with new companies. But I guess, we will have to wait and see. Back on topic, LUMINOUS is an awesome track. I really like the bold energy that came off the song and the confidence that the song instills on you (which without a doubt works extremely well with the lyrics). LUMINOUS has drive and this really helps make the song appealing for me. Admittedly, the instrumentation is a bit repetitive and the vocals could have been through less processing. But the combination of both manages to offset each other and create that bold energy that I already mentioned. In terms of the music video, I am not a fan of the portrait frame. I think their previous Japanese track (Hula Hoop) was also shot in a similar manner. I guess it helps with the current form of videos we see (i.e., short form) and relates to the mobile phones (product placement perhaps?) in the video. The catwalk feel of the video matches up with the song very well and I like how their members’ message of confidence on the catwalk gets heard by the ordinary people/their fans who become confident as the video progresses. The choreography did look good, but I think better sychronisation would have made the performance I saw look better.
Overall Rating – 7.9/10
DokiDoki Love – Rocket Punch
Language: Japanese Release Date: 5 October 2022 Album: DokiDoki LOVE (1st Japanese Studio Album)
DokiDoki Love is a track I did not expect to enjoy as much as I did when it was part of the Weekly KPOP Charts post. simply because it sounds very cutesy in passing and that isn’t my cup of tea. As usual, there is always exceptions to this and DokiDoki Love is probably one of the most recent additions to that exception list. I just remember finding the chorus super catchy and fun one day, and DokiDoki Love‘s appeal snowballed from there. The synth instrumental and subsequent pop energy that comes off the song was extremely likeable, and the members did a good job at executing the song. Come to the think of it, the song is quite summery – well suited for the current season (or in my case, my desire for the summery season). My favourite part of the song, overall, was the post-bridge/pre-final chorus Doki Doki chant. Brief, but it was a memorable part of the song. The music video was very bright and colourful, which is what you expect with this type of song. It is more on the typical side, but it works. Similarly, the choreography is cutesy and upbeat, exactly what you would expect with this type of song. Overall, a solid comeback.
As we have already wrapped up another July to June period, here is a recap of a full year’s worth of Weekly KPOP Charts winners! These are the song that topped the Weekly KPOP Charts segment between July 2021 and June 2022 (inclusive). As a quick recap, I personally decide on these charts. Songs that I prefer rank higher as I tend to gravitate towards them more. You will see the same artists return to the top of the charts throughout the year. But I also tend to surprise myself when an unexpected artist top of the charts for a particular week. So let’s have this walk down memory lane and see who topped the Weekly KPOP Charts between July 2021 and June 2022.
TEEN TOP is one of the growing number of second generation KPOP groups that have recently announced their return to the KPOP scene for the first time in years. And earlier this week, TEEN TOP officially returned with the single HWEEK and their 7th single album 4SHO. Since their last comeback in 2020 with the 2020 version of their hit single To You, the group went on hiatus due to the member’s military enlistment requirements. All the members have since returned from the military, but leader C.A.P departed from the group earlier this year following some controversy. As a result for this HWEEK and 4SHO comeback, the group reformed into a four member male group.
My thoughts on HWEEK are my actual initial thoughts of the song, as I have only gotten around to listening to the song for the first time today (it has been a busy week back at work, so I hadn’t had a chance to listen to new releases in the background). But I can already tell you just after one listen that HWEEK garners a positive review in my mind. What I really like about HWEEK right off the bat was its fun, lively, foot-tapping energy that I can definitely see being super infectious and catching on (if it hasn’t already). Based on the group’s more recent outputs in the late 2010s, I kind of expected a darker and more mature sound from the group. But HWEEK‘s brighter and upbeat appeal was much appreciated, given the summery season Korea is now in (and my yearning for such weather). The retro vibe of the rock instrumentation is quite refreshing take on both the rock and retro genres in KPOP, and I like how consistently upbeat and energetic the instrumentation was. I also liked the shorty snappy lines and melodies of the chorus, which helps build on the catchiness of HWEEK. They also made it easy to get into the song. I found the pre-choruses, handled by Changjo, to be an intriguing part of the song (but in a good way). It infuses a bit of a hip-hop vibe to the song, which changes up the momentum and direction of HWEEK momentarily. But it doesn’t feel too out there and works. The members did a solid job in the track with their vocals, as well. Overall, I think it is needlessly to say that I found HWEEK a very likeable song with strong potential to grow on me over the coming weeks.
The music video was alright. The video nails embracing the summery and upbeat vibes of the song, particularly when it came to the outdoor scenes (i.e. the beach and the road trip). I also liked the energy the members brought to the video. However, when it came to the use of the green screen, I wished the editors/post-production team made the background felt a bit more natural. The use of the green screen cheapens the video in my opinion, especially when it came to focusing on their footwork in the video.
The choreography was indeed a fun aspect of the comeback. I liked how there was a slight bounce to the routine and that it felt lighthearted, and not as intense as their usual choreography. This allows the members and dancers to bring a likeable level of energy to the performance. Their consistent live vocals made it enjoyable to watch, as well. I also liked how they threw in a Rocking dance reference to the end of the choreography. Obviously not as intense as the usual Rocking choreography, but a nice homage to one of their iconic dance routines.
Song – 9/10 Music Video – 7/10 Performance – 8/10 Overall Rating – 8.2/10
As already mentioned prior to my break, one of the first posts after posting the outstanding Weekly KPOP Charts will be the annual ‘Personal Favourite’ post. Each year, to help round out the first half of the year, I post a list of my personal favourite songs from the 1st half of the year in July of each year. As we are now in July 2023, it is time to post my personal favourite songs from the 1st half of 2023 (with a few extra tidbits).
For this year’s post, I am following what I did last year, as I quite liked how that turned out. This means in addition to the usual list of 10 songs (which are in no particular order and not related to my reviews as songs do grow immensely on me) for the first half of 2023, I will also be posting two songs from the November – December 2022 period. And I will be posting 3 non-Korean songs (i.e. English, Japanese etc.) by Korean artists that caught my attention so far this year. So without further delays, here are the list of my personal favourite songs of the year thus far (in no particular order, of course).
From November – December 2022
Personal favourite non-Korean songs of 2023 thus far
Personal favourite KPOP songs of the year so far (January – June 2023)
Here I am with my first review since returning from my week off. You know I have to start with the biggest comeback from last week – SHINee’s grand return to the KPOP scene with their 8th studio album and title track, both titled HARD. The group previously pre-released The Feeling a few weeks back, raising the excitement for this comeback. HARD also celebrates the group’s 15th anniversary since their debut back in 2008 with Replay, one of the most iconic and legendary KPOP debut songs that have stood the test of time. Unfortunately, only three members (Key, Minho & Taemin) promoted the comeback on stage, with Onew sitting out due to health issues.
My first impression of HARD was that it felt too hip-hop oriented for SHINee. It actually sounded more like a NCT release than a SHINee release, and I wasn’t exactly sure what I honestly thought about that. But as usual, the power of multiple listens since its release has helped HARD grow on for me. I still don’t see the SHINee influence, but I find HARD to be strongly executed (as one expects when it comes to a SHINee comeback) and its production and energy to be one of the strongest points of the track. I really liked how ‘hard’ the track ended up going in the hip-hop direction, especially when it came to the choruses. The choruses kick off with an anti-drop and whispery vocal approach, which help builds anticipation to the second half, which is where the energy peaks and HARD feels very hype, 90s and punchy. There is also a catchy appeal to the chorus here. KEY’s take on the whispery half of the chorus was the best version in the song, while Minho’s execution of the second half during the second run at the central piece was my standout. As for the verses, they were not as memorable. They contain a bit of the hip-hop influence in its backing, with the first verse pairing it off with piano flourishes and the second verse doesn’t do too much else than electronic elements. The piano flourishes gives HARD a trendy dynamic and allows the song to dip into a melodic mode for the pre-choruses and bridge. Vocally, the group doesn’t miss a beat and delivery another strong track. Unsurprisingly, they do branch out into a rap-like territory, which allows them to fit more neatly into the hip-hop driven HARD. While this hip-hop side of SHINee is a bit foreign to me still, HARD has grown immensely on me.
As for the music video, I felt like the video had that SHINee artistic flair, which fits it neatly into the SHINee videography. The sets look quite cool, such as the twisty piano keys structure and the broken/smashed piano set. The stylists did an amazing job with their outfits for this comeback. It had a modern flair, but felt very appropriate for the 90s hip-hop music influence. It is also nice to see ONEW make an appearance in the video alongside the other three members, albeit not as much in the choreography side of the video. I do hope he is doing okay.
A strong performance rounds out this comeback. They really embraced the hip-hop influence of the song in the choreography. I really liked the routine for the choruses, starting off with small and softer movements to fit with the whispery vocal approach and then stepping it up with a bouncy on-the-spot bop in the second half where the music was livelier and hype-like.
Song – 8/10 Music Video – 8/10 Performance – 8/10 Overall Rating – 8/10
As mentioned yesterday, today I will be posting the Weekly KPOP Charts post for the 4th Week of June 2023 (which just passed last week). And with this post out of the way, I will be back tomorrow to write reviews and some special posts that I mentioned in the Weekly KPOP Charts post for the 2nd Week of June 2023 (before I took some time off). Enjoy the charts below and check back tomorrow for a new song review!
The Charts
Congratulations to fromis_9 for rising to the top spot on KPOPREVIEWED’s Weekly KPOP Chart with their latest single#menow. For more of the charts, keep on scrolling down.
