Casual reviews of KPOP songs, music videos & dances
Author: kpopreviewed
Hi, my name is Tony and I am the man behind the site, kpopreviewed. Currently an university student who wants to introduce people to KPOP and if you are already into KPOP, different groups and bands.
Welcome back to the Weekly KPOP Chart for the 3rd Week Of July 2023. This post is a bit later than usual, so I am going to speed through the introduction. Following this post will be an album review, so stick around for that. As for now, here is the Weekly KPOP Chart.
Recap of the past week
This past week, I posted:
song reviews for new releases, such as NCT DREAM’s ISTJ, NewJean’s Cool With You and ETA, and
This week’s throwback song is KARA’s Mister, one of the most iconic girl group songs from the late ’00s. Not just the song, but also the dance as well! Unfortunately, I can only find the Japanese version of the music video, so I have linked to that below.
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 3rd Week of July 2023, that song is (G)I-DLE’s all English single I DO.
The Charts
Congratulations to NCT DREAM and ISTJ for debuting in the top spot on this week’s KPOPREVIEWED’s Weekly KPOP Chart. And also for surviving the NewJeans domination, whom ranks in the 2nd, 3rd and 4th positions this week! For more of the charts, keep on scrolling down below.
Pos.
Song
Artist
Change
1
ISTJ
NCT DREAM
(NEW)
2
ETA
NewJeans
(NEW)
3
Super Shy
NewJeans
(▲ 2)
4
Cool With You
NewJeans
(NEW)
5
BONVOYAGE
Dreamcatcher
(▲ 2)
6
Hear Me Out
EXO
(▲ 9)
7
HWEEK
TEEN TOP
(▲ 14)
8
Cream Soda
EXO
(▼ 7)
9
BOUNCY (K-HOT CHILLI PEPPERS)
ATEEZ
(▲ 10)
10
Who’s Next
LAPILLUS
(▲ 62)
11
Ready To Move
REN
(▲ 61)
12
Voyager
LUN8
(▲ 60)
13
HARD
SHINee
(▼ 2)
14
Small Talk
Kim Sung Kyu (INFINITE)
(▼ 11)
15
PARADISE
JAY (iKON)
(▲ 57)
16
Queen
We;na
(▲ 56)
17
But I Like You
BOYNEXTDOOR
(▲ 31)
18
One and Only
ENHYPEN
(▲ 54)
19
S-Class
Stray Kids
(▼ 11)
20
BITE ME
ENHYPEN
(▲ 5)
21
#menow
fromis_9
(▼ 8)
22
FNF
Stray Kids
(▲ 50)
23
Broken Melodies
NCT DREAM
(▼ 1)
24
I WANT
IVE
(▲ 48)
25
Die For Love
B.I ft. JESSI
(▼ 11)
26
SNAP
Athena/PICK-CAT (from Queendom Puzzle)
(▲ 46)
27
Roller Coaster
NMIXX
(▼ 9)
28
SHALALA
Taeyong (NCT)
(▲ 44)
29
I DO
(G)I-DLE
(▲ 43)
30
Wild Heart
LUN8
(▲ 37)
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:
Next up on the album review block is CRAVITY’s MASTER: PIECE, the group’s fifth mini-album since their debut in 2020. The mini-album was released in March this year. Leading the mini-album is the single Groovy and five side tracks. It follows the group’s 2022 PARTY ROCK era and their fourth mini-album NEW WAVE, which I reviewed previously earlier this year.
While MASTER: PIECE is not necessarily a masterpiece in itself, it is still a solid mini-album from the group. I didn’t find a single song in which I disliked and the group really showed themselves off in this mini-album. As such, I have placed a recommended sticker at the bottom of the review, just to indicate that I would recommend this mini-album (if you are looking for new music to listen to!).
2. FLY – I have been listening to a few musical numbers lately and FLY definitely hits that spot directly. It is such a super duper vibrant and upbeat track, and the members make it a casual and fun affair. The opening synth and electrical guitar work were such a cool opener, and this combination brings out a funky tinge to the song when it reappears as an instrumental break. I also really liked slight change in momentum in the chorus. Overall, it is all very catchy and a strong side-track. (9/10)
3. Get Lifted – Get Lifted merges a hip-hop motif with a rock instrumentation. While I did like Get Lifted, I think there were moments (i.e. the rapping in the verses) that could have gone harder. The vocals bring a neat pop colour to the song, but I think the strongest aspect of the song was within the choruses. The anthem approach taken, hype energy, and the crunchy guitar work makes it a very cool centrepiece. (8/10)
4. Baddie– The rock elements carry on from the previous song, but Baddie sees the rock intensifies, creating an urban rock track that I am all for. Many elements stand out in Baddie, but it is the instrumentation that really wins me over. It has this slightly grungy, bad boy vibe, a sound that feels like CRAVITY is very much in their element. The electric guitar work, particularly in the instrumental break, was awesome. Elsewhere, the members executed this track perfectly, with both vocals and rapping earning big praises from me. (10/10)
5. A to Z – A to Z attempts to bring a new and different sound to the album, thanks to the fast beats and synths that come together to create something synthwave-esque. But there is some pop mixed into the instrumentation to give it a more upbeat and buoyant feel. The vocals and rapping were solid efforts, but I wished there was something more within these elements (i.e., texture) to add additional flair to level-up A to Z. (8/10)
6. Light The Way – As an ode to fans, the album ends with Light The Way, which is an acoustic ballad-like track. It serves as a heartwarming ender to the album and brings out some wholesome feelings from the group. I enjoyed the repetitive backing vocals in the choruses and appreciated the flowy melodies of Light The Way. (8/10)
As mentioned last week’s review for Super Shy and the day before yesterday’s review for Cool With You, NewJeans was scheduled to make their official comeback yesterday with the release of their second mini-album, Get Up, and the mini-album’s third lead single ETA.
While I was impressed with Super Shy and disappointed with Cool With You, I find myself to be on the fence with ETA. I find the upbeat nature of the song to be a strong aspect of the song, and it sounds like that is a bit of a party flair to it. The vocals were solid, and I liked the chanty nature of the “What’s your ETA?” hook that forms part of the chorus. All of this brought a nice level of excitement to the song. One of the issues with ETA is that repetitive nature of the instrumental. While I usually don’t have much of an issue with repetition (which NewJeans and their producers employ a lot in their songs), I did feel like the repeated brassy-like synth was a bit much for me. I already didn’t enjoy as much in the first instance, and having it on repeat for majority of ETA doesn’t really help much. It stole the attention away from the vocals and clashed with the rest of the song by being overly prominent. Also, I didn’t remember that much from the verses and wanted more from them. Those were the big sticking points of ETA for me, but the rest of ETA falls into the nice and pleasant category.
This entire video was a product placement for the iPhone 14. I don’t think it was necessary to have the members hold a mobile throughout the entire video, as this just felt so forced and made for a distraction from the storyline, which I felt was the main star of the video. On that front, however, I am impressed. The video features a dark twist, in an otherwise vibrant video. The NewJeans members call up their friend after noticing her boyfriend was getting friendly with another girl at a party. The NewJeans members proceed to keep tabs on the boyfriend and his new friend, while their friend beelines to where the group is. A lot of emotions is felt by the friend, who surprises the boyfriend and his new girl by hitting them on the road. At first, it was a no fatality/injury crash with the boyfriend and his new girl on the car bonnet. But I guess her anger sees her drive over the pair off-screen, with the guy (and presumably his new girl) stuffed into the boot of the car as she drives to an isolated place to get rid of the evidence of their murders (as alluded to by part of the boyfriend’s shirt sticking out from the boot).
The performance for ETA is both familiar and refreshing. It felt very much like NewJeans’ style in terms of formation and execution, but it is also felt summery and vibrant. The members members felt like they had a more relaxed demeanour/mindset to the performance, and the appeared to look like they were having genuine fun on stage.
Song – 7.5/10 Music Video – 8.5/10 Performance – 9/10 Overall Rating – 8.1/10
As mentioned in last week’s review for Super Shy, NewJeans will be making their official comeback this week. The group has earmarked Friday as the official release of their second mini-album Get Up and a third lead single for said album. But earlier today, NewJeans have unveiled their second lead single from the mini-album, Cool With You. As part of the teasers leading up to the release, ADOR announced that two global stars would be featuring in the music video for Cool With You. Continue reading to find out who featured in this music video!
Just as simple as Cool With You is, my thoughts about the song is just as simple. This could either be a good or a bad thing, but I am not speechless over the song because I am amazed by it. Instead, I find that I more so lack words to describe Cool With You as I found to be an empty vessel and boring. There are some things to appreciate in Cool With You, such as the more mature sound profile that the group brings to the KPOP landscape (a complete change to Super Shy), the instrumental’s chill and atmospheric vibe to it, and the nicely soft and flowy vocals. But somehow when these elements come together, Cool With You doesn’t come off as memorable piece. It also didn’t help that the song was very quick to end, lasting less than 2.5 minutes. Instead, I find myself skipping through the song, particularly when I watching the music video as there isn’t much within Cool With You to focus on. The song does have one primary hook – the repetition of the title with the elongated “Cool“. But as we get to the end of the song, I felt like I heard the primary hook one too many times. Overall, I think Cool With You is a miss and a disappointment following the likes of Super Shy. Hopefully, tomorrow’s release of ETA is more promising.
As mentioned above, two global stars feature in the music video Cool With You. Furthermore, there are two versions of the music video! In the Side A version of the video, Jung Ho Yeon (who rose to fame in Squid Game) features as the main character. She plays the role of a ghost who becomes infatuated over a guy she sees in the art gallery. I am not entirely sure what happens exactly, but I think her character becomes tired of being unseen and her embracing the rain at the end of the video is her way of wanting to be seen and interact with the world around her. NewJeans, for some reason (maybe it is because they are angels), are the only people to notice her (which Jung Ho Yeon’s chraacter is aware of). In Side B of the music video, we are treated to choreography scenes with NewJeans (it looks artistic, but I don’t think I can say much else towards the choreography aspect of this comeback – hence no choreography section of this review) and Jung Ho Yeon is granted the chance to be seen and interact with the world (I assume NewJeans granted her wish, given they are angels). The first thing she does is become friends with the guy she was infatuated with. However, that opportunity is cut short when she disappears once again from the world (and her guy friend forgets about her) following the appearance of Tony Leung (who is the second global star to appear in the videos). Again, not entirely sure what his role is, but he has the ability to revert Jung Ho Yeon’s wish. At the end of Side B, we hear a bit of Get Up (the single) and Jung Ho Yeon sees NewJeans. But she smiles as she turns around, which might represent a subtle thank you to NewJeans for granting her wish. I personally would love to read alternative theories, as I am sure there are a few flying about at the moment.
Song – 6/10 Music Video – 9/10 Overall Rating – 7.2/10
Making their explosive comeback yesterday was NCT DREAM, who returns with their 3rd studio album ISTJ. This new album is lead by the title track of the same name as the album and the pre-release singleBroken Melodies released a couple of weeks back. As mentioned in the pre-releases’ review, a fair bit has kept the subunit busy since their last Korean comeback with Candy, such as releasing their 1st original Japanese single Best Friend Ever (still yet to be reviewed) and the continuation of their first world tour.
I could potentially see ISTJ rivalling the likes of BOOM (which has grown and remained my pick for most favourite NCT DREAM track ever) had it not flip back and forth between melodic vocals and intense raps/hip-hop moments. I wished the sections were more cohesive and blended into one another, rather than be fragments (which is more or less the trend nowadays particularly with NCT to fit in multiple styles into one song). Such an example is the calmer and ‘introverted’ vocal focused pre-choruses. I personally felt this was too much of a slowdown and it really cut the amazing flow the verses/choruses had going on. That being said, however, ISTJ still manages to pack a massive punch in one way or another. The start of ISTJ‘s verses really kicks the song into gear, especially the starting combination of Mark and Jaemin’s rapping, and the instantaneous fast pace instrumentation that literally launchpads right into the song. As for the choruses, they can be described as ‘extroverted’ sections of the song. The choruses are very much the concentrated moments of intensity that makes ISTJ super memorable, with the rap-singing in first part, followed up by some powerful vocals from the vocalists and finally the ‘Let’s Get Down‘ refrain at the end of each chorus. The bridge mixes in a dreamy-like sequence that doesn’t really fit into the bigger picture of ISTJ, especially with the choruses serving as bookends on either side of the bridge. it does raise the same issue about cutting the flow of the song and needing to be more cohesive with the rest of the song. But I thought it was an impressive display of vocals from the entire vocal line, the rapping was a lot more soothing to a degree and I appreciated the dreamier instrumentation that accompanied it. In other words, I appreciated the blissful moment that was the bridge amongst the high-energy packed choruses. Overall, ISTJ is a strong track and it does work in terms of appeal. However, I wished the issues I touched on were improved upon to make ISTJ a better listening experience.
I am not entirely sure what is going on in this video. Supposedly, the lyrics depicts an ENFP type person trying to understand an ISTJ type person in their own way, thus breaking the stereotypes of the MBTI indicator personalities. And I think we see that in some capacity in the video, with the group hanging around ISTJ people, being conditioned to become ISTJ types after kidnapping a doctor, trying to teach themselves of the trait etc. But based on the scene in which the members are walking around the maze (which is later shown to be the brain), not all the members are ENFP types. Personality aside, the video had some really cool styling and sets, and I liked how the lighting made things chaotic and erratic during the more intense moments of the song.
With the calmer and more intense parts of the song, there is a good mix of moves to represent either side of the song. My favourite has to be the more intense parts, simply because NCT DREAM really thrives in these moments. And the synchronisation and execution are on point! I particularly enjoyed Renjun’s solo moves in the final chorus, which appear to be moonwalk-like.
Song – 8/10 Music Video – 7.5/10 Performance – 8/10 Overall Rating – 7.9/10
Today’s album review focuses on Truth or Lie, HWANG MINHYUN’s first solo mini-album since his debut as part of NU’EST 11 years ago. Leading the charge on this min-album is the single Hidden Side, and it stands alongside 5 other side tracks. The mini-album is a mixed bag for me. We have one half of the mini-album that features the more mediocre songs, while the other half features smashing songs. To me, you have a better chance of telling which half is which, rather than what is the truth or the lie. Continue reading the review to find out which half is which!
Truth or Lie Album Cover
1. Honest – Honest opens up the mini-album with a balladry number. The instrumental predominately features piano, but we do get some soft guitar work in the mix as well. Together, it creates a calming piece. As with most ballads, there is a nice flowy momentum brought to life by MINHYUN’s vocals. However, it would have been nice for the song to be more memorable in some way (such as, via a more soothing melody) as a way to bring the audience back to the song after Honest finishes. (7/10)
3. Crossword – Crossword is a more unique track, with its drum percussion and jazzy tinged guitar work. This combination makes the track feel upbeat and it helps make it stand out for me. I did like MINHYUN’s breathier vocals, however, I wished there was a more riveting melody and hook to the acoustically upbeat song. (7.5/10)
4. Perfect Type – Vocally, Perfect Type fairs much better than the side-tracks before it. MINHYUN brings his breathy vocals back into play in this song, but also combine it with falsettos and oomph (which allows it to go along way). This enables a sensual energy to come through. The rapping and speak-sing portions of the song were also cool moments in the song. The instrumental has a subtle groove to it and a fun retro vibe. (9/10)
5. Smile – We remain in upbeat territory with Smile, but it feels a lot more loaded with the brass elements and thumping beat combination that we can hear in the background. The strings gave the song an elegant touch. Everything altogether makes the entire instrumental package feels grand. MINHYUN’s vocals are a lot more vibrant (which makes sense, given the song’s title is Smile) and has more character, which does wonder for appeal. I do feel like the instrumental does drown out the vocals a bit, but not to the extent where it hurts the song. (9/10)
6. CUBE – CUBE begins in R&B territory. But as we get to the first chorus, the track unexpectedly reverts to epic synths that really wakes you up. From there, the song maintains the momentum. But despite all of that, CUBE sees MINHYUN maintains a R&B vocal approach. His vocals, again, have character and we also hear him draw on his breathy tones and falsettos in this track. The way song eases out at the end allows CUBE to serve as a strong and bold ender to the album. (9/10)
Welcome back to the 2nd Weekly KPOP Chart for the second half of 2023. Hope you are doing well! It is sunny where I am live, so I might venture out for some fresh air and a walk after posting this blog. But I am planning another one or two album reviews for later tonight, so keep your eye out for these. But for now, here is the Weekly KPOP Post for the 2nd Week of July 2023.
Recap of the past week
This past week, I posted:
song reviews for new releases, such as EXO’s Cream Soda, ZEROBASEONE’s In Bloom,
song reviews for slightly older releases like NewJeans’ Super Shy and Kim Sung Kyu’s Small Talk;
Joining the Cream Soda,In Bloom and Seven this week as new releases are the following songs:
Drop It – BLASÉ ft. Lee Young Ji
Party O’Clock – NMIXX
This Love – Hyolyn ft. Paul Blanco
Air Force One – ODD EYE CIRCLE
FESTIVAL – SANDARA PARK
One and Only – ENHYPEN
I WANT – IVE
Do Not Touch – MISAMO (TWICE)
I DO – (G)I-DLE
Throwback Song of the Week
This week’s throwback song is INFINITE’s Last Romeo. I was in an INFINITE mood this week, given their upcoming long-awaited comeback as a group, and it was an opportunity to go back through their previous works. I am 100% sure I have featured Last Romeo in this part of a Weekly KPOP Chart post before, but I don’t care. It is one hell of a good 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 2nd Week of July 2023, that song is JUN’s PSYCHO.
The Charts
Congratulations to EXO and their long-awaited comeback with Cream Soda for debuting in the top spot on this week’s KPOPREVIEWED’s Weekly KPOP Chart. For more of the charts, keep on scrolling down below.
Pos.
Song
Artist
Change
1
Cream Soda
EXO
(NEW)
2
In Bloom
ZEROBASEONE
(NEW)
3
Small Talk
Kim Sung Kyu (INFINITE)
(▼ 2)
4
Hate Rodrigo
CHOI YENA ft. YUQI ((G)I-DLE)
(NEW)
5
Super Shy
NewJeans
(▲ 65)
6
JUMP
P1Harmony
(▲ 59)
7
BONVOYAGE
Dreamcatcher
(▲ 56)
8
S-Class
Stray Kids
(▼ 15)
9
Save Me, Kill Me
CIX
(▲ 61)
10
Kick It 4 Now
The New Six (TNX)
(▲ 12)
11
HARD
SHINee
(▼6)
12
Movie Star
MIJOO
(▲ 33)
13
#menow
fromis_9
(▲ 22)
14
Die For Love
B.I ft. JESSI
(▲ 56)
15
Hear Me Out
EXO
(▲ 4)
16
PSYCHO
JUN (SEVENTEEN)
(▲ 48)
17
OVERDRIVE
WEi
(▼ 4)
18
Roller Coaster
NMIXX
(▲ 49)
19
BOUNCY (K-HOT CHILLI PEPPERS)
ATEEZ
(▲ 15)
20
The Wonderful Escape
U-KISS
(▼ 14)
21
HWEEK
TEEN TOP
(▼ 10)
22
Broken Melodies
NCT DREAM
(▲ 2)
23
LOSER
AB6IX
(▲ 47)
24
Last Night
ABLE ft. Owen
(▲ 46)
25
BITE ME
ENHYPEN
(▼ 17)
26
SOS
KANG DANIEL
(▼ 10)
27
MOVE
T5 (TREASURE)
(▼ 13)
28
Party O’Clock
NMIXX
(NEW)
29
Hate Rodrigo
CHOI YENA ft. YUQI ((G)I-DLE)
(▼ 25)
30
FESTIVAL
Sandara Park
(NEW)
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:
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.
KPOPREVIEWED 