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.

[Weekly KPOP Chart] 4th Week of August 2022

Posted in Weekly ChartsLeave a comment

Welcome back to the Weekly KPOP Chart post for the 4th Week of August 2022 (i.e. the week that just passed). Not much to update you with this week- just the usual grind of reviews of all kinds coming your way. I got some personal errands to run, but I will be (hopefully) pushing out album reviews later tonight and some more song reviews during the week. For now, enjoy this Weekly KPOP chart post!

Recap & New releases of the Week

I think I can say that this week was a busy one, despite me being sick throughout the week. 8 different posts came out this week. These include reviews for new releases – CIX’s 458, IVE’s After LIKE, LEO’s Losing Game, Ha Sung Woon’s FOCUS and TWICE’s Talk that Talk; a song review for Super Junior’s Mango; and album reviews for GOT7 and Dream Catcher‘s comebacks earlier this year.

Other releases from the week includes:

  • Stay – Issac Hong
  • 100% – Yoon Seobin
  • Became a star – BOYHOOD
  • Rocking Chair – JAY B (GOT7)
  • Falling Free – Minho (SHINee)
  • Romeo and Juliet – Minho (SHINee)
  • Ring – TXT
  • FUEGO (Burn It Up) – BLANK2Y
  • CHANCE – AB6IX
  • Cheese burger – Kisu
  • 24/7 – DKB
  • be mine – Junji (OnlyOneOf)
  • Nap Fairy – Yeri (Red Velvet) & Sam Kim
  • running away – Mark Tuan (GOT7)

Throwback Corner

This week’s throwback song might be the result of a recent comeback. CIX’s Wave (from last year) is this week’s throwback song, as I was craving the song whilst reviewing 458 earlier this week. A few listens whilst reviewing their comeback and I found myself gravitating towards the song a lot this week! “Like Thunder Thunder Thunder“.

Non-Korean Release of the Week

Even though it was in its final week for being eligible for the Weekly KPOP Charts, Rocket Punch’s fiore, slide back up the charts to be this week’s non-Korean release of the week. The JPOP song ranked in the 23rd position this week. Per most of the international collaborations and singles by Korean artists, I have yet to review this one. But I will get around to it eventually!

The Charts

Congratulations to THE BOYZ for topping the Weekly KPOP Chart for the 3rd Week of August 2022 with their new single, WHISPER. For more of the charts, keep on reading.

4th Week of August 202221st – 27th Aug 2022
Pos.SongArtistStatus
1WHISPERTHE BOYZ(▲ 1)
2After LIKEIVE(NEW)
3FOREVER 1SNSD(▼ 2)
4Pop? Pop!CSR(▲ 2)
5Your SongONF(▼ 1)
6FOCUSHa Sung Woon(NEW)
7458CIX(NEW)
8Losing GameLEO (VIXX)(NEW)
9TimelessTHE BOYZ(▲ 63)
10ReplayGolden Child(▲ 8)
11_WORLDSEVENTEEN(▼ 4)
12GuerillaATEEZ(▲ 18)
13#MOODMCND(▲ 59)
14SMARTPHONEYENA(▼ 9)
15Chemicalfrom20(▲ 4)
16Hit The BassBLITZERS(▲ 26)
17Talk that TalkTWICE(NEW)
18be freeKB (OnlyOneOf)(▲ 39)
19REQUIEMCRAXY(▲ 53)
20MOREJ-HOPE (BTS)(▼ 17)
21SNEAKERSITZY(▲ 51)
22Forever OnlyJaehyun (NCT)(▲ 27)
23FioreRocket Punch(▲ 40)
24beginYoojung (OnlyOneOf)(▲ 48)
25PlayLUCY(▲ 47)
26Not About YouJUNNY(▲ 46)
27ParadoXXX InvasionENHYPEN(▲ 8)
28Last SequenceWJSN(▲ 1)
29Time OutStray Kids(▼ 2)
30CHANCEAB6IX(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 starting next week:

[Album Review] Apocalypse: Save Us (2nd Studio Album) – Dream Catcher

Posted in Album Reviews, KPOPTagged 3 Comments

I time travel back to April this time to cover Dream Catcher’s second studio album, Apocalypse: Save Us. This was released mid-April with the title track, MAISON, as its lead track. The album features two halves, one full of group tracks and the other half is made up of solo tracks from each of the members. There is also an introductory track and an interlude questionably labelled as a skit (both of which do not feature as part of the final album rating as they do not feature lyrics). In total, Apocalypse: Save Us features 14 tracks to satisfy our Dream Catcher music cravings.

Another strong album from Dream Catcher, which features a number of 10/10 tracks. Find out which songs I gave the perfect rating to down below! Honestly, I am not surprised about this. Dream Catcher has always given us strong side tracks, and Apocalypse: Save Us is not exception. I also liked that the members got to explore individual sounds with their solo tracks. As a result of this, we were given very different tracks to what we usually hear from Dream Catcher as a group. There is probably something for everyone on this album! Also, each member shot a MV (branded as a ‘special clip’ on their YouTube channel). I have included a link to each video, so make sure you check the videos out as well!

Apocalypse: Save Us Album Cover

1. Intro: Save Us – Beginning the album is this instrumental introductory track, which can be further broken into two halves. The first half is this haunting and sinister classical organ instrumental, and the second half is a hip guitar instrumental that feels very urban and contemporary.   

2. Locked Inside a Door – Following the introductory track, we move onto the album’s first 10/10 song. This album really sets itself up from the beginning. Locked Inside a Door is a groovy track thanks to its jazzy instrumental. And like most groovy numbers these days, I find myself having a bit of a dance along to the music when I hear it. I liked how both Dream Catcher embraced this jazzy side, going with some awesome vocal and rapping delivery and styles that work hand-in-hand with the genre. I also enjoyed how they were upfront, allowing their vocals to gain a stronger vibrant and appealing tinge. (10/10)

3. MAISON (Title Track) – Click here to read the full review for MAISON. (8/10)

4. Starlight – Starlight tackles the synthpop genre, and I am loving it! I found the instrumentation to be blissful and quite a vibe throughout. I really like the consistency from start to end. Most of the time, I am complaining about songs being too consistent. But Starlight definitely thrives and excels as a result of this consistent approach. The vocals align nicely, and I quite liked how the producers did an amazing job ensuring that the song matches up with the rest of Dream Catcher’s discography. Dami, in particular, shines in this song. (10/10)

5. Together – Together continues the experimentation with different musical styles, this time dabbling in deep house. I liked how club ready this song is. I also enjoyed the way their vocals are kept delicate and soft, placing emphasis on breathy tones. In addition, I liked the pop of energy added to the chorus through that vibrant synth, giving the catchy sequence some depth, grooviness and allowing the chorus to be quite distinct from the rest of the song. The ‘Say that you love me’ repetition in the second half of the chorus is super catchy. Siyeon’s high note was spectacular. I have to admit though, this sone is slightly more plain than what we have heard so far. But it still a strong number. (9/10)

6. Always – Once again, Dream Catcher changes it up the trajectory of this album with a different genre. This time, it is ballad. If you know me, I have a soft spot for ballads. And Always proves just that. Always is a beautiful instrumented ballad with stunning piano work as the basis of the instrumental. It is also complete with wonderful and captivating vocals. The swayable melodies are just to die for and adds a memorable aspect to the song. (10/10)

7. Skit: The Seven Doors – The Seven Doors acts as an interlude between the two halves of the album. The first half (what we have heard thus far) are the group songs, while the second half (what we are about to venture into) are solo tracks from each of the members. The Seven Doors itself brings it all back to their energetic rock roots which sounds appropriate as an anime soundtrack. It is squashed between an atmospheric wind intro and nature sounds as the outro. My biggest question is, however, why is The Seven Doors labelled a skit?

8. Cherry (Real Miracle) – The first solo track on the album belongs to JiU. It is a cute track about her dog named Cherry. Cuteness is not something I would ever associate with Dream Catcher, so a track like this is actually quite refreshing and different. I enjoyed the upbeat funky and groovy vibes that’s Cherry (Real Miracle) had. A lovely and satisfying track, overall. (8/10)

9. No Dot – On a much more serious note is No Dot, which is SuA’s solo track. This is more within Dream Catcher’s wheelhouse for obvious reasons. No Dot is quite intense, thanks to the trap and rock elements in the instrumental. I also liked how the bass bolstered and added definition to the song towards the end, concentrating the darker and more intense notes of No Dot. SuA also sounds amazing, particularly when she uses her lower and breathy tones in the post-chorus hooks. (9/10)

10. Entrancing (황홀경 (极夜)) – As mentioned earlier in the review, I am a sucker for ballads. And Siyeon’s solo track, Entrancing, does exactly as the title suggests. It is a ballad that is draws influences from traditional Korean music. But it is not just that. Entrancing sounds like it uses a mix of classical, traditional and modern instruments to bring the captivating effect to life. It is very unique and leaves me floored (imagine my jaws dropping to the floor). Siyeon’s vocals were stunning and breathtaking throughout Entrancing, drifting along with the melodies. There was also a soft rap in the song, something I would not have expected with such a delicate song. (10/10)

11. Winter (한겨울 (寒冬)) – The next solo song (belonging to Handong) is another ballad. But this time, it takes the form of a R&B ballad. This song is quite delicate and remains quite soft throughout, reminding you of a winter’s day. Personally, Winter is not my type of song. Usually, I find the style dry and Winter did fall into that trap. Handong does surprise me at the end with an acapella ending that did perk my interest. Also interesting is that she ended the Korean centric song with Chinese lyrics. (7.5/10)

12. For – Yoohyeon‘s solo track, For, is an old time jazzy number. The track is well executed. From the jazzy instrumental to the sweet vocals from Yoohyeon, everything was on point and sounded ideal for the direction in which the influences had directed the song to go towards. What was quite unexpected was the fact majority of For is in English (sans a couple of Korean words in the choruses). To me, that is quite a surprise and give Yoohyeon a unique edge with her solo track (when compared to the other members). (8/10)

13. Beauty Full – Beauty Full is up next, headed by Dami. I have high expectations with her solo track, simply because she is my favourite member of the group! Consider Beauty Full to hit those expectations! Her track taps into the pop rock genre that has been in abundance in KPOP with some more recent releases. Beauty Full is pretty nostalgic for me (as are the other pop rock KPOP tracks), as pop rock is what I grew up with. I liked the vibrant energy that is coming from the song, with some really satisfying head nodding sequences. Dami’s vocals are superb and her rapping is top notch (per usual). The anthem direction of the bridge was very cool, as well. I might be bias heading into this track, but I leave happy and satisfied. (10/10)

14. Playground – We end the lengthy album with a vibrant and cheerful track from Gahyeon. Playground is a pleasant track that makes me smile while I listen to it. It is largely pop, but there are also some funky and jazzy elements as well. I also liked the subtle violin and brass in the instrumental. Gahyeon sounds really nice throughout Playground, though I think a high note (which might be beyond her abilities) would have really added the cherry on top for me. (8/10)

Overall Album Rating – 9/10

Apocalypse: Save Us Teaser Image

[Album Review] GOT7 (12th Mini Album) – GOT7

Posted in Album ReviewsTagged 2 Comments

I continue to skip back and forth in time with my album reviews. This time, I land at the end of May to review GOT7’s self-titled 12th mini-album, GOT7. For those who somehow missed out on this momentous comeback, it serves as the group’s first album release since leaving JYP Entertainment and their first music release in over one year and four months. Lead by the title track NANANA, the mini-album also reunites the GOT7 members in another five tracks.

I quite liked how the mini-album is self-titled, a statement that the group owns GOT7 (which is actually the case). News stories have emerged that each of the members own the GOT7 brand and name, which usually isn’t the case given that the group was created under a label (and usually ownership goes towards the label). With that in mind, GOT7 really goes down their own path with this mini-album, dabbling heavy in their R&B sound and breathy vocals that is pretty much their wheelhouse. Overall, I consider this to be a decent album release. I would like to see where GOT7 will take themselves in the future, given that they now have full control. But I don’t expect them to be making a comeback anytime soon given that they are all doing their own things, as well. But for now, I am happy with the likes of GOT7.

GOT7 Album Cover

1. TRUTH – TRUTH begins the album as a R&B number. GOT7 has put out many R&B tracks over the years, so this is familiar territory for the group. However, there many elements within TRUTH that helps make the song individualistic. The metallic and percussive synths add a layer of intriguingness and uniqueness to the track. The slower pace and beat also adds a slow and sensual vibe to TRUTH. The breathy vocals, alluring raps and pop melodies tie up the song nearly into a very attractive opening track. (8/10)

2. Drive Me To The Moon – Drive Me To The Moon brings upbeatness to the album. Alongside the chill nature of the instrumental as well, Drive Me To The Moon becomes a great song to listen as you go for a drive, like on a road trip or another scenic route. The vocal work and rapping were ideal and I liked how it was kept all light to complement the instrumentation. The melodies and hooks were all very pleasant and enjoyable, as well. It isn’t my go-to song on the album, but it was still a decent one. (7/10)

3. NANANA (Title Track) – Click here to read the full review for NANANA. (8/10)

4. TWO – TWO is a R&B track that exudes very mature and sensual vibes. Actually, I think the correct description to TWO is that it oozes sensual vibes. I really like the slow and paced beat of the song, which embodies the genre perfectly. Again, the breathy vocals throughout TWO were on point, show so much charisma and features melodies that would go in tandem with body rolls. All of this contributed to the conclusion that I would love to see the members perform this track live as this would be one wild performance to drive fans (including myself) insane. (8.5/10)

5. Don’t Care About Me – We end the album with two ‘Don’t’ tracks. First up is Don’t Care About Me – my pick for favourite side track on this mini-album. Don’t Care About Me has some powerful moments and sequences, all relative to the other tracks on the mini-album. The trap and synth-pop instrumental comes together to create a sleek atmosphere and there were some dynamic flair to the instrumental break during the bridge. Catchy hooks help make the song continually ring in my mind even after it is completed. The refined and held back explosions of energy featured in the back of the choruses and the electric guitar in the pre-choruses were some of my favourite moments in the song. The vocals were really well done, with Youngjae’s stealing the show in my opinion. (10/10)

6. Don’t Leave Me Alone – The next ‘Don’t’ song, Don’t Leave Me Alone, also serves as the album’s final track. It is a R&B ballad for their fans (IGOT7s), as GOT7 is asking them to not leave alone, which I find to be very fitting given the group’s circumstances. Even without the context behind Don’t Leave Me Alone, I think the heartwarming effect was very noticeable. The synth-heavy instrumental feels soothing as it could be. The vocals and rapping were nicely executed and complements the soothing nature of the song. A fulfilling ending to the mini-album. (8/10)

Overall Album Rating – 8.3/10

GOT7 Teaser Image

[Review] Talk that Talk – TWICE

Posted in KPOP, ReviewsTagged 3 Comments

TWICE ends this week with their long-awaited comeback with Talk that Talk and their 11th mini-album since debut, Between 1&2. This is the group’s first comeback since the release of SCIENTIST last year, the announcement of their full-group contract renewal with JYP Entertainment, their fourth world tour and another string of Japanese release (some which I have reviewed, and others I have yet to).

Talk that Talk, for me, is a great release. Out of the pop releases that I have reviewed recently, TWICE’s song was definitely one which shined brightly. And this comes as no surprise to me, given TWICE has excelled with pop tracks in the past. So what sells me Talk that Talk? Firstly, I found the feel good energy of Talk that Talk to be stickler. The explosion of energy at the start of the choruses was effortless and helped make the track satisfying. Even though the song has been released just a few hours back, I have been returning to Talk that Talk just for this aspect alone. Secondly, the melodies throughout the song (verse, chorus, bridge and all) were simple and straightforward. There isn’t any messing around with the vocals or the instrumental. Everything was clean, neat and embodied the energy perfectly. As a result, the melody rings on and also drives me back to the song. Thirdly, I really did enjoy Talk that Talk‘s instrumental. In addition to the already-mentioned energy, there was a dynamic factor and bounce to the backing that I really enjoyed. Fourthly, strong vocals throughout makes this song a stunner. Is there anything I wished was better executed? I think the rap lines could have been clearer and had more of a kick to them. But other than that minor detail, I am very much into Talk that Talk. It might just become one of TWICE’s best title tracks ever, in my point of view!

Once again, the members looked amazing in this video. There is this fierceness to the members’ visuals which definitely complements the fierce nature of the song (something I didn’t comment on above). However, the video does balance it out with more lighthearted and whimsical tones via the props and post-production editing (i.e. holographic love hearts, floating paw prints and emojis, teddy bears getting pierced, cat videos etc.). I also liked the mix between 90s and modern trends in the video. The QR code at the end of the video apparently takes fans to the Instagram post of when they announced the name of their fandom – ONCE! The post-production which places the video in a virtual setting was also awesome! Great video, overall!

I really enjoyed how the choreography embodied the aforementioned energy. It made for a fun and exciting choreography. The members definitely looked like they had a ball on stage! A massive pity that Jihyo was unable to participate as her absence did leave a bit of a void. But I am sure once she returns, everything about the performance would be complete.

Song – 9.5/10
Music Video – 10/10
Performance – 9/10
Overall Rating – 9.6/10

[Review] FOCUS – Ha Sung Woon

Posted in KPOP, ReviewsTagged 2 Comments

Making his final solo comeback yesterday before he carries out his military enlistment is Ha Sung Woon. He returns with the title track FOCUS and the mini-album Strange World. This comeback follows his recent special release, Can’t Live Without You, from earlier this year.

FOCUS is another neat pop song to add to the list. More could have been done in the song to make it even better, but that doesn’t mean what we have been presented with is bad. FOCUS is groovy vibes in the midst of its pop instrumental, thanks to the guitar work and that synthesizer synth in the instrumental half of the choruses. Said synthesizer synth was actually quite catchy The bass adds oomph to the song, while the percussion gives FOCUS a snappy effect. All of which helped make FOCUS very appealing as a track. Ha Sung Woon vocals were quite strong throughout. His falsettos in the bridge were nicely done, while the ad-libs he throws in the end were very cool. The staggered effect in which the choruses start off with (accented by the punchy bass) helped add a memorable aspect to the song, which I thought was rather cool. Like other songs recently, my gripe with regards to FOCUS is that the song could have done more. FOCUS never really strayed from its root sound, which I felt made the song too consistent. I kind of wished there was something else to FOCUS to give the song some more flair or dynamism. For example, I felt some rapping could have taken the FOCUS to the next level. Or even may be an instrumental breakdown that changes FOCUS‘ momentum ever so slightly. But as how we got it, FOCUS was still a great comeback track.

The music video shows Ha Sung Woon becoming infatuated with someone who he sees and likes. But he becomes so intent on her that he doesn’t notice that she leads him to his demise (i.e. the hypnosis, trapping him in the car and setting said car alight). We don’t actually see the car go up in flames, but the ending does show Ha Sung Woon in the middle of the ring of fire, which I presume alludes to the fact that he was in the car when it was alight. This storyline matches the lyrics, which is all about the dark side of focusing on a lover. I liked the darker looks and premise of the video, and I quite liked Ha Sung Woon’s looks throughout the video. All his expressions also look really good and conveys the story so well.

The sliding footwork is the best aspect of this choreography routine. It looks cool, sleek and has the potential to become iconic, in my opinion. I really liked the use of the dancers to make the routine more dynamic. The rest of the performance was captivating to watch (emphasising Ha Sung Woon’s performance skills) and I also liked how intense the routine got for the final chorus.

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

[Review] Losing Game – LEO (VIXX)

Posted in KPOP, ReviewsTagged , Leave a comment

Yesterday saw the return of LEO, the main vocalist of VIXX, a group which we don’t hear too often nowadays. He returns with the title track Losing Game and the mini-album Piano Man Op. 9. This is LEO’s second solo release since completing his military enlistment in 2021. He did release a standalone single at the end of 2021 titled I’m Still Here, but I actually missed this release and have not reviewed it. His last review on my blog was for Romanticism and his mini-album Muse.

Losing Game is a decent track. I liked the different elements that make up Losing Game. But as the song progresses along, it felt just didn’t develop into much. Let’s start off with what I liked. Losing Game‘s R&B instrumental had this slow yet groovy vibe to it. It was subtle, but it was there. The piano that appears throughout the instrumental was deliberate to bring out the emotions behind Losing Game, while the crunchy percussion in the song adds some interesting textures to Losing Game so it isn’t too bland and brings some modern flair to the song. LEO’s vocals were very captivating for the most part and his singing style is well suited for the likes of Losing Game. This voice really shines during the bridge, when most of the instrumental was stripped away. I also enjoyed the opening melodies of the chorus, with the “Need you right here” being the one line that replays in my mind after the song completes. My only gripe about the song, as already mentioned, is that it lacks development. What do I mean about this? Well, the song sounds exactly like how it started. While sometimes it is a good thing, I felt Losing Game needed a climax or a peak. It held back and this didn’t really help make the song appealing as it could have been. I do think we in a direction of a pea when a guitar presence emerges from the instrumental just at the end of the bridge, and Losing Game would have been cooler to pick more of that guitar up for the final chorus. But it fizzles instead to the same chorus. Overall, decent comes to mind. But I am sure Losing Game could have been more proactive and taken to the next level had it not been held back.

Losing Game is about a relationship being one sided, and we do get that impression in the video. There is a female character in the video which we can see is in a relationship with LEO. But we don’t see her face often. And when we do, it is covered with a mask to suggest that she is hiding something. In the end, she runs away, leaving LEO behind. LEO obviously goes after her, but he can no longer find her, suggesting that she might have never loved him. I liked the melodramatic settings of the music video. LEO’s opened jacket look was a bit questionable in my opinion. I am on the fence on whether it matches the concept or not.

I actually liked the stillness that started off the performance. That never really gets much attention, so I thought I point it out for this review. There was some really good flow in the movements during the verses. And I like the body waves that opened with the chorus, complementing the sensual vibe that is brought to the comeback via the R&B instrumentation.

Song – 7/10
Music Video – 8/10
Performance – 8/10
Overall Rating – 7.5/10

[Review] Mango – Super Junior

Posted in KPOP, ReviewsTagged Leave a comment

It has been almost 17 years since Super Junior started out, and yet they are still going strong! It still amazes me to hear that Super Junior are still at it in this tough industry! Super Junior returned in July of this year with their 11th studio album The Road: Keep on Going and the title track Mango. Their last comeback was from last year when they returned with House Party and The Renaissance (their 10th studio album). In addition, the group also did release a special single earlier this year titled Callin’ ahead of their ninth tour.

To me, Mango is best described as a pleasant pop song and I believe this helps make it one of their best title tracks in recent memory. The pleasant side is appreciable, especially in an industry that is heavily dominated by heavy and intense EDM/synths. And the pop profile of Mango‘s instrumental makes it straightforward and satisfying to listen to. The melodies are probably the best aspect of Mango for me. They were quite catchy and easy on the ears. And it just isn’t the chorus melodies that I found to be easy on the ears. Even the verses had some great melodic flow and it made the entirety of Mango more enjoyable. I also found myself humming to the song a number of times since I checked out the song. The vocal work was quite solid. However, with such a vocal centric song, I did expect some harder hitting ad-libs and more powerful moments that weren’t held onto until the end. This would have helped make Mango potentially more stunning and potentially addresses my next issue with the song. Call me hypocritical, but while I did like the pleasantness of Mango, part of me did think it also contributed to the feeling that Mango was a bit plain. Now, I am not expecting a House Party breakdown (that would ruin the song for me – yes, the feeling is still strong). But I kind of wished Mango did something just a bit more to give Mango a wow factor. This could have been strong ad-libs or vocals throughout the song (as already mentioned), or a suitable rap sequence that kicks the momentum up. I do lean towards the latter option a bit more, simply because Mango is missing a substantial rap sequence (we did this rap speak hybrid, but it was more speak in my point of view). I know I have previously advocated that not all songs need a rap sequence (hypocritical me strikes again), but Mango could have used one (provided it was well executed and fits in with the pop vibes of the song). But overall, Mango is still enjoyable and neat Summer pop track for us.

The music video also could have used a bit of a wow factor. Don’t get me wrong, but it is great to still see most of the members on the screen. And the pleasant pop vibe of the song does admittedly constrict the number of concepts that could have been part of this comeback. But this is KPOP we are speaking about and they belong to SM Entertainment. Surely, someone in the company could have thought of something a bit more creative. Aside from that mini-rant, I did like the colourful nature and lighting, which made it suitable for the Summer season. I also enjoyed the Broadway/theatre entrance setting, as felt fitting for the pop vibe of the song. But I guess I wanted more from the music video aspect of this comeback.

The choreography was great but yet simple. It didn’t have anything impressive from what I could see, but it was definitely showed how to have a good time. My favourite part is choreography during the the extended ‘la la la‘ sequence just before the bridge.

Song – 9/10
Music Video – 7/10
Performance – 8/10
Overall Rating – 8.2/10

[Review] After LIKE – IVE

Posted in KPOP, ReviewsTagged 2 Comments

The next release of the night belongs to IVE and is titled After LIKE. This is the group’s second comeback to date, and follows the tall order of LOVE DIVE (which was released back in April) and their debut hit ELEVEN (released back in December of last year).

I didn’t want to spoil the reason why I am also so keen on After LIKE. But now that we are in the song segment of my review, I think I can finally divulge. Like everyone who is highly anticipated After LIKE, I am enjoying the fact that the song samples part of its instrumental from the legendary disco hit I Will Survive (by Gloria Gaynor). I think it is ballsy for any producer to even touch songs like I Will Survive, given that it is so widely known by so many people. You got to make sure to do it justice. So, do I think After LIKE does it justice? I definitely do. Instead of oversaturating After LIKE with the sample, it is used sparingly (three times following the choruses) and merged neatly into the song, fitting in with the upbeat deep house instrumental that make up the rest of After LIKE‘s instrumental. It is interesting that After LIKE doesn’t go into full retro mode, which might have been the more cliché move but big expectation with such a sample. I quite liked how they kept it modern and simple. The sample does end up being the focal point, but it is used well. As for the rest of After LIKE, I can also say that it is a strong showing from IVE. Admittedly, the verses were a bit plain, but showed some good vocal work. After LIKE doesn’t mess around and gets straight to the point, which is something I quite liked. The chorus had some really catchy hooks and melodies that I don’t mind going back to. The rapping following the second chorus (and layered over the sample) was a very refreshing delivery for IVE and packs a of punch in the energy department, which I thoroughly liked. Overall, After LIKE definitely played its cards well and was great as I had expected!

The solo shots in the music video were really good. I liked the central colour for each member, which helps makes the music video colourful and vibrant, much needed with dark background for the choreography shots. Their central colour also corresponds to the accessories donned with their super plain outfits in the first round round of choreography shots. I am also loving the final set of choreography shots, with the fireworks in the background. The firework display was epic and helps makes the video go out with a bang! Whilst it might sound like I most of the video, I actually have a big issue about it. The really shaky camera work was terrible and very distracting. I understand the need to keep the music video dynamic, but I think the production team went over the top. There was a need for cleaner and smoother shots in this video, just so we could appreciate the music video and the members better. And it disappointing that the video didn’t give us that opportunity.

I liked, how despite the energy and upbeatness of the song, there was a sense of refinement behind the members’ moves in the chorus. It was quite neat and made for a good routine. But the best part of the choreography occurs the first and last runs of the I Will Survive sample. The sharpness contrasts the more refined moves aforementioned and leaves a much stronger impression on me.

Song – 9/10
Music Video – 7.5/10
Performance – 9/10
Overall Rating – 8.6/10

[Review] 458 – CIX

Posted in KPOP, ReviewsTagged 3 Comments

Starting off this week are some new comebacks from two artists, both of which I am keen to get right in and review. The first artist I want to cover is CIX, who returns to Korea for the first time in just about a year with their new single 458 and the mini-album OK Episode 1: OK Not. I am particularly keen on CIX’s release because of its music video teaser release last week which perked my interest. The last time we saw the group on the Korean stage was through promotions of their first studio album (OK Prologue: Be OK) and WAVE. Since then, the group had released music in Japan (yet to be reviewed in the International Song Review segment) and held their first concert.

458 is a very intriguing track. It begins off with some striking piano work that brings forth a mysterious and dark colour, while the deep and lower register vocals keeps it captivating and alluring. As it progresses to the chorus, everything starts climbing in the pre-chorus and there is a hopeful tinge behind Yonghee’s vocals. I quite enjoy this sequence and think it is the best part of the song. However, this is closely followed by the chorus, which lands 458 into the electro hip-hop sphere and gives the song some impact. I like how it maintains that low register and aligns itself with that dark and mysterious atmosphere, yet still managing to change the song’s dynamism with the unsettling but also enchanting electronic synths. The second verse and chorus feels like a repeat of the first round of both sequences, just with the addition of some extra subtle percussion in the second verse. Following the second chorus, we are given a dance break that continues the presence of that same unsettling scratchy synth from the chorus. I liked how some of the ad-libs find themselves here. The rapping that follows was good, however it could have been more energetic and dynamic. I think an element of change was needed in 458 just about here and the rapping would have been a great conduit for this. The chorus repeats one final time, before we get an additional distortion at the end and a blip to bring 458 to a close. While I do appreciate the consistency in a song like this, 458 could have used one extra switch up just to give it some extra punch. But overall, 458 remains captivating throughout for me.

As mentioned in the introduction, this comeback had intrigued me via its music video teaser. The dark yet modern aesthetics were definitely worthy of a shoutout. It, like the song, was quite impactful and definitely was jaw-dropping at times. The members were also all shown in visually stunning and aesthetic manners throughout this video. Some of the scenes show the members being winged or even had their wings clipped, suggesting fallen angels are related to the storyline. But aside from that, I have no clue on what is happening in the video. That ending suggests we might be getting another series of interlinked music videos. Let me know if you have any theories regarding the story or meaning behind the video.

What a performance. I really enjoyed the balance between the softer movements and the more intense moments. There was also a slight sensual tinge to the performance as well, which helped smooth out some of the moves and made it a strong performance for the group. The dance break could have been a bit more show-stopping if I am being honest, as I expected the performance to really climax there. But I guess the presence of the ad-libs from Bae Jinyoung got in the way there.

Song – 8/10
Music Video – 9/10
Performance – 8.5/10
Overall Rating – 8.4/10

[Weekly KPOP Chart] 3rd Week of August 2022

Posted in Weekly ChartsLeave a comment

This is on time and posted on the right week! Woo! Pat on my back indeed. Welcome to the Weekly KPOP Charts segment for the 3rd Week of August 2022 (i.e., the week that just passed). I am not going to keep the intro long this week. I have a review and an album review (or two) coming your way tonight, so I am going to start work on those right after I post this. And of course, more reviews coming your way when it all starts off tomorrow. In the meanwhile, here is the recap and Weekly KPOP Charts for the 3rd Week of August 2022.

Recap & New releases of the Week

Out of the new releases this week, I wrote reviews for THE BOYZ’s WHISPER, ONF’s Your Song and BLACKPINK’s Pink Venom. I also posted reviews for KARD’s Ring The Alarm and JO YURI’s Love Shhh!. On the album review front, there were album reviews for NCT DREAM, LE SSERAFIM, BAE173, Kwon Eun Bi and CRAVITY.

Other releases from the week includes:

  • BYE – RAVI (VIXX) ft. Wheein (MAMAMOO)
  • Undercover – CRAXY
  • REQUIEM – CRAXY
  • When I Look At You – Park Boram
  • TPIR – Kang Daniel ft. MIYAVI
  • UTSUROI – TVXQ
  • DaSH – BAE173
  • Play – LUCY
  • Engine – LUMINOUS
  • IRREPLACEABLE – F.HERO & Youngjae (GOT7) ft. THE TOYS
  • Bye Bye Bye – SKYLE
  • Forever Only – Jaehyun (NCT)
  • Castle Key (Roll) – Fatou (BLACKSWAN)
  • Don’t Hesitate – WONHO

Throwback Corner

This week’s throwback song was released 10 years ago! SPICA’s Lonely was this week’s throwback song. I have been replaying SPICA’s songs a lot lately, and so it is about time I feature them on this segment again!

Non-Korean Release of the Week

This week’s non-Korean release is XG’s MASCARA, which was released at the end of June this year. The English based song ranked in the 24th position this week. For those who don’t know XG is a Japanese pop group currently based in South Korea, which debuted last year with TIPPY TOES. MASCARA was promoted in South Korea on the usual music shows, and so I consider it eligible for the Weekly KPOP Charts. Per most of the international collaborations and singles by Korean artists, I have yet to review this one. But I will get around to it eventually!

The Charts

Congratulations to SNSD for topping the Weekly KPOP Chart for the 3rd Week of August 2022 with FOREVER 1. This is the second week in the row in which both SNSD and FOREVER 1 have topped my Weekly KPOP Charts. For more of the charts, keep on reading.

3rd Week of August 202214th Aug – 20th Aug 2022
Pos.SongArtistStatus
1FOREVER 1SNSD(=)
2WHISPERTHE BOYZ(NEW)
3MOREJ-HOPE (BTS)(▲ 59)
4YOUR SONGONF(NEW)
5SMARTPHONEYENA(▲ 57)
6Pop? Pop!CSR(▲ 28)
7_WORLDSEVENTEEN(▼ 3)
8Blue & BlackHyojung & Arin (OH MY GIRL), Jang Wonyoung & Leeseo (IVE) & Serim & Jungmo (CRAVITY)(▲ 54)
9SUGARYOUNGJAE (GOT7)(▲ 32)
10Test MeXdinary Heroes(▼ 3)
11Ring The AlarmKARD(▲ 51)
12Pink VenomBLACKPINK(NEW)
13SCREAMSF9(▲ 8)
14BOOMHUTA (Lee Minhyuk – BTOB)(▲ 48)
15POSEKINO (PENTAGON)(▲ 47)
16I LOVE UWINNER(▼ 1)
17Stay This Wayfromis_9(▲ 25)
18ReplayGolden Child(▼ 16)
19Chemicalfrom20(▲ 43)
20LOVEADEVIVIZ(▲ 34)
21Drummin’TO1(▼ 15)
22NO THANKSHYOLYN(▲ 33)
23Doom Du DoomP1Harmony(▲ 7)
24MASCARAXG(▲ 4)
25Whispers In The DarkMONSTA X(▲ 37)
26How We LiveKang Daniel ft. sokomodo(▲ 36)
27Time OutStray Kids(▼ 16)
28NERDYPURPLE KISS(▼ 25)
29Last SequenceWJSN(▲ 33)
30GuerrillaATEEZ(▼ 16)

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 starting next week:

[Album Review] LIBERTY: IN OUR COSMOS (1st Studio Album – Part 2) – CRAVITY

Posted in Album Reviews, KPOPTagged 1 Comment

CRAVITY made their comeback last year with Part 1 of their 1st studio album, The Awakening: Written In The Stars. This was headlined with the title track Gas Pedal and the secondary track VENI VIDI VICI. 7 months on (to March 2022), CRAVITY returned with the second part of their 1st studio album. This time, the album is titled LIBERTY: IN OUR COSMOS and features the title track Adrenaline. Alongside that, there are 6 other songs and an outro track.

Between the two halves of the studio album, it appears I enjoy LIBERTY: IN OUR COSMOS more (but only by a smidge). This is based on final rating of both halves (which is simply the average of the all the song ratings on that album). That is just my attempt to quantify it though (because I like numbers). To be more truthful, I enjoyed both equally. Sorry for being so diplomatic and fair. But that is the case. Both parts had some great tracks and both had more generic singles as well. But altogether, it was all an enjoyable listen. Do you agree with me, or do you think one or the other is significantly better than the other? Let me know in the comments below.

LIBERTY: IN OUR COSMOS Album Cover

1. Adrenaline (Title Track) – Click here for the full review of Adrenaline. (7/10)

2. POW! – Heavy thuds, dulled guitars and the super bold hook of POW! opens up the song and keeps me from turning away. The hook was quite aggressive from the first listen. But after multiple listens, I have become used to the hook and find it to be quite an ear-catching piece. POW! draws on hip-hop influences and I really liked their expressive rapping in the verses. The choruses were energetic and had a vibrant feel to them that helped make POW! so enjoyable for me. I particularly enjoyed the definition added to the beat for the final chorus, helping make the final chorus more climatic and punchier. (10/10)

3. BOPPIN’ – BOPPIN’ has me grooving about and this is probably the best thing for me to experience with a hip-hop based song. There is a bit of a sexy vibe to BOPPIN’, especially when the vocals are in play. It smooths out the song, balancing out the energy and powerfulness that the rappers give the song (which gives the song so much body and energy). The “We’re boppin’” and the ”Its Bubbling Bubbling … Bubbling” in the chorus are super catchy lines and has coming back for more. (10/10)

4. Chandelier – Chandelier continues the hip-hop influence that has been coursing through the last few songs, though it is less prevalent this time around. As a result, I find this to be more on the generic side. It wasn’t as exciting. The vocals take more of a hold in the song, which might explain why the Chandelier took on a softer edge and smoother vibe. They sound good, but not as great as the preceding tracks, with exception for the duo who sung the bridge. The bridge was definitely the highlight of the song for me. The rappers help add some energy to the song, but it isn’t on par with what I have heard so far. (7/10)

5. FLIP THE FRAME – The way FLIP THE FRAME started was quite interesting. It appears to be quite a long instrumental intro to the song. It is quite an atmospheric piece. What comes next was quite unexpected, with a heavy beat and strong vocals. The chorus literally flips the frame with another unexpected change in momentum. I didn’t think the verses (nor the intro) would have led us to this chorus. The first half is so sleek and edgy, whilst the second half brought more of a pop vibe to the song. The rapping in the second verse also literally stood out, pairing well with the heavy beats. (8.5/10)

6. Maybe Baby (좋아하나봐) – Maybe Baby goes into pop territory. Maybe Baby is not as heavy as the other tracks that come before it, but the EDM used still kept the song upbeat. The melodies helped bring the pop vibe to life and also give the song such a pleasant appeal. The members, on both vocals and raps front, sound very nice and remained in line with the pop and chill vibes of the song. I particularly enjoyed the interchanging vocals and rapping at the very end, which closed out the song in a neat manner. (8/10)

7. Late Night – More pop comes through Late Night. But instead of EDM, Late Night’s instrumental is more acoustic based. Despite that, the song remains upbeat and enjoyable. The members made me smile throughout the song with their delivery and I loved the inclusiveness of the chorus where they all sing together. I liked how the rapping was done in this song. What we have heard so far on the album was heavier and powerful sides of the rapper, but here they fitted the pop vibe extremely well. (8/10)

8. Outro: In Our Cosmos – Closing out the album and era of Gas Pedal and Adrenaline is the outro track: In Our Cosmos. The track starts off with a breathtaking backing and soothing vocals, before the instrumental starts ramping up alongside some powerful rapping. It then moves onto an EDM instrumental that continues the breathtaking vibe, before ending with the instrumental at the beginning and some more vocals. Thus, returning full circle to how it began. (9/10)

Overall Album Rating – 8.4/10

LIBERTY: IN OUR COSMOS Teaser Image

[Album Review] Color (2nd Mini Album) – Kwon Eun Bi

Posted in Album Reviews, KPOPTagged Leave a comment

The next album on the reviewing front is Kwon Eun Bi’s Color, her second mini-album since her debut last year with Door and Open. I unfortunately have not reviewed Open. However, I put on her second mini-album on my reviewing agenda as I wanted to expand on the different artists who I commonly write album reviews for. And with the title track Glitch (and ESPER, her single for the UNIVERSE app) impressing me, it felt logical for me to expand and include Kwon Eun Bi. After all, who knows what I might discover.

While Color might not be the knockout album I am looking for, it was still a particularly decent one. The album, consisting of five tracks and one introductory track (not included in the final rating), starts off with dance tracks and eased out a series of ballads. It is two sides of the spectrum, but we get a bit of variety as a result (and that is always a good thing). Check out the mini-album and let me know what you think on the overall album and the individual tracks, as well!

Color Album Cover

1. The Colors of Light – Starting off this mini-album is the intro track The Colors of Light. This is primarily an instrumental track (aside from the faint whisper of ‘Like a glitch’ in the background towards the end of the song). The track begins with this scenic and dreamy instrumental piece that reminds me of the playlist I play when I go to sleep. But The Colors of Light hints at what is to come as it glitches up. Some of the glitches resembles the title track, while others are much harsher and abrasive. However, the track soon normalizes back on the dreamy aspect just before we ease out of the song.

2. Glitch (Title Track) – Click here for the full review of Glitch. (9/10)

3. Magnetic – The violins make Magnetic intriguing and keeps me around for the rest of the song. And I am glad that was the case as Magnetic was a pretty awesome song overall. Its chorus was quite charming and there was some nice flow in the song. Kwon Eun Bi sounds amazing throughout and impressed me with her more powerful moments and ad-libs. I think it would have been nicer to hear the very brief rapping earlier in the song (i.e. second verse) but in a more fulfilling manner. I think Magnetic calls for it and this potentially could have taken the song to the next level for me (provided it was executed well). (8/10)

4. Colors – Colors is a neat R&B ballad track. While the entirety of the song is pretty straight forward, I enjoyed Kwon Eun Bi’s is delicate vocals at the start of the song and how it builds towards the end to give the ending a definite and conclusive ending. The presence of both delicate and defined vocals helps keep the song from falling into neutral territory and allows the song to be somewhat more impressive. (7/10)

5. Speed of Love (우리의 속도) – Next up is a ballad, slowing the album down even further. The combination of the jazzy styled instrumentals and Kwon Eun Bi’s youthful and smile-inducing vocals in this song makes it a really soothing piece. Speed of Love features swayable and drifty melodies that makes this a strong track. I liked the golden aura that comes from the song, and the old Hollywood style start. (9/10)

6. OFF – OFF continues the slow momentum of the album with another ballad. The swaying melody is a lot more noticeable in this song, as it isn’t masked up by other elements or characteristics. This is because the producers allow Kwon Eun Bi’s vocals to be the focal point of the song, with the accompanying instrumental being small and soft for the most part. It isn’t something unique, but it is spectacular and ends the album the opposite manner to how it started. (8.5/10)

Overall Album Rating – 8.3/10

Color Teaser Image

[Review] Pink Venom – BLACKPINK

Posted in KPOP, ReviewsTagged 10 Comments

It has been almost two years since we have heard BLACKPINK through a full group comeback via the promotions of Lovesick Girls and The Album. Currently, we are progressing full speed ahead towards BLACKPINK’s official comeback in a month time with their second studio length album Born Pink and a yet to be unveiled titled track. But ahead of the release of Born Pink, we find ourselves here today just about to review the pre-release for that album, Pink Venom, which dropped earlier today.

It appears that Lovesick Girls was a once event in terms of the group’s discography. BLACKPINK returns to familiar powerful territory with Pink Venom, following the same vein of their past releases such as How You Like That and Kill This Love. There isn’t anything wrong with this classic BLACKPINK sound and style. It is just quite overdone by now. Pink Venom attempts to change it up with a mixture of traditional and tribal-like instrumentation throughout the song, sans the second verse which deep dives the song into 90s hip-hop territory. I think this instrumental combo lacks that knock out of the park feel that their previous tracks have. And I am quite sure the typical formula also dulls the potential of Pink Venom. The chorus was probably the most interesting aspect, but I am of the opinion that it is disappointing. Lisa and Jennie go into this high pitch soft whisper-like motif. I feel that this detracts from the powerfulness potential of song, and weakens the integrity of Pink Venom. It is somewhat unique, but very fragile. It makes me want to handle the chorus with care, which isn’t something you would want with a BLACKPINK song that starts off powerful. The verses and pre-choruses were more appreciable and enjoyable by a long mile. There was potential between the vocals in the pre-chorus from Jisoo and Rose, to the rapping by Jennie and Lisa in the verses. The chorus just lets it down. Pink Venom ends with a ‘La Ta Ta‘ hook, which I didn’t think really gave Pink Venom that punchy ending that I had expected. There was something lacking in the background to really hone the ending in and make it all climatic. It appears that Pink Venom isn’t my cup of tea this time around. Maybe more listens would make the song more approachable, but for now, Pink Venom just doesn’t live up to their previous tracks of a similar nature.

Per usual, BLACKPINK’s music videos are top notch. And once again, Pink Venom‘s does not disappoint. Visually, this music video had it all. Vibrant colours, impactful shots and stunning looks. Best shots for each member are: Jennie’s red outfit at the start of the video. Lisa’s gangster look, Rose’s leather look and Jisoo’s Korean hanbok inspired look. The scene with Rose and the black paint was also quite epic and could potentially be interpreted as quite deep. The sets looked amazing, especially that first choreography shot with the fabric blowing about in the background. I also enjoyed the subtle black and pink colours on some of the sets.

While musically, I think the chorus is weak, the choreography might be the next big thing for the group (until next month’s release). The small movements with their hands behind their back, for example, works well with the softer and fragile delivery of the chorus, while the bigger movements work well with the slightly more aggressive parts of the chorus (i.e. the ‘woah woah woah‘). The ‘La Ta Ta Ta‘ end sequence looks cool in the performance, as well.

Song – 6.5/10
Music Video – 10/10
Performance – 8/10
Overall Rating – 7.9/10

[Review] Love Shhh! – JO YURI

Posted in KPOPTagged Leave a comment

Time for another review for an “older” release. This time, the focus is on JO YURI’s Summer comeback which occurred back at the start of June of this year. The song that lead this comeback is titled Love Shhh! and is featured on JO YURI’s first mini-album, Op.22 Y-Waltz: in Major. This comeback follows her debut last year with GLASSY.

One word summarises GLASSY to this day for me – forgettable. As a result, I didn’t have much expectations going into Love Shhh!. My only hope was this new song was not a repeat of her debut. And well, JO YURI definitely hit the brief. It might because I had super low expectations for this comeback, but I think it is more correct to say JO YURI exceeded the brief by a lot with Love Shhh!. Love Shhh! is much more dynamic, energetic and full of vigor that makes the track super bright and animated for me. Its pop dance vibe is infectious and the guitars bring both an explosive and funky element to the song. Even JO YURI sounds livelier in Love Shhh!. I did wish her vocals packed more of a punch and gave us a bit more texture as the song progressed. We were definitely heading in that direction. There was opportunity for the producers to experiment with her vocal tones, which potentially would have Love Shhh! even more engaging and interesting. The hooks are super catchy and helps makes the song infectious, but I think her vocals could have made the impact of these hooks a bit more than what we got. Despite this, however, everything within Love Shhh! (as it is) still makes it an addictive dance track for the Summer season!

The music video shows JO YURI receiving some mean and toxic messages, either from haters (I am thinking this is the case – based on the love hearts and hazardous signs that is coming simultaneously from her device) or a former lover. But instead of being hung up on these messages and self-doubting, JO YURI shows us her confidence and resilience by making the most of her day. This goes hand-in-hand with the actual meaning/message behind her lyrics. That is, it conveys the message of loving and enjoying life energetically and confidently no matter the situation (taken from SOOMPI). Aside from the storyline, I enjoyed all the shots in the video (so bright!!) and JO YURI herself looked amazing throughout the video.

The choreography for this comeback was pretty good. I liked how she shows off her confidence, just like in the music video, in this routine. I also enjoyed the different formations she had in the choreography, particularly around the second chorus where she is the only dancing and the dancers are huddled in the background. JO YURI was also super cute and youthful in this.

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

[Weekly KPOP Chart] 2nd Week of August 2022

Posted in Weekly ChartsLeave a comment

Almost a week delay this time around. Key word being “almost”! It is time for the Weekly KPOP Chart for the 2nd Week of August 2022, the week spanning between 7 August to 13 August 2022. This particular post was delayed due the delay with the previous week’s Weekly KPOP Chart post. Good news, however, as this week’s Weekly KPOP Chart will be on track to be published on schedule (i.e. Sunday), alongside some album reviews! So keep your eyes open for that and those upcoming album reviews. In the meanwhile, enjoy the Weekly KPOP Charts post for the 2nd Week of August 2022.

Recap & New releases of the Week

During the second week of August 2022, I posted reviews for one new release, Golden Child’s Replay. I also posted reviews for some releases from the previous week, namely SNSD’s long awaited comeback with FOREVER 1 and Stray Kids’ Time Out. PURPLE KISS and OH MY GIRL also got album review’s for their March releases earlier this year.

Other releases from this particular week includes:

  • Strangers – BM (KARD)
  • POSE – Kino (PENTAGON)
  • KISS – TRI.BE
  • Umbrella – AB6IX
  • DOOR – FTISLAND
  • I don’t like u (anymore) – Hanbyeol (CAP-TEEN)
  • Maldives – WEi
  • Maybe – Jo Yuri
  • Boogie Woogie -CRAVITY
  • Not About You – JUNNY
  • Timeless – THE BOYZ

Non-Korean Release of the Week

TWICE’s Celebrate remains the non-Korean release of the week, ranking in the 5th position this week (up two spots from last week). Per most of the international collaborations and singles by Korean artists, I have yet to review this one. But I will get around to it eventually!

The Charts

Congratulations to SNSD for topping the Weekly KPOP Chart for the 2nd Week of August 2022 with FOREVER 1. The KPOP Queen’s still got it! For more of the charts, keep on reading.

2nd Week of August 20227th Aug – 13th Aug 2022
Pos.SongArtistStatus
1FOREVER 1SNSD(▲ 12)
2ReplayGolden Child(NEW)
3NERDYPURPLE KISS(▲ 61)
4_WORLDSEVENTEEN(▲ 51)
5CelebrateTWICE(▲ 2)
6Drummin’TO1(▼ 4)
7Test MeXdinary Heroes(▲ 71)
8Life’s Too Shortaespa(▲ 52)
9Stand UpOMEGA X(▲ 60)
10Hit The BassBLITZERS(▲ 39)
11Time OutStray Kids(▲ 30)
12Future Perfect (Pass The MIC)ENHYPEN(▲ 30)
13#MOODMCND(▲ 60)
14GuerrillaATEEZ(▼ 13)
15I LOVE UWINNER(▲ 63)
16TimelessTHE BOYZ(NEW)
17be freeKB (OnlyOneOf)(▲ 61)
18SparklingCHUNG HA(▲ 2)
19RUNH1-KEY(▲ 59)
20WANNA KNOWIRRIS(▲ 10)
21SCREAMSF9(▲ 35)
22Tropical RomanceBUSTERS(▲ 56)
23Girlsaespa(▲ 55)
24AVIATORYOUNITE(▲ 54)
25Stupid CoolDAWN(▲ 23)
26ScentYUKIKA(▼ 22)
27LUCID DREAMJiyoung Kang(▲ 4)
28MASCARAXG(▲ 34)
29MangoSUPER JUNIOR(▲ 28)
30Doom Du DoomP1Harmony(▲ 48)

Songs leaving the charts

The following songs have wrapped up their nine week run in the charts system, and will no longer be on the charts from the 2nd Week of August 2022 (i.e. from 14 August 2022):

  • POP – bugAboo
  • KILLER – FAINIT
  • CRAZY – WONHO
  • MY LOVE – Seo In Guk ft. RAVI (VIXX)
  • Blue Sky – BDC
  • ZERO – DRIPPIN
  • PLAY DUMB – OMEGA X
  • VILLAIN – PIXY
  • Stupid Cool – DAWN
  • Sweet – THE BOYZ
  • W.A.T.1 – MCND

[Review] Your Song – ONF

Posted in KPOP, ReviewsTagged 3 Comments

Following a very successful 2021, ONF decided to enlist into the military as a group to reduce the impact on their promotions as a group (i.e. the eligible members enlisted at the same time, as opposed to what commonly happens with other groups who enlist one member at a time causing long hiatus as a result). Commonly, military enlistment periods involve idols taking a break from the stage and other media (i.e. film, tv shows, social media). As a result, ONF’s comeback today is best described as unexpected. But I (and fans alike) are not complaining. ONF released the title track Your Song and the album Storage of ONF today, their first release since Goosebumps in December 2021.

Your Song starts off as an unsuspecting pop ballad. There was a peacefulness, calmness and ambience to the first verse which had already won me over. The synths used in the background of the first verse felt very appropriate for both ideas of Summer and the idea of a pop ballad. The vocals were got were stunning and Wyatt’s rapping was suitable for the pop aspect. One would expect the song to follow through with this pop ballad direction. But Your Song changes up the momentum, developing into a full fledge pop track with potential for choreography. They bring in guitars and a very refreshing pop vibe to the song, losing the balladry roots that started off the song. From there, the song continues with the changed momentum, giving Your Song a liveliness and brightness that just charms you. Also continuing to charm me are the vocals, which the group sound stunning. Wyatt’s vocals in the second verse impresses me (he needs to sing more) and I really liked the push the main and lead vocalists gives themselves during the chorus. There are no further dramatic changes in momentum occurs in Your Song, which I am glad is the case. The bridge brings a smile to my face with their harmonies and the simple ‘Na Na Na‘ sequences. They do touch on the balladry aspect again very briefly soon after, but Your Song reverts back to that pop vibe that the song grew to in the final chorus. Overall, I thoroughly enjoyed this release even if it isn’t what ONF puts out typically.

Even as a special release, ONF still manages to bring in that futuristic concept that has been part of ONF’s recent repertoire of videos (i.e. Beautiful Beautiful, Ugly Dance, Popping, Goosebumps). But there is no action or plot in this video. A completely different dynamic prevails in the futuristic world as a result of this. The song conveys the message that if there is a connection through music, we can meet by even transcending time and space (taken from SOOMPI). This felt fitting for the group’s current circumstances, as they are not together at the moment. But through music, they were able to reconnect – even if it was just virtually. I thought this was very clever and showcases a more thoughtful and heartwarming message. It makes me wonder what the group and their company have instore for us next, given that this comeback had to be thought of way in advance and it appears this concept is something long term).

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