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.

[Review] Too Bad – WEi

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Last week’s reviews aren’t over just yet. Today, I will be reviewing WEi’s comeback track, Too Bad, which was released last Wednesday. It was dropped alongside the group’s fourth mini-album since debut, Love Pt.1: First Love, which appears to also be the start of a new series. This is the group’s first comeback since last year’s BYE BYE BYE and Kim Yo Han’s solo debut with DESSERT earlier this year.

Too Bad delves deeper into the upbeat pop side of the group that was previously explored in their last comeback by taking on more of a bright bubblegum-like profile. The repeat listens (well, it has been over a week since its release) I have given the song should be thanked for helping make me enjoy Too Bad more. Now, Too Bad comes off as pleasant and fun number to enjoy. There are a few drivers of this. Firstly, the melodies and vocals have this Goldilock’s ratio to it – not too slow, not too fast, not too heavy and not too light. Just right. The ad-libs at the end were just what the song needed at that exact moment and its presence was very much appreciated. Secondly, the lightness of the overall track. All of which contributes to the pleasantness of Too Bad. But to ensure the song isn’t too light, Too Bad also features some hefty rap sequences that do not depart from the pop sound as much. I liked this balance and allowed doesn’t distract from the true essence of the song. The instrumental was a nice mix of guitar and percussion, creating an enjoyable atmosphere that gives of Summery vibes, especially towards the end of the song. I guess Korea is heading for Summer very soon (as I am heading full speed ahead for Winter) and WEi is preparing us for that. The lacking aspect of Too Bad was the hooks. Nothing substantial came from it, and the song relied more on the other aspects that I have praised earlier in this section. Had the hooks been more pronounced, profound and memorable, Too Bad would have been a smashing track with ultimate balance.

As the music moved towards the bubblegum side of pop music, the members showed a sweeter and cuter side of them in their vocal work. And that, without a doubt, was also reflected in this music video. Usually, I would not have enjoyed the video as much for its direction. But the music video for Too Bad was actually decent to watch. The acting wasn’t terrible or overly exaggerated (though I kind of wished they were fanboying over the girl in a more discreet fashion/location and not like two steps away from her). It was also quite colourful, but I liked how they also incorporated a ‘dark’ atmosphere in this video as well.

I think the choreography was the element of this comeback where their image change became a reality for me. The cutesy vibes and youthful charms are turned on completely for the stage performances, with the members having great camera chemistry. The fun atmosphere was in full effect as well. The dance moves, on the other hand, weren’t anything amazing.

Song – 8/10
Music Video – 8/10
Performance – 7.5/10
Overall Rating – 7.9/10

[Review] O – VERIVERY

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Today’s comeback is courtesy of VERIVERY, who returns after seven months with a brand new single album, SERIES ‘O’ [ROUND 0 : WHO]. Leading this single album is the title track, O. This comeback comes after the group’s August 2021 release TRIGGER and Series ‘O’ Round 2: Hole. Since then, the group been fairly busy embarking on their U.S. tour at the end of last year. Like other comebacks, VERIVERY’s comeback has also been affected by COVID, with members testing positive in the lead up to today.

O delves into the R&B side of music, subsequently adding a bit of diversity to VERIVERY’s portfolio of title tracks, which have been more electronic/synth base. It is a bit of a shakeup from what I know of VERIVERY (which is mainly their title tracks), but I quite enjoyed O. The main reason is that O is simply a solid track from start to end. The instrumental was straightforward, with no distracting synths or anything overwhelming coming from the background. It is just R&B, with subtle sensual vibes when it came to the chorus. The melodies gives off this swaying effect that just suits the genre and I think the members did a grand job at delivering this effect. Elsewhere, the vocal work was solid, as well. I did wish the vocals were more emotive, given the misery and sadness that is depicted in the lyrics. This would have made the O more captivating and effective. The rapping was form fitting for the R&B genre and I quite liked it. I kind of wished there was a bit more rapping in the song, just to give O a bit more variety. The hook was probably the most subtle element in this song. I kind of get why O did this (i.e. the genre), but it lacks memorability and hence I don’t really remember O for its hooks, but rather the execution of the R&B genre.

Based on the official description of the music video and comeback, O is the prequel of the events of SERIES ‘O’ series. But aside from that, I am not entirely sure how this video is necessary connected to the events of the other music videos (Get Away and TRIGGER). I guess that will require a proper sit-down and a close re-watch of the music videos. Standalone, however, this music video was pretty good. I really liked the cinematography in this one. It made the video extremely captivating to watch. The lighting to the focus on the action (rather than the members) in some shots, everything just looked top-notch. The members’ acting throughout was also another positive aspect. They did a really good job and showcased the emotions that are depicted in the lyrics really well. You could feel their struggles and hurt just by watching the video. Overall, a music video that was worthwhile to watch.

The choreography looks fitting for the R&B song. Unfortunately the shots were extremely brief in the music video, but I did see a few body waves (which is a no brainer when it comes to R&B genre). So I might return to make some more observations/thoughts once we get a comeback stage.

Song – 8/10
Music Video – 9/10
Performance – 8/10
Overall Rating – 8.3/10

[Review] Adrenaline – CRAVITY

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Returning today is CRAVITY, who drops their latest single Adrenaline and their second half of their first studio length album, Liberty: In Our Cosmos. Originally, promotions for this album was meant to occur in February, however the group had tested positive to COVID-19 days before their scheduled return. This lead to the postponement of comeback by a month to today. It is their first release since last year’s The Awakening: Written in the Stars (the first half of their first studio album) and the tracks Gas Pedal and VENI VIDI VICI.

Adrenaline steps away from the sound profile that the group has worked with their last few comebacks – the ‘noisy’ electronic hip-hop, which was either a hit or miss for me. Instead, Adrenaline steps into the very familiar territory of funkier area of electronic music. While there is some nice energy to the song and the funky touch is always a fun element to have in a song, Adrenaline is a bit tame and doesn’t really offer anything new. If the group found some sort of balance between their old sound and this sound, I think Adrenaline could have a lot of potential. The hooks to Adrenaline could have also been more memorable and catchy. That way, the song would have been more appealing and potential more exciting. But for now, I find Adrenaline to be brewing from the same pot as every other pop song. That being said, however, Adrenaline is a lot smoother with its melodies and textures, which elicit a pleasant vibe. The vocals work was neat and pleasant, but nothing really great stood out for me. The rapping faired better, as their sequences had this underlying edginess and suspenseful nature that worked extremely well with the funky instrumentation and gave good drive to Adrenaline. And so the rappers really popped out in this song. I did like the additional electronic synths they added to the end of the song. It wasn’t much, but it refreshened up Adrenaline enough to not be repetitive. Overall, Adrenaline comes as a relief from their more recent harder hitting singles, but ultimately lacks much personality from the group.

The pop sound seems to be re-emphasised with this music video, which takes on a school boy concept. The bright colours and atmosphere is pretty typical for similar songs of the pop genre, and the school boy concept is a bit cliché. I don’t have much else to say about the video, unfortunately.

The choreography looks fine. Nothing really stands out for me, but that didn’t mean it was a bad one. There was a good energy, fitted in well with the upbeat vibes and I liked the flow of the choreography that we saw in the music video.

Song – 7/10
Music Video – 6/10
Performance – 7.5/10
Overall Rating – 6.8/10

[Review] Feel My Rhythm – Red Velvet

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Also making their comeback at the start of this week is Red Velvet, who returns with their latest mini-album The ReVe Festival 2022 – Feel My Rhythm, a sequel to their The ReVe Festival series (featuring Zimzalabim, Umpah Umpah and Psycho) from 2019. Headlining the new release is the title track Feel My Rhythm. It follows their promotions for Queendom from last year.

There is a bit to unpack with Feel My Rhythm. The song comes off as a mash up of both their ‘Red’ and ‘Velvet’ side. That is, their more energetic and colourful side vs. their softer and mature side (respectively). The ‘Velvet’ side of the song makes its presence known first with it being samples of Bach’s Air on the G String orchestral piece. The ‘Red’ side makes a presence shortly after, coming in the form of the metallic twing and twangs, percussion and the modern aspects of Feel My Rhythm. For the most part, the two profiles compliment well with one another. There were moments in which the ‘Red’ side overly dominated. And while I did not mind one side dominating over the other, these moments (say the instrumental to the rap verse and the bridge) were slightly overwhelming. The group’s vocals were very delicate and soothing in the song, despite what the instrumental had going on. Their higher tones sounded heavenly, and I liked how the members were able to harmonise alongside the melodies of the samples from Bach’s infamous piece. The rapping was a bit of a sore point in the song, particularly in that second verse and that glitchy part of the bridge. It is the case where it felt either too long or just awkwardly inserted in between two great parts (respectively). On the other hand, the first rapping part in the bridge provided a nice touch to help propel Feel My Rhythm towards the peak. Overall, I liked how Red Velvet stayed true to themselves with Feel My Rhythm, utilising both side of their artistry. However, that doesn’t stop me from having a mixed bag of feelings towards the song.

The music video is quite interesting. I am not entirely sure what it showing, but there is definitely a story of some kind that ties together all the spectacular visuals we get of the members. Some of the shots of the members gave me creepy vibes and those birds (no matter what colour) were very terrifying to watch. But I am all for this because it made the video captivating. I also like the sketch filter they had going on with the start and start of the final chorus. It looked cool and felt like the story came from some picture book (probably did, for all I know).

The choreography shots we saw in the video shows a refreshing vibe and delicate set of moves that compliments the song. This plays towards the Velvet side of the song I mentioned, which I personally think was the suitable choice for this song. It also follows nicely from their Queendom comeback last year.

Song – 8/10
Music Video – 9/10
Performance – 8/10
Overall Rating – 8.3/10

[Review] DAYDREAM – HIGHLIGHT

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It is a new week, with all new releases and comebacks making their way to us. First up this week is HIGHLIGHT’s return with DAYDREAM, the lead title track and the title of their 1st (or their 4th, depending on how you look at it) Korean studio album. For those who are wondering why ‘4th’, HIGHLIGHT released three studio length albums under their previous group name BEAST, with their most recent one dropping in 2016 (Highlight, featuring the title track Ribbon). This is their first comeback since their 2021 release of The Blowing and Not The End.

As it stands, DAYDREAM sounds like your typical dance track. Nothing more, nothing less. It is not a bad track, but it just doesn’t really offer anything new to the string of new releases we have been getting or the music scene nowadays. The verses were rather plain, so much so that it ironically makes me daydream/lose focus from the song (I blame this more on the instrumentation though). There are a few good aspects of DAYDREAM that manages to push the track into likeable territory for me, and so I don’t find the song to be as boring. For example, I quite liked the heavy punches that the chorus instrumental gives the song. It definitely wakes you up and gives DAYDREAM into a dynamic profile. The stripped back and suspenseful start to the final chorus, even though is a technique found commonly throughout songs released over the years, was actually my favourite part of the song. As for the vocal work, HIGHLIGHT did a great job. They were quite emotive, which worked well with the lyrics of the song where they express their desire to not wake up from a daydream to face reality of life without the one they love (taken from SOOMPI). The melodies were pleasant and enjoyable. I just wish DAYDREAM was a lot more appealing else going on in the other sections that I didn’t find as engaging or have not mentioned. Maybe a bit of rapping could have spiced up DAYDREAM.

Seeing HIGHLIGHT in whatever form, whether new or old, is quite nostalgic. And this music video is no exception. I liked their visuals and the various closeup shots they had in the video. The sets and scenery looked cool and visually appealing. However, the music video is simply just that and choreography shots. I did notice some visual effects in the video, which I presume is to give off a daydreamy effect. But I don’t think they hit the mark, at least in my opinion.

The choreography looks good. I liked the looks of the chorus routine and how it matches with more upbeat and charged sections of the song. I am interested in the snippets of footwork. I doubt they would be as iconic as their 2011 Fiction release, but I had a bit of a throwback vibe thanks to what I saw in the music video. Not exactly sure what the slower moments of the track would look like, but I presume there will be some contrast to hopefully make the chorus pop out on stage.

Song – 7/10
Music Video – 7/10
Performance – 8/10
Overall Rating – 7.2/10

[Review] MANIAC – Stray Kids

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The comeback that finished off the busy week (but not the list of reviews of songs I intend to cover from the past week) belonged to Stray Kids, who returned with MANIAC, and their sixth mini-album, ODDINARY. This comeback follows Thunderous/NOEASY and their Japanese comeback single Scars, (which the group re-released in Korea as part of their SKZ 2021 compilation album). Unfortunately, their album promotions this time around has hit a speedbump, with some members testing positive to COVID-19, joining a string of comebacks and debuts that have been affected by the pandemic. At this stage, the members are all isolating and I presume (provided no one else test positive), Stray Kids will be back on stage shortly to continue promotions.

Right off the bat, I will say that MANIAC is not my favourite Stray Kids track. To me, it lacks the same flair and intensity that their other comebacks thrived on and is not as adventurous. But while Stray Kids does take a bit of a different approach with MANIAC and the fact that I am not heads over heels for it, MANIAC is still a great song. It still has some of the tropes that I would say are associated with Stray Kids, including noisy instrumentals, some boldness and a killer hook when it comes to the chorus (more on this in a bit). It also conforms to the current trends, with a funky tone hidden in the midst of the noisy instrumentation. The instrumental features various sound effects like birds tweeting and drills, which I thought were cool additions to the song. Very different in terms of connectivity, but definitely attention grabbing over the rest of the instrumental. As mentioned earlier, MANIAC doesn’t have the same intensity (that being said, there are still enough intensity coming from the song’s rap segments). But this allowed the group to showcase more vocals, balancing out the rap vs. vocals competition that I think is sometimes occurring in Stray Kids’ title tracks. I liked how the vocal moments felt clean, particularly the bridge of the song. As for the chorus, it was an impressive one. Felix and Hyunjin really stole the show with their MANIAC opening lines, while Hyunjin (for the first chorus) and Lee Know aggressively follows up in the second half. Overall, MANIAC still has that powerfulness to it that is Stray Kids known for, despite holding back on some aspects.

What a music video. For the most part, it felt like the members were quite aggressive throughout the video (which fits the ‘MANIAC‘ concept). But the plot twist the end with Lee Know simply installing the picture frame (instead of threatening the screen with the drill, which is what Felix did for the first chorus) caught me off guard. I am sure there is a reason to why the video ended this way and a story underneath all of this. Aside from that, I was blown away by the post-production and editing. Piecing this video together would have been a crazy task, especially with the transitions and such. But it definitely made the video look cool. I really like the camera tilting effect when it came to the choruses, and how the world flipped upside down for the second chorus (alongside the drill sound at that moment).

Before the promotions were put on hold, Stray Kids did film a few performances for MANIAC. And they are proof of another show-stopping and captivating performance from Stray Kids. It is so good that I cannot wait for them to return to the stage once again! Felix seems to be injured, which prevented his full participation in the performance. But I liked how they still weaved him into the performance. The sharp spin alongside the drill sound and the head screwing move was super amazing as well (‘blew my mind type’ of amazing).

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

[Review] HONEY – Solar (MAMAMOO)

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Solar also made her comeback this past week with the title track HONEY and first mini-album, 容: Face. HONEY follows MAMAMOO’s main vocalist’s solo debut from two years ago, Spit It Out.

Like the other solo acts who returned last week, Solar’s return is also of the upbeat variety. This didn’t come as much surprise to me however, given the likes of Spit It Out. HONEY jumps out at me thanks to its dynamic house instrumental. In addition to this, HONEY also thrived on different textures. One segment was minimal, another was smooth, and then really heavy on the thumps. This, to me, made it appealing and striking to listen to. The brass following the chorus was a nice addition, adding a fun vibe to the song. Of course, Solar also plays a big part in making HONEY appealing. Aside from co-penning and co-producing song (obviously a big player in the existence of this song), Solar’s vocals were pretty neat throughout HONEY. I personally thought she did a good job of reflecting that dynamic nature and energy of HONEY through her mixed deliveries and vocal colours. Sure, it might not yet be the showcase of powerhouse vocals that I am sure many of us are waiting from Solar, but it worked well with the instrumental. The hooks and melodies we get helps make HONEY one of the catchiest and memorable songs from the past week, and they work extremely well in tandem with the instrumental. However, I am of the opinion that HONEY did not need rapping, however. The rap sequence in the second verse was probably the dullest segment of the song for me. But apart from that, HONEY was fun, likeable and one of my personal favourite releases of the week.

Another really great aspect of this comeback is the music video. The use of one colour for each shot made the video extremely visually appealing, striking and loud, just like the song. Solar’s visuals throughout the video was top notch, and her stylists put her in some really great outfits that really emphasis the colours that was the theme of the shot. Unfortunately, it isn’t an innovative idea. But Solar and the production team pulled it off, nonetheless.

For the performance, nothing really stood out on its own. But the entire routine was vibrant, which helped make the choreography worth watching. Listening to Solar sing live is always amazing, as well, given how stable she sounds on stage.

Song – 8.5/10
Music Video – 8/10
Performance – 7.5/10
Overall Rating – 8.1/10

[Weekly KPOP Chart] 3rd Week of March 2022

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What a week it has a been for the 3rd Week of March this year. It was loaded with comeback after comeback. Hopefully, we all walked away with a few good songs to add to our playlists! Unfortunately, I had a big going on for work this week as well, so I was unable to cover all the major releases of the week. Hence, I have cleared album reviews from this weekend, so the focus today will be on song reviews (as was yesterday). Good news is that all that work related stuff is out of the way (I think – it was all a blur), so I should be able to push through the busy week ahead and week after as well. But before we can get ahead, it is time for the Weekly KPOP Charts post for the past week.

New releases of the Week

As flagged already, a few song reviews for some tracks released during this past week are still coming your way, joining (G)I-DLE’s TOMBOY, Brave Girls’ Thank You, Kang Seung Yoon’s BORN TO LOVE YOU, Kihyun’s VOYAGER, Moonbin & Sanha’s WHO and NU’EST’s Again. Here are the other songs that were released this past week:

  • Ghost – COiBLEN ft. Re:Dickens
  • Epitaph – for the future – TVXQ
  • HONEY – Solar (Mamamoo)
  • Too Bad – WEi
  • HANA – XIA
  • Hai Cheng – THE 8 (SEVENTEEN)
  • MANIAC – Stray Kids
  • Windy Day – BIGONE ft. JAY B (GOT7)

Throwback Corner

This week’s song to be featured in the Throwback Corner is (G)I-DLE’s DUMDi DUMDi, one of the group’s releases from 2020. This was consistent recommendation alongside LATATA this week, thanks to (G)I-DLE’s comeback! Definitely nice to revisit a fun song!

Non-Korean Release of the Week

The highest ranking non-Korean song this week is Ailee’s Murder on the Dance Floor, which ranked in the 10th position this past week. Murder on The Dance Floor is the title track off Ailee’s first full-English album, I’m Lovin’ Amy, which dropped on 7 March 2022.

The Charts

Congratulations to (G)I-DLE for topping my Weekly KPOP Chart with their latest single, TOMBOY. For more of the charts from the last week, keep on reading!

3rd Week of Mar 202213th Mar – 19th Mar 2022
Pos.SongArtistStatus
1TOMBOY(G)I-DLE(NEW)
2Thank YouBrave Girls(NEW)
3VOYAGERKihyun (MONSTA X)(NEW)
4HONEYSolar (Mamamoo)(NEW)
5WHOMoonbin & Sanha (ASTRO)(NEW)
6JIKJINTREASURE(▲ 30)
7MANIACStray Kids(NEW)
8SmileyYENA ft. BIBI(▲ 5)
9AgainNU’EST(NEW)
10Murder on the Dance FloorAilee(▲ 60)
11LovenderHan Seungyun(▲ 24)
12Ghost TownMoonbin & Sanha (ASTRO)(▲ 11)
13DU DU DUTAN(▲ 38)
14BORN TO LOVE YOUKang Seung Yoon (WINNER)(NEW)
15DMfromis_9(▼ 14)
16DilemmaAPINK(▼ 8)
17Feelin’ LikePENTAGON(▼ 14)
18Ven paraWeeekly(▼ 11)
19BecauseASH ISLAND(▲ 51)
20Too BadWEi(NEW)
21Pinky SwearCIX(▲ 36)
22Love In SpaceCherry Bullet(▼ 2)
23The SongBTOB(▼ 4)
24Hold Me AgainSunny Hill(▲ 44)
25Can’t Control MyselfTaeyeon (SNSD)(▲ 28)
26FlowerPark Bom ft. Kim Min Seok (MeloMance)(▲ 26)
27Need You (Outro)G.Soul(▼ 1)
28GANADARAJay Park ft. IU(▲ 42)
29VillainDRIPPIN(▼ 20)
30ChildMark (NCT)(▲ 40)

Songs leaving the charts this week

The following songs have left the charts this week as they have wrapped up their nine week run in the charts system:

[Review] WHO – Moonbin & Sanha (ASTRO)

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Also making their comeback this week was ASTRO’s subunit consisting of Moonbin & Sanha. The pair returned with the single, WHO, and mini-album, Refuge, on Tuesday. It follows their unit debut back in 2020 with Bad Idea and is the second subunit from ASTRO to release music this year (the first being JinJin & Rocky’s Just Breath). Moonbin and Sanha were also quite lucky in making their comeback as schedule, as both were diagnosed with COVID-19 a week prior to their comeback. Many groups are delaying their comebacks or postpone the start of promotions due to COVID, whereas Moonbin & Sanha managed to just dodge this potential impact and recovered just in time for their scheduled comeback. However, ASTRO’s fan meet event, which was scheduled for 13 March, had to be pushed back to April.

It is clear from this comeback that Moonbin & Sanha (the subunit) was formed to showcase a very intense and more mature side of the group. Bad Idea definitely had mature vibes, while WHO has adopted a darker profile. And at the helm of this ‘darker profile’ is a powerful dance track. It is also quite minimalistic throughout – to the point where WHO felt very bare. But the powerful and intense nature of WHO helps offset the bareness of the song. Part of me likes that. Unique and innovative in a way. But another part me of felt like it wasn’t enough. And sadly, I am leaning more to that latter side. While the powerful rock influenced flair we get in the chorus definitely gets WHO into the memorable category, I fear its stay would be short-lived. In other words, the intense beat is enough to get it there, but WHO didn’t have anything to keep it there. The chorus could have been backed up by a hook, through a two part chorus, and this (provided it was executed properly and fitted in with the rest of the track) could potentially have ‘sealed the deal’ for WHO to stay in the ‘memorable category’. It also could have potentially helped offset that bareness that I had mentioned in a more satisfying and fulfilling manner. When I turn to the verses and bridge, there are some good vocals in there and there was a really bone chilling ‘Who you looking for’ line. But nothing captivating or strong enough.

The dark side of the pair is definitely shown throughout the video. The video takes on a religious concept, which I think is a bit of a unique concept in KPOP. Some scenes of the video seems to depict the idea of hell and possession, which is a pretty cool topic to portray. It also fits in with the lyrics of the song, which is about express the confusing emotions between evil that cannot be escaped and the desire for healing (taken from Soompi). Both Moonbin and Sanha’s visuals were definitely top notch in this video, with the mature look really shown off in this video.

The powerful nature of the song lends well to the performance aspect of this comeback. It allowed them to show off their performance skills, coolness and fierceness on stage. Definitely a performance I recommend you watch.

Song – 6.5/10
Music Video – 8/10
Performance – 9/10
Overall Rating – 7.5/10

[Review] Again – NU’EST

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After 10 years, NU’EST has wrapped up promotions as a group and have agreed to part ways. It was announced at the end of February that the group would officially disband once their contracts finish up mid-March. While this was a bitter pill to swallow for some fans (and quite unexpected), it was then announced that the group would release one last album before disbanding on 15 March 2022 to coincide with their 10 year anniversary. Titled Needle & Bubble, the special compilation album featured remakes of their past hits and two new songs, one of them being Again (the title track for this album release). Member Baekho and Minhyun have signed on to stay at Pledis Entertainment, with Aron, JR (now Kim Jonghyun) and Ren leaving the company.

Again continues the string of pleasant singles that we have heard over the last few weeks. For those who knows my blog well, I use the word ‘pleasant’ in either a positive or negative manner. In Again‘s case, I use it in a positive manner. Again falls into the category of a pop ballad and sounds very reflective throughout, ideal for the circumstances that NU’EST finds themselves in. Regardless of how you view the situation surrounding the release of Again, its tone and flowy nature is quite effective. It might be able to bring back some happy memories, which I am sure fans of the group (L.O.Λ.E) are happily reliving. But as this is the group’s final track (barring any potential reunion or regroup in the future), it might also lead to some listeners shedding a few tears due to the bittersweet feeling Again might bring about. The song’s instrumental, as a whole, was very inviting and warming to listen to. I quite enjoyed the piano in the instrumental. It adds a beautiful touch to the song, especially as it peeks through from underneath the other instruments. Vocally, the reflective tone the members bring to the song really helps boost up the song and emphasise a lot of the descriptors words I have already used to describe Again. The melodies were also quite soothing and easy on the ears. I quite like how the focus on the vocals and that the instrumental was not overpowering. Everything was well-balance, and made for an enjoyable and pleasant listen. Overall, Again is a fitting track for NU’EST to end their time together as a group with.

The music video was just as I had expected it to be – reflective and pleasing to watch. What really got me was the ending, with Minhyun’s warm smile when he saw the other members of the group approach him. That scene, though its intention was probably to be lighthearted and warm, really hurt me. Not to the point where I was in tears, but it really put everything about this release into perspective for me. In addition to that, I believe this music video references a few of their past releases. Aron’s scene with the payphone seemed to allude towards their Hello release. JR’s solo scene with him on top of the stacked mattresses and Baekho’s scene with the reflection of light off the surface of water on the walls (and the coloured Blue walls) reminded me of Where You At‘s music video. The chess board in Ren’s solo scenes might pay homage to some of their videos that featured chess game, such as HELP ME and BET BET. Minhyun’s scenes behind the broken windows might be reference to the broken glass concept images NU’EST W had for their Where You At comeback. These might just be coincidences, but given that this is their last release as a group, it would make sense to why they might have included these subtle touches that refer back to their old releases. Either way, they make for a great video.

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

[Review] VOYAGER – KIHYUN (MONSTA X)

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Next up on the comeback rush of this week is KIHYUN, MONSTA X’s main vocalist, who made his solo debut yesterday with the track VOYAGER and single album of the same name. KIHYUN is the second member to go solo, with fellow rappers Joohoney and I.M being the first members of MONSTA X to have officially released solo tracks (i.e. Joohoney with his mixtapes and I.M’s God Damn). But this review is for KIHYUN’s latest song, so let’s check it out.

As a main vocalist, I expected KIHYUN to go down the typical route of a ballad of some sort for his solo promotions. But VOYAGER is no ballad. Instead, VOYAGER delves into an upbeat rock profile that is both refreshing and lively to listen to. The consistent drumming in the chorus was definitely a highlight for me. VOYAGER isn’t strictly just rock though, with the instrumental composed in a way to be almost funky, tapping into current trends in KPOP. There are also some jazzy undertones in VOYAGER when the piano becomes more present in the bridge, which gives VOYAGER a nice accent. Other than the instrumental, KIHYUN does an amazing job vocally to make VOYAGER more dynamic and charismatic. I really like the cheerful tone to his vocal colours in the chorus, which makes VOYAGER instantly appealing. This also compliments the upbeat nature of the song. I noticed a slight raspy texture to his voice that allows him to work so well with rock instrumentation. I would definitely be down to hear more of KIHYUN as a solo artist, in particular exploring more of the rock genre, as he is well suited from how VOYAGER was pulled off and what we heard.

Not exactly sure if the music video is meant to string together and form some sort of theme or message. It seems like there might be hints towards one, but nothing too recognisable. Instead, the video comes together more so like a collection of closeup shots of KIHYUN. This is absolutely fine and would make for a great video. I just got the impression that there should have been something in this video to pull everything together in this video. But aside from that, I liked how confident and cheerful he appeared, which comes off and stays with you after watching the video.

Song – 9/10
Music Video – 8/10
Overall Rating – 8.6/10

[Review] BORN TO LOVE YOU – Kang Seung Yoon (WINNER)

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The final act to make their comeback yesterday was Kang Seung Yoon, who returned with the single BORN TO LOVE YOU. It is Kang Seung Yoon’s first single since his comeback last year in March with IYAH. So it has been a while since we have heard from Kang Seung Yoon. We also haven’t heard much from WINNER (the group in which Kang Seung Yoon leads). This is partly due Jinwoo and Seunghoon’s military enlistment. The good news is that the group is confirmed for a concert in April/May, and a full group reunion might mean that a comeback is on the cards. I also remember reading somewhere that the members are keen on making another comeback before Kang Seung Yoon and fellow member Mino needs to enlist in the military. But nothing is for sure until it is confirmed. For now, we will have settle for a solo comeback with Kang Seung Yoon for our WINNER fix.

BORN TO LOVE YOU is another ballad to add to Kang Seung Yoon’s portfolio. For me, I found this ballad to be rather typical, which is a major disappointing following the likes of IYAH, which I gave a 10/10 for. It is also a bit surprising, since I do find myself easily enjoy many ballads quite a bit. There isn’t much to really captivate with in BORN TO LOVE YOU, aside from the emotional heft and passion that drives the song. You can feel the pain that is going through the lyrics of the song and his voice, which is all about the emotions following a breakup. This undoubtedly allows Kang Seung Yoon to sound pretty good and adds a boost in terms of appeal for the song. I also like the power he puts behind his vocals, adding some more heft to the song. But that is only one part of a song. The melodies, particular in the chorus, were nice, but memorable as can be with a typical ballad. What also dulls BORN TO LOVE YOU is the instrumentation. I found the piano and guitar to be quite good, simply because they give ballads passion and drive, and I felt that they complimented the vocals well. But the trap elements or drums we get in BORN TO LOVE YOU are on the plainer side and felt too dominant (relative to the vocals/piano/guitar in the song). Maybe if the song kept to acoustics with the piano and guitar, the song would have been more enjoyable. But as it stands, BORN TO LOVE is just another ballad.

Kang Seung Yoon’s acting is pretty good in the video. And that would be expected, given that he is an actor as well. But what drew me to this video was how his emotions that he put behind his vocals are portrayed throughout the video. It is quite heartfelt and emotional to watch him struggle on the bridge, with or without rain. On top of that, the relationship shots we saw were very convincing (from the good memories to the bad ones). I also liked the idea of the rain in the apartment, which contributed to the water in the apartment. Not exactly sure what it is represents, but I am guessing sadness and tears.

Song – 7/10
Music Video – 9/10
Overall Rating – 7.8/10

[Review] TOMBOY – (G)I-DLE

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Another group who made their comeback yesterday is (G)I-DLE (though sans one member, Soojin, who was permanently withdrawn for the group following past bullying accusations made against her). The group has since reformed into a five member group, and made their long awaited comeback with TOMBOY, which leads the group’s first studio album, I NEVER DIE. This is the first comeback following the release of HWAA in January 2021. It also follows the solo debut of Yuqi (who debuted with Giant and Bonnie and Clyde) and the solo comeback of Kim Soyeon (with Beam Beam).

Just like the name suggests, TOMBOY takes on an edgy appeal. This edgy sound is something that I have personally thought would fit (G)I-DLE really well and that is what I get out of TOMBOY. The instrumental has this punkish rock profile that is powerful, tough, intimidating and fierce. The electric guitars are top notch and slamming throughout. But while the instrumental gets the praises, the other elements to TOMBOY are a bit … flat. From start to end, I felt the members delivery just didn’t live up to the hype and energy created by the instrumental. You can tell what the intended effect of all the parts were (it all goes back to being edgy), but their delivery and execution was weakened by the poor lyrics of the song. Within the first few seconds of the song, we get ‘Look at my toe‘. The repetition of the line ‘Ye I’m a tomboy‘ and similar variations loses its effect every time it is repeated. And ‘Sometimes we swear without cigarettes. I like to eh on drinking whiskey‘ doesn’t show for anything. Furthermore, it was all delivered in the same manner/tone and didn’t give much opportunity for the group to show off their own character or personality. It isn’t all weak though. There were some good vocal moments, such as the pre-chorus, which I liked. But it just wasn’t enough to save the likes of TOMBOY. The ‘Man or Woman‘ sequence and the extra bit of instrumentation we get at the end was good though. But again, not enough to save the song. Overall, I liked the idea of TOMBOY and think it fits with the group. But it was just not executed in a manner that it a great enough manner.

The music video was a lot cooler than the song. It was dominated by a heavy presence of the colour red and had some edgy imagery (i.e. blending of the Ken doll for some blood). It does steer the concept towards ‘try hard’ territory. But I don’t think we get there yet. The music video contains a lot of confidence and charisma that might have just helped hold back the music video from entering that territory. What I really enjoyed was that whole doll sequence, where the members (as dolls) drug the male doll, kidnap him and hang him upside down while threatening him with a gun, whilst innocently swaying their heads from side to side. Also really enjoyed the timing of the car explosion.

The charisma and confidence I just mentioned is all over this stage. It made the performance extremely worthwhile to watch, even though the main move looked meh. The verses were also good, and the final sequence just oozed of coolness and edginess, which I am sure is exactly what the members/choreographers wanted.

Song – 6.5/10
Music Video – 8/10
Performance – 8/10
Overall Rating – 7.3/10

[Review] Thank You – Brave Girls

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As previously mentioned, today is the start of a wave of comebacks that we will be seeing in the second half of the month. It is notable given how slow and quiet the last few weeks have been. Of course, this will mean more reviews and I hope I will be able to stay on track. First up is Brave Girl’s Thank You, which is featured as the title track on their sixth mini-album (that shares the same name). This is the group’s first comeback since their rise thanks to the resurgence of Rollin’, Chi Mat Ba Ram and After ‘We Ride’.

Thank You takes on the funky side of retro. Sure, this sounds pretty ordinary given that it is combines two style influences that is consistently the main feature of KPOP songs nowadays. But what I quite enjoyed about Thank You was the elegant nature that comes about from Brave Girls’ mash of the two influences and I personally find it fitting for the group. It is fun and lively, yet maintains that mature side of the group that we know is part of the group’s profile. When it comes to the other parts of Thank You, I find them to be quite pleasant. For Thank You, I use the word ‘pleasant’ in a positive manner. Firstly, the track has a wholesome meaning since it is dedicated to the fans who have stayed by their side during their toughest times, Secondly, I found the vocals nicely done. Each of the members didn’t overwhelm or underwhelm with their delivery. To me, it was the case of Goldilocks’ perfect. I also like the autotune in Thank You, which helped highlight the retro side of the song. I will be critical with the melodies and hooks. I wished they were more profound in Thank You, just to be that extra bit more satisfying and fulfilling. What we got was good enough, but I seem to think more could have been done. Also, the rapping in the second verse could have been a bit cleaner. It just felt a bit muddled (sorry Yujeong!). And thirdly, everything in Thank You just works in harmony with one another to give off that pleasant feeling.

Majority of the video was shot in front the green screen. At first, I thought it cheapened the video. But I realized that I was watching the video at a lower than optimal visual quality. Turning the quality up, the video actually looked quite good. Usually, I don’t mind what quality I watch the video at. But for Thank You, it really effected the experience. So, I recommend you watch the video at the highest quality in which your device can handle. I also believe elements from their past videos are in this music video, which would make sense given the song’s meaning. I was reminded by After ‘We Ride’ with Eunji’s solo scenes with the white flowers, her hat, the seats and light projections. Chi Mat Ba Ram came through with the re-appearance of the sky whale in the background of one of the choreography shots, while Yuna’s scenes where she is riding the motorcycle reminded me of We Ride’s car ride.

Unfortunately, some of the members have tested positive to COVID-19, so their comeback showcase originally to be held today was delayed as a result. So I don’t think we will be seeing a live performance for this comeback until next week. But what I did see in the music video looks good. Nothing felt memorable like in their past performances, but I liked how the choreography encompasses the retro/funky influences. I also like the change up in the final chorus, which helps makes the performance appear more fun.

Song – 8/10
Music Video – 8/10
Performance – 7/10
Overall Rating – 7.8/10

[Album Review] Planet Nine: Voyager (4th Mini Album) – ONEWE

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As promised yesterday, an album review just before 6PM KST. Why specifically before 6PM KST today? Well, that is when the comebacks for the second half of the month begin and I have previously mentioned that this second half of the month is going to get crazy. Anyhow, the album review is for ONEWE’s fourth mini-album, Planet Nine: Voyager. It was released 4 January 2022 and features the title track Universe_ that also dropped on the same day.

Not to spoil this album review, but it is already the highest rated album of the year for me. Now, that isn’t saying much given that we are only in the third month of 2022. But, based on past experience, the high rating Planet Nine: Voyager has received is actually in the range of being one of the highest rated albums ever reviewed! And if this high rating is an indication of anything, it is definitely the high praises I give it. Let me know if you agree with my thoughts for the overall mini-album and tracks below!

Planet Nine: Voyager Album Cover

1. Universe_ (너의 우주는) (Title Track) – Click here to read the full review for Universe_. (10/10)

2. Envision_ (우물 속 작은 아이) – Envision_ takes the form of a pop rock ballad that I would describe as ethereal. The paced nature and atmosphere created by the instrumentation was just stunning and an excellent backdrop to this song. The drums added that perfect amount of punch to the song to keep it from drifting away or being repetitive. The vocals were extremely complimentary to the instrumentals and the melodies gave the pop rock ballad that swayable effect I personally love in ballads. I personally cannot find any issues with this song based on my personal taste. (10/10)

3. Montage_ (꿈속에서 놓친 너, 옅은 잠결에 흐르길) – Montage_ goes for a much more intense profile that instantly appeals to me. It is the side track that really spoke to me when I was vetting the album to see if it was worth reviewing (spoiler: it definitely was worth reviewing!). This is thanks to the rock elements in the instrumental. The solo guitar moments and the intensity brought on by the drums for the final chorus all made this song top notch as well. As for the vocals, I liked how controlled and balanced the members kept themselves throughout the song. The opening melodies for the chorus were also stunning. (10/10)

4. Trigger_ (시발점) – Trigger_ also instantly stands out for the smooth vocals and piano melody in the verses. It definitely got a few ‘oohs and aahs’ from me. Elsewhere, Trigger_ is an interesting song, opting for various textures and influences. We get a bit of elegant balladry, rock intensity and hip-hop styled rap in it. Together, they are mashed to create a track that somehow clicks. I did think the rock elements could have gone a bit harder, just so they can be more pronounced. But Trigger_ undoubtedly works. (9/10)

5. Orbit_ (궤도) – Orbit_ leads us back into ballad territory, but the song is much more than just a typical ballad. It may not be as groundbreaking as the previous tracks on this album, but Orbit_ is beautifully executed (as is the case with every other ONEWE song). The acoustic guitars really set the tone, while the subtler rock influences allow the song to expand further than just ballad territory. The vocal work is also very beautiful and a delight to listen to. (8.5/10)

6. From_ (선물할게요) – The final song on the album is a straight-up ballad. We do get a bit of inclination from the instrumental that enables the presence of rock influences, but I feel that From_ never really departs from its ballad roots. What makes From_ a stunning end to the album are the vocals and harmonies, which creates a soothing and likeable atmosphere to end the album with. I found myself drifting away as I was captivated by the members. My only disappointment with this track is that it is simply the end of the album. (9/10)

Overall Album Rating – 9.4/10

Planet Nine: Voyager / Universe_ Teaser Image

[Weekly KPOP Chart] 2nd Week of March 2022

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Another week has just passed, and it is time for another Weekly KPOP Chart post. I am hoping to get another album review out soon and a few extra reviews drafted ahead of 6 PM KST on Monday (the time in which a wave of releases comes our way). I also have some personal work to get through, so this introduction will be a short one. Without further ado, the weekly KPOP charts for the 2nd Week of March 2022.

New releases of the Week

In addition of the two reviews I wrote this week (Weeekly’s Ven para and Kim Woo Seok’s Switch), the following releases also dropped this week:

  • The Little Name – ADORA
  • Murder on the Dance Floor – Ailee
  • Oh Sorry Ya – Sunmi
  • Run Up – T1419
  • ESPER – Kwon Eun Bi
  • DU DU DU – TAN
  • GANADARA – Jay Park ft. IU
  • Flower – Park Bom ft. Kim Min Seok (MeloMance)
  • vintage love – polar (Choi Junhyuk)
  • SMILE – Zelo

Throwback Corner

This week’s song to be featured in the Throwback Corner is GOT7’s Poison, a side track off the group’s 11th mini-album, DYE. I have previously reviewed Poison through DYE’s album review, so you check my thoughts on the song there. In the meanwhile, check out the song below.

Non-Korean Release of the Week

The highest ranking non-Korean song this week is T1419’s Daydreamer, which ranked in the 18th position this past week. Daydreamer previously featured in this corner of the Weekly KPOP Charts for the 3rd Week of February 2022. Also check out T1419’s latest release, Our Teen:Blue Side, the group’s first mini-album and Japanese debut mini-album, which was released this week.

The Charts

Congratulations to fromis_9 for topping my Weekly KPOP Chart with their latest single, DM. DM previously topped my Weekly KPOP Charts for the 1st Week of February 2022. For more of the charts from the last week, keep on reading!

2nd Week of Mar 20226th Mar – 12th Mar 2022
Pos.SongArtistStatus
1DMfromis_9(▲ 9)
2SwitchKim Woo Seok(NEW)
3Feelin’ LikePentagon(▲ 13)
4RUN2USTAYC(▲ 25)
5DevilMax Changmin (TVXQ)(▲ 52)
6LUNATICMoonbyul (Mamamoo)(▲ 31)
7Ven paraWeeekly(NEW)
8DilemmaAPINK(▼ 1)
9VillainDRIPPIN(▲ 56)
10Slo MoBamBam (GOT7)(▲ 57)
11Road in the LightSWAN (CRAXY)(▲ 56)
12TOO MUCHJIN JUNWOO(▲ 55)
13SmileyYENA ft. BIBI(▲ 29)
14Make Me HappyWheein (Mamamoo)(▲ 10)
15BOP BOP!VIVIZ(▲ 15)
16JtrapJwiiver(▲ 51)
171, 2, 3AB6IX(▲ 24)
18DaydreamerT1419(▲ 27)
19The SongBTOB(▼ 14)
20Love In SpaceCherry Bullet(▼ 19)
21Bad NewsTEMPEST(▼ 7)
22DESSERTKim Yo Han (WEi)(▲ 3)
23Ghost TownMoonbin & Sanha (ASTRO)(▲ 9)
24KIMIWA SAKIE IKUYunho (TVXQ)(▲ 32)
25INVUTaeyeon (SNSD)(▲ 42)
26Need You (Outro)G.Soul(▲ 34)
27ManiacMax Changmin (TVXQ)(▼ 16)
28CHIQUITARocket Punch(▼ 24)
29Dawn to DuskLay Zhang (EXO) & 24kGoldn(▲ 38)
30Love MessageParc Jae Jung(▲ 37)

Songs leaving the charts this week

The following songs have left the charts this week as they have wrapped up their nine week run in the charts system: