BOYNEXTDOOR is nominated as the Best New Male Group in the 2023 KPOPREVIEWED Awards. Support BOYNEXTDOOR and your favourite other acts by clicking here to vote for them today.
I am back tomorrow with new posts for 2024, beginning with the Weekly KPOP Charts for the final weeks of 2023. But before that, I will leave you with the final scheduled post from 2023 – the album review for BOYNEXTDOOR’s first mini-album, WHY…. WHY…. features six songs in total – 3 songs from the group’s first single album (WHO!) which they debuted with (But I Like You, One & Only, Serenade) and 3 newer songs (including the title track But Sometimes and the follow-up single ABCDLOVE). All links to the songs that I have reviewed separately can be found below. I have chosen to review WHY… (and by extension, WHO! more formally) as the album is almost fully reviewed on my blog (just two outstanding songs). An easy post to knock out in the lead up to the holidays, but also an nice deep dive into one of the newer groups of 2023. The mini-album is much more standard and weaker than the ones I usually prioritise. But as I always say – there is always potential for improvements to take it to the next level.
4. Crying – The first new track of Why.. is Crying. It is a much more mature sound than compared to the Who! songs. The track take on a jazzy R&B motif and highlights the vocals of the group quite well. The rappers do a nice job in Crying, with their parts maintaining a youthful vibe that the group has already built for themselves in their debut releases. While the song does focus more on melodies and what we get is pretty good, I wished this aspect of Crying was teased out a bit more to really give it an even more memorable element. (7/10)
6. ABCDLOVE – I am fully aware that ABCDLOVE got the music video treatment. But I thought I forgo a full song review for ABCDLOVE, as I found myself to be quite disengaged with this track. This hip-hop track highlights the group’s youthfulness (the chipmunk autotuned vocals at the start and end alludes to this), with what could have been a playful track. I did like the carefree vibe that the members conveyed through the track. But I do not agree with the slow pace of the instrumentation and momentum. It dragged out the song and dulled it down quite a bit. I always felt like ABCDLOVE could have been better had it picked itself up as it went along. (6/10)
KIM SEJEONG’s Top or Cliff is nominated for Best R&B Song and Door is nominated for Best Album in the 2023 KPOPREVIEWED Awards. Support KIM SEJEONG’s releases and your other favourite acts by clicking here to vote today.
For the final day of 2023, I leave you with an album review for KIM SEJEONG’s first studio length album, Door. It was released back in August of this year, and features double title tracks, Top or Cliff (which I reviewed separately in a song review post) and Voyage (which I never got around to reviewing despite it having a music video due to time constraints). Door officially becomes of the highest rated albums on the blog this year thanks to the awesome and high quality line-up of tracks on this album, which earned Door‘s nomination for Best Album of 2023 in the 2023 KPOPREVIEWED Awards, as mentioned in the opening paragraph.
Door (문/門) Album Cover
1. Voyage (항해) (Title Track) – Opening up the studio album is Voyage. Due to time constraints, I won’t be able to review Voyage separately (since it did have a music video), which probably makes the song the first ever title track to not be reviewed on its own ahead of an album review. But my thoughts on Voyage are very simple. I really like the folksy approach to the instrumentation, along with the bright and breezy energy that makes it appropriate for the outgoing summery period that the song was released in. Sejeong’s vocals feel comfortable and inviting, serving as a great opening door to the album. (10/10)
2. If We Do– The album shifts towards a minimalistic sound that is ballad-like in If We Do. It has me swaying side to side as I listen to it, and KIM SEJEONG’s pure and delicate vocals just whisks me off my feet. I also like the chorus of If We Do, where she compares parts of a relationship to different song genres. A little sample of the genre in question plays right after she makes the comparison in the lyrics. Without digging into the lyrics, this is an intriguing aspect of the song. But in the context of the lyrics, it feels logical and makes for a nice addition to the intent of If We Do. (9/10)
3. Sea of Hope(바라던바다) – Sea of Hope is takes us further into the balladry style. And without doubts, Sea of Hope is a beautiful one. I really like the atmospheric approach of the traditional instrumentation, taking us down a dreamy motif. I am not immediately taken away by the melodies in this song, but they have grown immensely on me and I do like the build-up the soloist delivers in the song. KIM SEJEONG’s vocals are lovely and emotionally driven, which further emphasises the beauty of the song. (8.5/10)
4. Between Summer and Winter(권태기의노래) – The next song picks up the momentum on the album with a soft pop-rock track. Again, Between Summer and Winter is pretty number that feels like a pleasant track to have on whilst taking a twilight walk. It isn’t the immediate standout on the album, but it still a worthwhile listen. I really like how KIM SEJEONG’s vocals captivated me in this track, especially with how breathy and delicate the delivery at certain parts of Between Summer and Winter. I also enjoyed the guitar solo in the bridge. (8/10)
5. Destiny(모르고 그려도 서로를 그리다) – I have a few favourites on this album and Destiny is one of them. I like how buoyant the instrumentation is in Destiny, with piano in the background and the pretty synth work. The upbeat nature of this pop track just hits the right spot and I liked the blissfulness this brings. The slight autotune applied to KIM SEJEONG’s vocals just allows her vocals to blend in so well with the rest of the track, but she remains crisp as always during other moments. The ‘Eh-Oh’ is also quite memorable hook in Destiny. (10/10)
7. Jenga – Jenga is quite a stylish pop number, particularly when it came to the chorus of the song. I can’t tell whether if the chorus is based on synths or really nice guitar work. But either way, I found it to be a really cool sound that sticks around in my head, even after Jenga is over. I like the different ‘moments’ in the song, such as angsty rock sequence we get towards the middle of the song and the dramatic strings that appear at the start and in the bridge of the track. The melodies also bring a smile to my face. (9/10)
8. Indigo Promise – Breathy vocals is what I remember the most about Indigo Promise. The atmospheric instrumentation and melodies are also additional promising elements of the song. Together, they form another beautiful song that feels on brand for KIM SEJEONG. (8/10)
9. Send A Letter(편지를보내요) – We delve further into balladry territory in Send A Letter. The usual suspects keep on bring me back to the song time and time again. I really like how her vocals shine in this song, the obvious emotional weight she conveys in the lyrics and the captivating melodies that has me closing my eyes to truly experience Send A Letter. I really like the strings in background, and also the jazzy riffs the piano brings to this ballad. (9/10)
10. Over The Rainbow (언젠가무지개를건너야할때) – Over The Rainbow keeps us in ballad land, with an orchestral instrumentation to back the ballad. Once again, KIM SEJEONG’s vocals and Over The Rainbow’s melodies keep me around. The vocals themselves are stunning throughout the length of the song (especially towards the end of the track), and the melodies are very pretty. Altogether, ‘beautiful’ is exactly how I would describe the song, and it is another favourite of mine. (10/10)
11. In The Rain(빗소리가들리면) – Finally, we reach the end of the album. And to lead us out, In The Rain picks up the energy a bit, combining the likes of orchestration and band instrumentation into a brighter and dynamic number. I know I sound like a broken record, but KIM SEJEONG’s vocals are beautifully delivered and they also bring such a refreshing tone to the song. The choir sequence serves as an introduction to the end of In The Rain, bringing out wholesome vibes. But it is KIM SEJEONG’s vocals that signal the end and she does so in such a satisfying manner. It hard to skip to this song. (10/10)
NCT is nominated for Best Male Group, while MARK (NCT) is nominated for Best Rap Performance, and NCT DREAM and NCT DOJAEJUNG are nominated for Best Subunit (amongst other categories) in the 2023 KPOPREVIEWED Awards. Support NCT and their associated acts, songs and performances by clicking here to vote today.
NCT returned with 20-members (sans LUCAS, who left the group due to controversy, and SUNGCHAN and SHOTARO who both were transferred to RIIZE) in August this year with a new album – Golden Age. Leading the charge on this 10-track album are Baggy Jeans and Golden Age. In addition to the 2 title tracks, I have also been busy reviewing 4 songs that has an ‘archiving video’ released as part of the promotions. And with all possible tracks eligible for a separate song review now ‘reviewed’, the only thing left is the rest of the album, which is why we are gathered here today. Golden Age is a fair album, with some great tracks on the list. For more of my own thoughts on the individual, continue reading onwards.
2. Call D (TAEYONG & TEN) – You might remember the pairing of TAEYONG and TEN from their Baby Don’t Stop days (almost 6 years ago). They are paired together again (just like how Baggy Jeans reunited the initial NCT U lineup) for Call D. And boy, this is an amazing track! I really like the synth work in this instrumentation, which translates to an awesome performance. It feels very textural, and the glitchness double downs towards the end. I find both TAEYONG and TEN to be quite charismatic in Call D with their rapping and vocals (that bridge was beautiful), captivating us further. (10/10)
4. Interlude: Oasis(YUTA, JAEHYUN, WINWIN, JAEMIN & CHENLE) – Oasis is a very soft R&B-like number, much different to what we are used from NCT. ‘Easy on the ears’ as I tend to say, but this description also comes about from the overall smooth vibes that comes from the track. This interlude track also highlights the vocals and rapping from this lineup, particularly from CHENLE and JAEMIN. (8.5/10)
7. That’s Not Fair (JOHNNY, TAEYONG, TEN, MARK, JENO & YANGYANG) – That’s Not Fair takes on the hip-hop style of music in a unique manner. Firstly, the instrumental has this subtle type of intensity which bubbles way. It never really builds, but you can tell it happening in the background. I also like the ‘down low’ nature of the backing, which complements the deeper and lower registers that the unit delivers their line in. This lower tone also enables a monotonous approach in That’s Not Fair that just screams out hip-hop. The melodies that manage to come through helps push the song along, and there are some catchy hooks in That’s Not Fair. All of this contributes to an experience that I wouldn’t mind going back to time and time again. (8/10)
9. Not Your Fault(TAEIL, KUN, DOYOUNG, TEN, JUNGWOO, XIAOJUN & RENJUN) – For the second last track on this album, this seven-member vocalist lineup brings us a R&B ballad. Not Your Fault is pretty much a familiar track for the likes of an R&B ballad. It features a warm and pleasantly instrumented piano-centric backing and stunning vocals from the lineup – JUNGWOO’s vocals at the end is soooo nice. It isn’t the most memorable track of the bunch, but it is still a nice listen. (7.5/10)
Young K’s let it be summer is nominated for Best Rock Song in the 2023 KPOPREVIEWED Awards. Support let it be summer and your other favourite acts by clicking here to vote today.
If you haven’t seen yet, I have posted the song reviews for Young K’s 2023 releases, nothing but and let it be summer (links below), over the last two weeks. And with that, I am ready to post my thoughts on Young K’s album that features these two tracks – Letter with Notes. This is Young K’s first comeback since his military enlistment and his first studio album. It dropped on 4 September 2023. Personally, I really like the variety that Young K offers in this album – there is a bit of rock, jazz, ballads etc. I kind of had the mindset that the entire album will just be variations of rock (given that Young K does come from a band) or just the more typical vocals/band formula. But there is a lot more to Letters with Notes as you dig further into the album. I highly recommend this release, especially if you are missing your DAY6 dose lately.
Letters With Notes Album Cover
1. waited(오늘만을너만을이날을) – Starting off the album is waited. To me, this 90s-like rock track is one of a few that I feel DAY6 easily could have executed together. It just had that whole band vibe that DAY6 has built for them. Well, of course, Young K does a really good job himself with his passionate vocals. I also enjoyed the upbeat and bright energy from the band instrumentation, the pairing making waited a lovely opener, and the glitchy-like echo of following the first chorus was a memorable and unique element of the song. (9/10)
4. Dreamer (꿈꿈) – Dreamer is a British rock track, with feel-good vibes at the forefront of the track. I really like the grungy guitar work in this track, which gives Dreamer a bit of grit, and the splash of brass in the background that emphasises and concentrates those feel-good vibes. Those same vibes are also exuded through Young K’s vocals – the best showing of his vocals is during the bridge, when the melodies curls up. The way he sings those ‘curls’ is impeccable. I find myself getting lost in all of the above often when I hear Dreamer on my queue, and that is definitely a solid indicator to how good the song is. (10/10)
5. Bungee Jumping – Bungee Jumping moves us into slightly softer territory, with a more mellow and pleasant vibe to its instrumentation (despite remaining upbeat). But before you think this translates a softer or mellow approach to Young K’s vocals, think again. I find Young K still puts some oomph behind his vocals during certain parts of the song (such as the opener to the chorus), which brings forth a bungee jumping-like effect to his vocals, which I find complements the title of the song well. Apart from that, everything (melodies, delivery etc.) feels pretty standard. (8/10)
6. natural – The instrumentation to natural evokes a foot-tapping reaction from me, which is another sign of a good song. I like how straight forwardly simple and pure the instrumentation, which complements the title (again) and the romantic intent of the song. Young K’s vocals are really nice in natural, with the soloist going down a more heartfelt and soft approach. I love how delicate he gets in this song, which contrasts nicely with the instrumentation. (9/10)
7. STRANGE – STRANGE reinvigorates the album with the infusion of synths alongside the band instrumentation. It ends up giving off a different dynamic to the rest of the traditional band approaches on the album, serving us with a playful vibe. You can also feel the refreshing energy coming from the soloist’s vocals. Throw in some catchy moments and you have a strong side track in STRANGE. (9/10)
8. SOUL (ft. COILB) – We revisit brass and band instrumentation in SOUL. This time around, the brass is more in the forefront and we also get a nice mellow touch via the presence of piano. Together, with the band instrumentation, we get a jazzy-like atmosphere. Young K himself brings so much soul and passion during the chorus, captivating and engaging me. So much so that I feel SOUL is his best effort vocally on this album. COILB’s rapping also complements SOUL quite well, with his delivery also giving passionate and soulful vibes. (10/10)
9. playground – The playful vibes come back to play in playground, with a funkier sound profile in this rock track. There also appears to be a touch of blues in playground. Young K’s vocals also play around, with his delivery throughout and the quirks in the vocals giving off confident, lively and cheeky undertones. I really like the dynamics of playground and just wished it had gone on and on. (9/10)
10. babo – Despite the song’s title being the Korean word for ‘fool’, babo is an all-English track. The instrumentation makes babo an interesting track, with the various detailing, pauses and changes that unexpectedly arises as the song progresses. Despite listening to the song a few times since its release, I do find that I still get caught off guard with some of it, such as when the song turns acoustic out of nowhere and fades away. But despite that, babo is still a decent listen. (8/10)
11. what is.. – The final track on the album is (no surprises) a ballad. I really like the atmospheric instrumentation of what is.. and how it further emphasises the emotional heft that ultimately comes from Young K’s vocals. In addition to the emotions, his vocals are stunningly beautiful, captivating and engaging us once again. It also made for a nice closer to this album. (9/10)
Support your other favourite artists, songs and performance in the 2023 KPOPREVIEWED Awards by clicking here to vote today.
EVERGLOW made their long awaited comeback with the single album All My Girls and the title track SLAY back in August of this year. This comes after a year and 8 month absence (their last being PIRATE and the mini-album Return of the Girl). Now, when I vetted the album for review, I could only find one good track on it. The other two (including the title track) falls a bit flat. I normally wouldn’t have picked up the album to review if that was the case. But I did want to continue reviewing EVERGLOW’s album releases, given that they do have a lot of potential. It is just this comeback (I hope) just didn’t hit the mark for me. For more of my personal thoughts on the individual songs, continue reading below.
2. Oh Ma Ma Girl – To me, Oh Ma Ma Girl is a cohesive piece. I like the guitar work in the background and the punch the percussion brings to the song. The breathy and smooth vocals are also a strong aspect of Oh Ma Ma Girl. Where the song falters in the melodies. Yes, it makes the track pleasant to listen to. But I don’t find them to be memorable enough to get me to return to the track. (7/10)
3. Make Me Feel – Make Me Feel is by far the superior track on this single album. I really like the synth work in the background of this pop track, the rhythm that comes about from the percussion and beat, and the simplicity of the vocal work. There is some variety in all of that, but they all contribute to an easy on the ears and enjoyable listen. The chorus itself felt catchy and had I paid more attention to the single album since its release (the two songs before this one didn’t really give much incentive to do so), Make Me Feel would have grown greatly on me. (9/10)
KWON EUNBI is nominated for Best Female Soloist, Rising Star and Best Female Performance (Solo) for The Flash in the 2023 KPOPREVIEWED Awards. Support KWON EUNBI, The Flash and your other favourite acts by clicking here to vote today.
KWON EUNBI’s single album, The Flash, was released in August lead by the same-name title track. And based on the title of this post, you can probably tell it is the focus of this album review post. I am particularly excited to share my thoughts on this single album, as I practically like all of the three songs that make up the single album. So much so, that The Flash is now the highest rated album of 2023 in my books (i.e., this blog). Continue reading to find out why I am raving this single album. The Flash follows on from her October 2022 Underwater and Lethality comeback which I have yet to review.
2. Comet – KWON EUNBI brings us a very bright, upbeat, club-like electronic song in Comet that I find it very hard to skip. Its fun and feel highly suitable for the summery season the single album was released in. But the instrumental is only one likeable aspect of this song. KWON EUNBI’s vocals come through quite well. She makes the song feel pretty, and the melodies makes it catchy. Personally, I felt certain parts were a touch too soft and was in danger of being drowned out by the backing. I would have liked a slight touch of definition to her vocals to help alleviate that concern. But that is honestly a minor concern, and I would still recommend Comet regardless. (9.5/10)
3. Beautiful Night – Pop rock takes over in Beautiful Night and it makes for an amazing song. While each of the other songs on this single album is quite good, it was actually Beautiful Night that caught my attention at first and convinced me that an album review for this single album is warranted. I found the energy and rush that comes from Beautiful Night to be peak pop-rock vibes, and I like how KWON EUNBI’s delivery is playful, particularly when it came to the post-chorus sequences following the second and final choruses of the song. Other parts of Beautiful Night were refreshing and the song in its entirety is also just as unskippable as the previous song. (10/10)
xikers is nominated for Best New Male Group and their single ROCKSTAR is nominated for Best Rock Song in the 2023 KPOPREVIEWED Awards. Support xikers and ROCKSTAR by clicking here to vote for them and your other favourite artists, songs and performances today.
Today’s album review focuses on xikers’ second mini-album, House of Tricky: How To Play, which was released at the beginning of August this year with the title tracks DO or DIE and HOMEBOY. This is the group’s first comeback, following their debut in March 2023 with House of Tricky: Door Bell Ringing, which featured the title tracks Tricky House and ROCKSTAR (the latter is nominated for Best Rock Song of 2023 in the 2023 KPOPREVIEWED in case you forgot to the read top part of this post). This latest mini-album really consolidates the rookie group’s presence in the KPOP industry this year amongst some very high profile male group debut acts. Pretty much all the songs on this mini-album are powerful, loud and noisy in their own way, which is pretty much on par with the rest of the industry. However, xikers keeps it interesting and has me coming back for more.
House of Tricky: How to Play Album Cover
1. Skater – If you are looking for a track that is filled to the brim, look no further than Skater. I like the brightness that the track exudes, which is thanks to its pop energy that the synths in the instrumentation form and the dynamic flair that the members give off throughout Skater. I particularly enjoyed the soaring effect of the vocals towards the end of the choruses and the rapping leaves a strong impression. I did feel Skater was slightly overwhelming, given how everything felt like it was piled onto one another. But I can also see it as a potential charm which might get listeners interested. (9/10)
4. Koong – Koong was actually the first song to be unveiled from this album via the release of a performance video a week before the mini-album and first title track dropped. I was going to review it separately, but have shelved that plan in the interest of time. Koong takes a serious turn, with powerful hip-hop beats and intense energy that packs a punch. This is heightened by the autotune and vocal processing applied to the members’ vocals and rapid rapping, and the piano work etched into the synth soundscape in the background at some parts of Koong. The track has a punchy hook in its chorus, but I like the shoutier delivery of the song title the most as it just has so much character to it. As a teaser to the new mini-album, Koong actually sets the bar up quite high. (8.5/10)
5. Run – Moving away from intensity is the brighter Run. After a powerful track like Koong, Run does come off as refreshing and I like that aspect. I am not entirely keen on the squirrely synths we hear in the choruses, and like the first track, Run does feel very full to the brim. But the rest of the song is solid work for xikers. I just felt more memorable hooks and melodies could have made Run even better. (7.5/10)
6. Sunny Side – Old school hip-hop comes into play for the final track on the mini-album, which is a different sound compared to the rest of the mini-album. Sunny Side still maintains xikers’ EDM profile, showing off some pretty cool synth choices that works really well with the old school hip-hop style. I found the “Sun is coming up” to be quite catchy. Likewise with the chorus melodies. Even the rappers felt just right in the song with their sequences. It is a definite step away from the rest in the mini-album, but I see that as a nice way to ease off a very energetic and full-on mini-album. (8.5/10)
JEON SOMI is nominated for Best Female Soloist and her Fast Forward release is nominated for Best Solo Dance Performance (Female) in the 2023 KPOPREVIEWED Awards. Support JEON SOMI and Fast Forward and your other favourite artists, songs and performance, by clicking here to vote today.
JEON SOMI made her solo comeback in August of this year, her first solo release in almost two years following on from XOXO. Today, I will be reviewing her 2023 mini-album release, which is titled GAME PLAN. It features the title track Fast Forward, the follow-up single Gold Gold Gold and an additional three songs. While I am not a fan of the follow-up single, I am impressed with the rest of the mini-album – enough so that I do recommend this mini-album release to anyone who wants to get into JEON SOMI’s music or expand their horizons a bit. I liked the mixture of genre and sound profiles on this mini-album, and how well JEON SOMI executed the mini-album (with the exception of that follow-up single). Continue reading below to see my thoughts on each individual song.
GAME PLAN Album Cover
1. Gold Gold Gold (금금금) – Prior to this album review, I had intentions to review Gold Gold Gold separately as it had its own music video. But upon relistening to Gold Gold Gold for said review, I quickly scrapped those plans. I just couldn’t find anything to say about the song aside from the fact that I found it be quite cringy. It is intended to be a fun track, with an admittedly catchy chorus hook and the lyrics which depicts JEON SOMI flaunting her riches at the listeners. While JEON SOMI handled this track decently, the track felt awkward to me and I am sure that is not the vibe that Gold Gold Gold should have been going for. (6.5/10)
3. Fxxked Up (개별로) – Following the title track is the single Fxxked Up. I remember being caught off guard by the chorus when I checked out the song initially, simply because it was a lot poppier and percussive than I had anticipated coming after the verses. Not only does it created a strong centrepiece for Fxxked Up and delivered the right amount of punch as JEON SOMI drops the f-bomb, it was rather bold and striking to make it stand out on the mini-album. The percussive instrumental and whistling was quite cool throughout, and I love the glitchier approach to the ending which intensifies the energy and vibe of the song so well. JEON SOMI’s vocals and rapping were less memorable and I wished they were bolder to match the rest of the song . (10/10)
4. Pisces (자두) – Pisces features a change of pace, opting for a relatively softer sound compared to the tracks preceding it. Pisces does remain upbeat for its chorus thanks to the electronic beats and synths, however, so don’t go expecting a ballad when I say “softer sound”. I liked that the track allows JEON SOMI to show off a more delicate side to her vocals, which was nicely executed by the soloist. The R&B influenced instrumental and vocal combination also reminds me of some of her past title tracks, for some reason. However, it’s the plainer melodies that hold back Pisces for me, and I wished that was not the case. (8/10)
5. The Way – Within a matter of two seconds, I fell in love with The Way all over again. The retro synth instrumentation was immaculate. Paired with JEON SOMI’s most powerful showcase of vocals on this mini-album, this track just hits the spot for me. The Way is also an all-English track, so international fans can tell of The Way’s emotional pull, which JEON SOMI conveys super well in the track. A very clean and clear 10/10 to end off the mini-album. (10/10)
JIHYO is nominated for Best New Female Soloist, while Killin’ Me Good is nominated for Best Solo Dance Performance (Female) and ZONE is nominated for Best Album in the 2023 KPOPREVIEWED Awards. Support JIHYO, her releases and your other favourite artists, songs and performance by clicking here to vote today.
Today’s album review post focuses on JIHYO’s solo debut mini-album ZONE, which was released in August of this year. It features the title track Killin’ Me Good and 6 additional sides tracks. This is honestly one of the best albums released this year, in my point of view. All songs on this album were definitely of a high calibre and shows off JIHYO’s potential as a solo act outside of her group work as part of TWICE (which we all know are very high quality already). I rated 4 songs 9/10 and 2 songs 10/10, which already pushes up the overall album rating to be above 9 (which is a rare sight this year). So keep on reading to find out which songs were assigned those scores (and what I rated that remaining song).
2. Talkin’ About It (ft. 24kGoldn) – JIHYO sings well in Talkin’ About It, which is an all-English track featuring 24kGoldn. Her vocal work was very good in Talkin’ About It. The guitar that we hear in the background of the pre-chorus was really nice, and the chorus takes us down a nostalgic dance pop direction. The hooks were straightforward, but catchy and ear-wormy. 24kGoldn’s feature comes during the bridge and his part helps break up Talkin’ About It from becoming overly consistent, which I appreciated. From there the final chorus sees an intensification, which I thought was closed out the song excellently. (9/10)
3. Closer – Closer sees the combination of R&B pop and Latin influences, which makes for a hypnotic and captivating listen. The consistent beat and catchy melodies definitely calls for a great performance, which we do see get to see (as Closer was picked to be the secondary promotional single during ZONE and Killin’ Me Good’s promotional run). I like JIHYO’s sexier and breathier vocals in this song, which makes Closer so much more alluring, as well. (9/10)
4. Wishing On You – JIHYO stays in the R&B realm for Wishing On You, albeit a dreamier motif is definitely on display here. But there is still a slow groove type of vibe to the track that I quite like and complements the slow groove quite well. The choruses’ “You-ou-ou-ou” was definitely the highlight of the track and the catchiest hook you can probably find. JIHYO delivers this in a higher pitch, which is a nice showcase of her vocal abilities. (10/10)
5. Don’t Wanna Go Back (with Heize) – JIHYO starts this R&B side track in a much softer tone, but showcases a stronger tone when she tackles the chorus. But she sounds best during the song’s bridge, where we hear a bit of everything, along with falsettos and a beautiful high note. Alongside JIHYO in Don’t Wanna Go Back is Heize, a popular R&B singer, who goes even softer during the second verses. And I liked how she brings the softness to the second and final choruses as a backing to JIHYO’s vocals. The melodies and instrumental were very nice in Don’t Wanna Go Back, as well. (9/10)
6. Room – Room is another dreamy R&B track. For the most part, I thought the track was a pleasant listen, with JIHYO vocals doing a fine job. The violins in the background were a nice touch, as well. JIHYO’s vocals intensify out of nowhere in the bridge of Room, which really pulls you back into the song. Furthermore, I really liked how the song ends with the instrumental fades out and you hear JIHYO’s vocals so clearly. (8/10)
7. Nightmare – Nightmare was previously performed at TWICE’s concerts this year and serves as the solo debut mini-album’s closing song. It is also my pick for my absolute favourite side track on the mini-album. I love the rock tinge that the song has and you can definitely hear the emotions conveyed by JIHYO so clearly. The command JIHYO has here in Nightmare is super strong and captivating, which makes Nightmare so worthwhile to listen to. A definite recommendation from me. (10/10)
THE BOYZ has been nominated for Best Male Group, Best Male Dance Performance (Group) for ROAR and Best Music Video (for ROAR) in the 2023 KPOPREVIEWED Awards. If you want to support THE BOYZ and your other favourite artists, songs and performance, click here to vote today.
In case you missed it, THE BOYZ announced that their 2nd studio album, which will be split into three parts throughout the second half of 2023. The second part of the album will actually be released this coming Tuesday. But before we get to hear PHANTASY Pt. 2: Sixth Sense and their new title track WATCH IT, here is my review of PHANTASY Pt. 1: Christmas in August, which was released in (you guessed it) August of this year. It features the title track LIP GLOSS and the unit track Passion Fruit (along with an additional 4 tracks).
2. Passion Fruit – Passion Fruit features a small subset of THE BOYZ – Younghoon, Hyunjae, Juyeon, Q, Sunwoo. I like how groovy this track ended up being, despite it also being very dance centric thanks to the heftiness of the synths. Passion Fruit is also very catchy, with its simple yet effectively repetitive hooks. The autotuned groan-like sample that features in the background is also quite catchy. The hip-hop motif that Passion Fruit turns to in the second verse was also pretty cool. (8.5/10)
3. Lighthouse– Lighthouse feels very quintessential THE BOYZ to me, which is appropriate for bringing the group back together. It has that similar vibe to many of their past side tracks, and also carries a familiarity to it. The percussive instrumental was pretty cool, but I felt like it was competing with the vocals and rapping a bit too much. It doesn’t help that the vocals and rapping are pretty standard and doesn’t offer anything to get them to stand out. The only part of Lighthouse that does offer something different is the higher pitched vocals in the chorus. But that is not enough to compensate for the rest of the typical the vocals and rapping brought Lighthouse). (7/10)
4. Fantasize (줄리의 법칙) – The strong presence of bass and grooviness in Fantasize serves as a solid background to the song. From there, Fantasize ends up developing into an upbeat and lively dance track. And there is a lot to like in the track, such as the low and breathy vocals throughout the song (with the vocal processing in the bridge adding some further well-appreciated texture), the cymbals in the pre-choruses (which adds so much punch to the song) and the catchy Oooh’s in the chorus. A definitely highlight on this mini-album. (10/10)
5. Fire Eyes – The electro pop in Fire Eyes carries a very retro vibe, which I do like. This is particularly felt the most during the choruses, via the bubbly synth work in the bridge and the additional synthesizer-like sequence towards the end of the song. The upbeat energy is also very continuous, and I like how straightforward and easy on the ears the hooks of Fire Eyes were. My biggest issue with the song is how blurry the members sound throughout the song, which is thanks to the overprocessing of vocals. (7/10)
6. Fairy Tale (나만 아는 이야기) – The final song on the mini-album is titled Fairy Tale. Despite expectations for a dreamier track due to the song’s title and placement on this mini-album, Fairy Tale ends up being another dance track, falling towards the pop genre more than anything else. Fairy Tale does feel much lighter, compared to the earlier tracks. This goes extremely well with the vocals, which do feel a tad dreamy and light, as well. The rapping adds texture and intensity to the song without disrupting the lightness/dreamy motif, but I felt the rapping could have been sharper. But overall, it is a neat song to end the album on. (8/10)
I am finally back with a new album review. Apologies for the absence of these types of posts over the last few weeks, I have been busy preparing for the 2023 KPOPREVIEWED Awards, which is now officially in the fan-voting stage. So if you have yet to vote, please do so to help decide the winners of the 2023 KPOPREVIEWED Awards.
Anyhow, this album review post is for P1Harmony’s HARMONY: ALL IN album, which dropped back in June of this year. It features a total of six songs, including the title track JUMP. I had originally intended to review the album much earlier on, but ended up passing over it due to some time commitments. But now that I don’t have a time pressure, I thought to revisit the mini-album before I move onto albums released during the month of August, given that I have previously reviewed some of P1Harmony’s albums in the past. Continue reading to see how HARMONY: ALL IN stacks up against some of my thoughts on past P1Harmony albums: HARMONY: SET IN, HARMONY: ZERO IN and DISHARMONY: FIND OUT,
2. Love Me For Me – The second track on this mini-album takes on a much brighter and bubblier energy that contrasts well with the title track. Instantly, I am reminded for SEVENTEEN’s Snapshoot from a couple of years back. I like how self-love song suits the Summery season that the album was released in. The piano in the background just brings out a nostalgic form of fun and feel-good vibe. The members don’t really hold back and their delivery, especially in the chorus, genuinely sounds like they were having a blast. The central piece of Love Me For Me was also catchy. The rapping in the pre-chorus was a great electrifying incline towards the chorus, while Keeho’s melodic vocals in the bridge was also amazing. (8.5/10)
3. New Classic – New Classic is such a cool song. Interestingly, the electronic dance track comes off subdued, but the synths give New Classic buoyancy to offset the subdued nature. Together, I find the backing of New Classic to feel balanced and not too obnoxious (which too much of the synth detailing could easily have made New Classic slip into). It makes sense for the rapping to take over as the main delivery mechanism in the song, but the vocals in the pre-choruses and bridge we did get were nice. And with an instrumental break like the one we get in the bridge of New Classic, you can already imagine a cool dance break on stage performed by the lead dancer Soul himself. (9/10)
4. More Than Words– For me, it is the pleasant rhythm that wins me in More Than Words. And this comes about from the heavier reliance on vocals in the song and percussive instrumentation, both of which I quite enjoyed. The vocals just feel so groovy and sleek at the same time, which I think is another positive aspect of the song. More Than Words constrict the rapping to the second verse and the bridge, but I felt this consolidation makes the rapping feel super effective and cool in the song. (9/10)
5. Heartbeat Drum – Every time I hear Heartbeat Drum, the start of the song reminds me of P!NK’s So What, which itself is an iconic pop rock song. Heartbeat Drum develops more into an electronic dance track, but the chanty and beaty energy of the song makes it sound so good and catchy. The vocals and rapping are very much on par with one another, and I really like how cool and chic it gets. I also like the grandness of some of the beats in the background, as well. (9/10)
6. I Am You – For the final song on this mini-album, I Am You takes us down more of a sensual and sultry R&B road. It is a very different sound from their P1Harmony’s usual reliance on electronic synths, such as in all of their earlier tracks on this mini-album. The rawness of the guitar in the background adds to the mature vibe of the song, while their vocals did an excellent job of adding to that sensual vibe I already mentioned. Given the group’s usual sound, I would love to see a performance for I Am You, just to see how P1Harmony would interpret this track on stage. (8/10)
As mentioned in my last review for TREASURE last week (i.e. the kaboom version of their side track B.O.M.B), I would be posting an album review for REBOOT this weekend. And here it is! REBOOT dropped at the end of July with BONA BONA as the lead title track. Ahead of the comeback, TREASURE also dropped the until track MOVE, which is also featured on this album. In total, 10 songs feature on the album.
As the name of the album alludes, REBOOT kicks off a new era for TREASURE and I think the studio album really shows that. Some of the songs, especially in the beginning, holds true to that. While some other songs do fizzle out towards to the end. But nonetheless, REBOOT shows a promising future for TREASURE. Let’s hope that YG Entertainment doesn’t get lost (again) with what to do with TREASURE and ‘reboot’ them again.
2. I Want Your Love – The element that wins me over in I Want Your Love is the instrumentation. The dance pop track features some really cool club beats and synths that reminds me of the music from ‘00s that I grew up on. The vocals and rapping were very solid efforts from the members. The vocals, particularly during the pre-choruses, also carry the same nostalgia. I really like the whispery underlay in the bridge, as well. I think a more memorable hook would have made I Want Your Love the ideal song. What we got was pretty good in itself, but it just lacks that really ear-worming effect. (9/10)
3. Run – When I hear Run, I find it very hard move away from the song. Run takes us down a very energetic rock path that has me bouncing along. Honestly, the energy that the members convey is enough for me to rate Run a 10/10. I also like the addition of electronic synths to give Run some zing, and a really cool and clangy hip-hop second verse. Their vocals and rapping were superb, pretty much keeping up with the dynamic tempo that the track was running (Ha!) at. That anthem bridge and high note at the end was really great, as well. (10/10)
5. G.O.A.T (ft. Lee Young Hyun of Big Mama) – The first unit track on the album is by the rap unit (Choi Hyunsuk, Yoshi and Haruto). The energy in this track is very show-stagey, which I am digging. The brass elements emphasises this further. I like the playful and dynamic approaches to the delivery which the rappers adopt,, which makes G.O.A.T a very fun and playful listen. The anthem chorus was perfectly executed by the members. Lee Young Hyun from Big Mama features on this track and she comes in towards the end. Her vocals and adlibs just effortlessly fitted into the rap-centric track, carrying us off in the end alongside the rappers in another head-banging end to the song. (10/10)
6. Stupid (멍청이) – All members return for Stupid. The upbeat energy is toned by a small bit to make way for this vocally centric track. The track still pounds away with a heavy beat, but it also features some really nice acoustic guitar riffs in the background. Other than that, Stupid steers into pop energy territory, which comes off it was nostalgic, as well. It reminds me of some previous works by done previously by other YG Entertainment groups like iKON and BIGBANG. Unfortunately, the hooks aren’t there in comparison to the other songs on ahead of the track and I felt the drumming was little heavy handed, particularly when we entered the bridge of Stupid. (7.5/10)
7. The Way To (어른) – The vocal unit (Jihoon, Junkyu and Jeongwoo) stays on to perform The Way To, taking us down a balladry path. It is a beautifully orchestrally instrumented ballad, paced in a way that allows you to take everything in the track all in. You can feel the emotions behind the members vocals. I did think the melodies were slightly underbaked, with the vocals feeling “quite short” in terms of being drawn out to matched the pace of the ballad. But still a lovely listen. (7/10)
8. Wonderland – Summery beats and energy comes back into play alongside all of the members in Wonderland. While the track is a decent listen, I think Wonderland is my pick for the album’s plainest track. Everything in the track, from the instrumentation to the vocals/rapping, felt very ordinary. I also don’t feel much of TREASURE’s usual energy in the song. (7/10)
9. B.O.M.B – I reviewed the kaboom version of B.O.M.B already, so I will be taking my rating of that version to implement in this review. I also did make some comments on the album version of B.O.M.B in that review, so click here to read the full review of the kaboom version of B.O.M.B. (8/10)
10. Lovesick (병) – The final track on the studio album is Lovesick. It was previously featured on the group’s 1st Japanese mini-album, which was released last year. It is a wholesome and dreamy track to finish on. Lovesick features a simple instrumental, melodies and hooks – all of which makes it easy on the ears and is a nice way to ease out of the album. I can imagine having this track on the background, while staring outside the window and taking in the prettiness of a bright day. (8/10)
INFINITE made their grand return in July 2023 after a five year hiatus due to military enlistments and their departure from Woolim Entertainment. The mini-album, titled 13egin, also celebrates their 13 years career, which has definitely been fruitful over the years particularly in the 2010s. 13egin features a total of five songs, including an introductory track and the title track New Emotions. Like some other albums that I have been reviewing lately, 13egin has a fundamental issue of featuring the weakest track as its title track. Don’t get me wrong, I am glad to hear INFINITE in any form after so long (and hope that they continue to regularly release new music as a group into the future). I just think there are other songs on the mini-album that could have served as a better title.
13egin Album Cover
1. Intro: 13 – This introductory track really got me excited for what is to come on the mini-album. The mysterious piano and suspenseful interwoven vibration synths leads into some groovy guitar and synth work. The strings that come into play in the latter parts of 13 throws me back to some of Infinite greatest works, which have involved strings in some way. No vocals, so no score. But damn, 13 was amazing!
3. Time Difference (시차) – It seems like Time Difference is the more liked track on the album from what I can see online, and I completely agree with the public here. I really like how the track doesn’t require any powerful or dynamic elements (which is usually what I look for) to really sell the track. Instead, Time Difference features really pleasant atmospheric vibe, with its trendy synth line. I like the small additions to the song, which are well placed to maintain a consistent grooviness to the song. The members’ vocals are really well done, bringing a touch of brightness and a refreshing melody to the track, whilst all keeping aligned to that pleasantness mentioned above. (10/10)
4. I Got You– I Got You opts for a more upbeat pop number, yet the beats, string and synths elements in the instrumentation do continue the pleasantness that we heard in the previous song. The members do another amazing job in I Got You with their vocals, especially with how dreamy they made the song feel. In some cases, I liked the crispness the members themselves added to the song. Everything comes together to create a summery vibe that felt very clean and fresh. (9/10)
5. Find Me – The mini-album ends with a ballad, which gets me excited. INFINITE is one of the groups that I look to for amazing ballads. But rather going down the purely classical orchestration backing that INFINITE has done multiple times before, Find Me features some atmospheric synths and band instrumentation. However, the track does maintain the beautiful sound of the piano, which makes this track quite fulfilling. Once again, the members’ vocals are beautifully delicate and dreamier than in the last track. (9/10)
After holding onto a draft for the album review for aespa’s MY WORLD for quite a while now as I was due review the album’s pre-release single separately ahead of the album review, I have decided to forgo those plans and post the album review now instead. MY WORLD is the aespa’s 3rd mini-album, led by the single Spicy, the pre-release single Welcome to My World and four additional side tracks. aespa’s vocals are a recurring element I comment on throughout the album, with their showcase of skills in this department being consistently superb throughout the album. MY WORLD also becomes my highest rated album this year. Find out why I thought so positively of the mini-album down below.
MY WORLD Album Cover
1. Welcome to My World (ft. nævis) – This alternative pop track is so dreamy yet has such a haunting vibe, both of come together to create an impactful and memorable piece. Part of this is thanks to the vocals, which I give two strong thumbs up for. Like come on, the harmonisations are so beautiful and breath-taking. The instrumental also contributes to that dreamy and haunting vibe, as well. The orchestral sequence at the ending makes for such a cathartic ending. Despite it being a more vocally centric track, Welcome to My World still manages to incorporate some synths into its backing. Nothing too crazy that disrupts or destroys the delicate nature of Welcome to My World, but just enough to make it feel like it could be branded as an aespa track. An easy 10/10, in my opinion. (10/10)
3. Salty & Sweet – Salty & Sweet starts off in a very bold manner, going for a darker and edgier vibe. The members do a really good job with channeling these vibes into their delivery, creating a very riveting and impactful track to listen to. The bass, beats and synth work in the instrumentational also has this trippy energy to it, making Salty & Sweet a very intriguing listen. (9/10)
4. Thirsty – Thirsty is another great showcase of vocals from aespa. Their vocals are just so sleek and captivating throughout this side track (if they hadn’t been yet in the other side tracks). Thirsty also revisits the dreamy vibes heard earlier in the first track of the mini-album, with their vocals also exuding this. The rapping felt so clean, as well. The instrumentation is basically your standard R&B backing, but the members really do take it to the next level. (9/10)
5. I’m Unhappy – I’m Unhappy is much more straight-forward track, in comparison to the other side tracks on this mini-album. The bouncier beat and bass in the instrumentation is quite consistent and felt playful. The squealy synth was a nice touch in cutting through this consistency. The vocal work and rapping felt uncomplicated. But nowhere along the way do I find I’m Unhappy to be a bore. It was all very interesting and another strong side track from the group. (9/10)
6. Til We Meet Again – The final track steps away from synths and into acoustics and simple band instrumentation. The acoustics of this track creates a very warm and inviting atmosphere, while their vocals (which have been top notch throughout the mini-album) makes us stay with their comforting aura. Til We Meet Again also revisits another aspect from earlier on in the mini-album – stunning harmonisations that just felt like icing on the cake. (8.5/10)
For me, ITZY feels like they are the underdogs in KPOP at the moment. ITZY’s mini-albums have been a mixed bag for me and many others lately. It is interesting to note that the scores I personally been giving their album releases have been continually going down each time I review them. And so, I do hope that ITZY can turn things around and dispel the misconceptions about them to the KPOP industry. I am happy to report that KILL MY DOUBT does reverse the trajectory ever so slightly, and I hope this is a sign that their album outputs will improve, to the point they will release an album that will smash and changes people’s perception of them as artists. KILL MY DOUBT, released in July, features the title track CAKE, pre-release tracks BET ON ME and None of My Business and an additional 3 sides track, taking the total number of songs to 6.
2. CAKE (Title Track) – As I had predicted, CAKE has grown on me a fair bit since I reviewed it. As a result of this, I have decided to bump up CAKE‘s song rating by 0.5 full point. My other thoughts on the song do stand, however. Click here to read the full review forCAKE. (7.5/10)
4. Bratty (나쁜 애) – For me, Bratty is the mini-album’s most skippable song. First impression had me thinking that the track goes for a playful arrangement with its unique instrumentation. However, the more I listen to it, the less so does Bratty sound this way to me. The reason for this is because Bratty sounds quite linear, which didn’t bode down well in the long run for me. The members give Bratty some nice vocals, but they didn’t offer anything melodic or catchy enough to be get the song stuck in my head. (6/10)
5. Psychic Lover – Psychic Lover appeals to me with its pop rock influenced chorus. The energy from the central sequence of Psychic Lover feels pleasantly electrifying and exciting. The buildup during the pre-chorus was amazing, as well. My only wish for Psychic Lover is that the vocals followed through with the energy and stayed in this energetic form. This easily could have taken the song to the next level. ITZY kind of gets there at the start of the choruses, but the energy from them fizzles out as the choruses progresses, flatten its potential. (8.5/10)
6. Kill Shot – The shortest song by far is Kill Shot. And this is its biggest flaw. The electronic synths give such a dark, edgy and cool vibe to the song. ITZY themselves carries this edgy and cool vibe through into their whispery and low tone delivery. The song also manages to incorporate a ‘Ring around the rosie’ melody, which an unexpected development in the song. But it keeps it interesting, aligning with the rest of what we heard. I just wished Kill Shot was longer. (8.5/10)
EXO made their long awaited comeback in July with their 7th studio album EXIST. And it is finally time to review EXIST. This latest album is EXO’s first album in two years (Don’t Fight The Feeling was their last album release) and follows a hiatus whilst the EXO members completed their military enlistments and focused on solo endeavours. That being said, EXO is still not yet complete as it is a 7-member comeback only, with KAI enlisting in the military just prior to EXIST‘s release (but he is featured on the album vocally and through the pre-releases). EXIST consist of nine songs in total, including the title track Cream Soda and two pre-release tracks Let Me In and Hear Me Out. My thoughts on the songs are below, as usual.
2. Regret It – Regret It falls into R&B pop territory, for the most part. I really like the groovy underlay in the beginning, ending and post-chorus sequence of the song. It is a rather profound aspect of the track and adds a further layer to the R&B pop number. I very much like the chorus for this track. The vocals and pop melodies make it so straight-forward, yet give it so much oomph. Both Sehun and Chanyeol give Regret It a lively bounce with their rap sequences throughout the song. Overall, a very nice listen. (8.5/10)
4. Private Party – The beginning of Private Party gives the track a classy and sleek vibe. But that isn’t what Private Party is about. Within seconds, the track transform into a punchy upbeat number, with trap beats and a hip-hop vibe coming into play courtesy of the rappers. As the track progresses, Private Party involves some very interesting and bold detailing in the instrumentation which adds colour and character to the track. The chorus was catchy, the vocals are solid, the rapping keeps that upbeatness alive. Private Party is very much a party I would like to go to. (8/10)
5. Cinderella – Cinderella is my pick for best song on this album. The harmonisation, the instrumentation, the melodies and hooks. Cinderella had it all for me. Everything was addictive, and the song very much remains just as addictive even months after it was released. I highly recommend you check out this number. (10/10)
6. No Makeup – EXO delves even further in No Makeup. Again, the harmonisation with the backing vocals in No Makeup is amazing and serves as a highlight within the song. The rest of the track has a fairly straightforward and mid-tempo R&B instrumentation, and the vocals elsewhere in the song are just as charismatic and sleek. The second highlight of the song comes during the bridge when the instrumental was stripped away, leaving just the vocals. That was a very strong moment for the track. The rapping at the end was nice addition and gives No Makeup a satisfying end. A very sexy track, overall. (9/10)
7. Love Fool – This is my personal preference talking here, but I am not a fan of the breakdowns following the choruses. It just cuts the flow of the otherwise solid song. I don’t like the vocal groans in the background of these breakdowns, as well. Sehun’s rapping is fine. I just don’t think it is the time and place in this song for it. Elsewhere in Love Fool, we do get a more typical instrumentation, but the vocals do take Love Fool to a new level. Pity the song is laced with the breakdowns. (7/10)
8. Another Day – Another Day is such a bright and poppy track. I love the feel-good nature that the vocals exhibit. And boy, the vocals just really grab at you from the get-go. The instrumentation was interesting, with the distorted scratches in the background of the verses being the main driver of this intriguingness. But somehow it works and doesn’t come as grating as it seems. The snappy percussion makes Another Day into a bright and bubby track. I quite liked this track. (9/10)
KPOPREVIEWED 