Ahead of their upcoming comeback later this month with La Dolce Vita (their 10th mini-album) and the title track Baila Conmigo, I will be reviewing ONEUS’ PYGMALION today, which was released back in May of this year. It serves as the group’s 9th mini-album and features the title track ERASE ME, the pre-release single Unforgettable and an additional three side tracks to round out the mini-album (links and thoughts down below). PYGAMALION follows the group’s MALUS mini-album from a year ago.
PYGMALION Album Cover
1. Intro: LETHE – Dramatic orchestral strings start off LETHE and remain in background the rest of this introductory track. This is alongside some synths that adds some momentum to the track. Together, LETHE is quite a haunting introduction. Disappointingly, I felt the members sang their way through LETHE quite plainly. I think more could have been done to really push LETHE to higher heights. (7/10)
3. Unforgettable (잇다있다잊었다) (Pre-Release Track) – Unfortunately, I have decided to ditch my plans of reviewing Unforgettable separately due to time constraints. I honestly wished I reviewed the song separately earlier as it does deserve its own review. I like the mixed of the pop rock and orchestration in the background of the chorus. The pop rock just gives Unforgettable so much punchiness, while the orchestration adds a beautiful touch to the song. HWANWOONG and LEEDO’s rapping was very cool, while all the members do an amazing job on the vocal front to make it a captivating number. (9/10)
4. ECHO – ONEUS revisits R&B in ECHO. I quite like the slight bounce the members bring to the song via the smooth melodies, particularly in the choruses of ECHO. In addition to that, ECHO also sees a slightly groovy tinge to its instrumentation. Both allows the track to come together to form an unexpectedly playful side track to indulge in. LEEDO’s rapping, again, takes centre attention with his deep voice in the second verse and the extra oomph he gives the song in the bridge. (8.5/10)
5. Halley’s Comet (반짝임 그 찰나의 너) – Halley’s Comet takes the form of a pop ballad. All the members sound amazing throughout the track. But the stand out member in Halley’s Comet was SEOHO, who’s soaring vocals in the choruses and high notes really took the song to the next level. I like how the instrumental also soared with the vocals, which helped made the song more impactful. (8/10)
TAEYANG kicked off 2023 very strongly with the release of VIBE, a collaboration with JIMIN from BTS, and his second ever mini-album, Down To Earth. Alongside VIBE, the mini-album also features the title track Seed, the side track Shoong! (which is a collaboration with LISA of BLACKPINK) and three additional side tracks (two of which are further collaboration with other artists). Per usual, all the links to the individual song reviews and my thoughts on the other three additional side tracks are located down below.
4. Reason (나는) – Reason is such a soulful and dreamy track to get lost in. Considered me charmed and captivated from the opening second. TAEYANG’s vocals steal the show and the instrumentation was beautiful. The song was a stunningly swayable melody that you know I enjoyed and that saxophone midway in the song was beautiful. (10/10)
5. Inspiration (ft. Beenzino) – I liked the touch of funkiness in Inspiration. The guitar riff and flute was a nice touch. Altogether, it makes for an appreciable and pleasant instrumentation. TAEYANG gives the song some oomph with his vocals, which moves it up the rating spectrum for me. Beenzino’s rapping sequence starts off good, but I do not like the way it ended with the spoken motif. I was also not a fan of the distant filtering that he applies to his vocals in the in the bridge. (7/10)
6. Nightfall (ft. Byran Chase) – Nightfall is a synth pop track that gives off such an atmospheric vibe. I found it hard to step away from Nightfall, just because it pretty much had everything I liked. Needless to say, TAEYANG and Byran Chase’s vocals were really amazing and complements this synth-pop track so well. The instrumentation itself was perfectly upbeat and consistent throughout, yet it never felt tired or overdone. Both the instrumentation and TAEYANG gave the chorus the right amount of punch to it to make it feel impactful, making this the highlight part of the song. (10/10)
The next album to be reviewed on the blog is LE SSERAFIM’s UNFORGIVEN, the group’s first studio album since their debut last year. UNFORGIVEN was released back in May of this year and features the title track of the same name, six new songs (including the follow-up promotional song Eve, Psyche & The Bluebeard’s Wife), and 3 songs each from their first and second mini-albums released last year (including FEARLESS and ANTIFRAGILE).
Now, to include previous released songs (albeit the first three from the FEARLESS mini-album do have a ‘2023 version’ next to them) and call it a full studio album is a bit of a leap. But that was done here for UNFORGIVEN, so it is something that we have to live with. And for this album review, I have included two album ratings – the first rating is only for the new songs released and the second rating includes all 13 songs that formed part of UNFORGIVEN. The latter is the official album rating, given it consists the entire track list. If I had to make a comment on the based on the new songs alone, I would definitely say this is a very strong album release. However, the older tracks do weigh it down. For more of my thoughts, see the links and text below.
UNFORGIVEN Album Cover
The World Is My Oyster, FEARLESS and Blue Flame were all songs from LE SSERAFIM’s debut mini-album, FEARLESS. I have previously reviewed both the title track and mini-album in separate posts. For the title track Fearless, click here for the full song review, and for the mini-album, click here for the album review.
The Hydra, ANTIFRAGILE and Impurities were all songs for LE SSERAFIM’s second mini-album, ANTIFRAGILE. Again, I have previously reviewed both the title track and the side track Impurities in separate song review posts. I have also reviewed the entire mini-album, as well. For the title track ANTIFRAGILE, click here for the full song review. For the side-track Impurities, click here for the full song review. And for the mini-album, click here for the album review.
7. Burn The Bridge – Burn The Bridge serves as the official introduction to the newer side of the album. Like The World Is My Oyster and The Hydra, Burn The Bridge features the members narrating a message of moving forward in Korean, English and Japanese over a repetitive acoustic guitar riff and a drum line. The former fades out, while the latter fades in. In the end, Burn The Bridge embodies more of a rhythmic drum beat and lovely harmonies. (8/10)
9. No-Return (Into The Unknown) – Injecting a super vibrant and energetic sound into the album is No-Return. I really enjoyed the upbeat energy that this song and the brightness that the melodies and vocals brought. The brass elements add to and enhances all of the above to make it an even better song. No-Return has made me get up and dance to it on many occasions making it super effective side track. (10/10)
11. Between You, Me and the Lamppost (피어나) – There is only one word that springs to mind when I listen to Beautiful You, Me and the Lamppost – beautiful. LE SSERAFIM sounds wonderful in this song, captivating me from the very first second and throughout the rest of the song. The delicate touch they give just makes the song more meaningful and impactful. The soft rock instrumentation gives the ballad some body and drive, amplifying the aforementioned captivation and making this track a gem so worth listening to. (10/10)
12. Flash Forward – Flash Forward is a sweet pop track from the group. Everything sounds nice in the song and was an enjoyable listen. The hooks were catchy and I also enjoyed the upbeat energy in this one, as well. Compared to the other side tracks, however, Flash Forward feels elementary and doesn’t really exceed the bar set by those songs. (8/10)
13. Fire in the Belly – Closing out the entire studio album is Fire In The Belly. It visits the all too familiar Latin pop influence that KPOP has explored continuously in the past. What makes Fire In The Belly somewhat more unique is that the song goes in harder than other examples of Latin pop influenced KPOP tracks. I appreciate it that, as it comes off bolder and riskier (and this pays off). The vocals and rapping are very strong in the song. I also really enjoyed the inclusion of the infamous Spanish chant of “Olé, Olé, Olé” towards the end, ending the song and album on a wholesome and exciting note. (9/10)
Overall Album Rating (New Songs) – 9/10 Overall Album Rating (All Songs) – 8.5/10
Ahead of the weekend, the final pre-drafted album review is for BTOB’s May 2023 album release, Wind & Wish. This is the group’s 12th mini-album and features a total of five songs including the title track that shares the same name of the album. Wind and Wish serves as the group’s first comeback in over 15 months, following on from The Song and their third studio album, Be Together. Overall, this mini-album was a decently sound album release. It did expect more from the group (knowing what they are capable of) and I don’t think they delivered it in Wind and Wish. But it was still a decent listen nonetheless.
2. Heaven – If you are looking for a song to get whisked away with, Heaven is the song for you. The melodies and vocals are just extremely stunning and captivating from the get-go. I was in awe at my first listen, and even months after its release, I still feel myself being carried away with this song. The instrumentation is a beautiful mix of acoustics/traditionally instruments in the verses and a light yet noticeable dose of synths in the chorus. The switch between the two is barely noticeable and the flow between the two is impeccable. (9/10)
3. Day & Night – When you compare this song to the rest of the mini-album, it feels like there isn’t much to it. But Day & Night is a number that makes me want to get up and dance to. Nothing fancy or crazy is required for my dance, small movements with suffice. I just find Day & Night to be a song to get lost in and just boogie to. The groovy pop instrumentation is the biggest driver, while the rapping and vocals are just pleasantly enjoyable. (8/10)
4. Moon Ride – 90s retro synths come into play in this groovy and funky number. I was going to say how pleasant this number was, as this was the main thing I remember about the song when I checked out the album months ago. But I completely forgot about the rapping and the electric guitar, particularly in the second verse. That just knocks my socks off and takes Moon Ride to a whole new level. The electric guitar solo at the end was also amazing, as are the ad-libs and vocals throughout Moon Ride. (8.5/10)
5. Your Love – We stay in groovy territory for final track, which gears towards pop ballad territory. The melodies and slight drag of the note at the end of each line in the chorus was truly riveting. The rappers still their skills in more refined and polished rap sequences in the song that fit well in the pop ballad. They don’t disrupt the flow whatsoever or ruin the balladry notion Your Love explores. It is a beautiful number, overall. (8/10)
The next album review on this blog belongs to SEVENTEEN, who made a comeback with their 10th mini-album, FML, back in April of this year. From the start, the mini-album had received over 4.6 million pre-orders and it has since become the top selling album of the year, selling over 6.2 million copies to July 2023. That is a lot of albums indeed! The mini-album boasts a total of 6 tracks – double title tracks Super and F*ck My Life and 4 addition side tracks (3 of which are unit tracks from their hip-hop, performance and vocal teams).
Firstly, congratulations to SEVENTEEN on achieving the amazing feat of over 6 million sales. I believe that no other KPOP album has ever exceeded that amount, so it will be interesting to see whether their upcoming October comeback will break the already high record set by themselves. Secondly, FML is a fair album with some nice tracks on there. I don’t think it is their strongest album release ever, but it was still of a high quality and standard as I expect from SEVENTEEN. Read more on my thoughts on the individual songs below.
3. Fire– The first unit track sees the return of the Hip-hop team. And just like the title suggest, this song is indeed fire. The rapping was very intense and powerful, and I really liked how punchy the ‘Fi Fi Fi Fire’ hook was in the song. Even though many KPOP songs have featured afrobeat in the past, the use of the afrobeat in Fire felt quite unique, as it gives off both a minimalistic and dynamic feel. This allows the members to be the focus of the song, but it also drives the energy forward, at the same time alongside the members. (8/10)
4. I Don’t Understand But I Luv U – The Performance unit takes on R&B in I Don’t Understand But I Luv U. What I really liked about the song is its instrumentation, which features a sultry flow, dramatic beats and moody electric guitar riffs. All of this makes I Don’t Understand But I Luv U so much more impactful and emotionally charged. The quartet brings very interesting vocal melodies to life in the song and conveys the emotions of confusion and love behind the lyrics quite well. (9/10)
5. Dust (먼지) – Following on from the previous song, I was expecting a ballad from the vocal team. But instead, we get a pop rock number in the form of Dust. I like how the pop rock influence was on the light side and that the vocal team members approach Dust in a softer and delicate manner with their vocals. The synths added to the song gave it a retro touch. While the song sounds nice, Dust is my least favourite unit track. This simply because there wasn’t much to remember the song by once it ended and I didn’t find much to pull me back for additional listens. (7/10)
6. April Shower – The final track on this mini-album returns all of the members to the microphone in the one song. April Shower features a very appreciable and easy-going groovy pop instrumentation. The melodies and vocals were all very easy-on-the-ears, with the former having such a beautiful ring. The dynamic rapping featured prior to the bridge infuses some punchiness to the song, while Mingyu and Wonwoo’s deep tones were stunning in the bridge. I really enjoyed how everything melded together in April Shower and how palatable the song is without it ever going over the top or needing to utilise anything hefty to get itself across. A nice and memorable listen at the end of the mini-album. (10/10)
NCT DOJAEJUNG is the latest unit to debut under the NCT group and consists of Doyoung, Jaehyun and Jungwoo. They released PERFUME back in April of this year, the shared title of both the title track and mini-album. Alongside the title track, the mini-album also features an additional five side tracks. Following this unit debut, the trio rejoined the rest of NCT for their 2023 full group comeback with Golden Age/Baggy Jeans (in the case of Doyoung) and the trio are also set to join the rest of NCT 127 in another comeback later this year.
PERFUME is a R&B centric mini-album, with the trio exploring the genre in all but one track. And their exploration of the genre is super engaging. I enjoyed all the tracks on this mini-album and each track got a high rating from me. This, overall, contributed to the higher end rating for an album release on my blog. I would recommend it to you if you are into the R&B genre or like the songs with the same effect or aspects of the R&B genre. Or if you are an NCT fan, especially if you find yourself overwhelmed with their more synth-heavy releases.
2. Kiss – The unit’s exploration of R&B continues in Kiss. This track has such a cool layered and rhythmic instrumentation that pulls you in. I liked the brass and jazzy elements that features in this song. The vocal work from the trio is on point and encapsulates what you expect from the R&B genre. The harmonies in the chorus also work extremely well. I particularly enjoyed the more jaggered approach Doyoung and Jaehyun took in the post-chorus sections that follows the first and last choruses. It was an interesting texture in this otherwise smooth number. (8/10)
3. Dive – Dive slows down the mini-album with a paced and atmospheric number. The instrumentation features short, sharp yet hefty beats, and a dotty but prevalent synth line. The trio takes a softer approach with their vocals, with Jungwoo and Doyoung really standing out in this song. Altogether, it is a very interesting mix. But it somehow works cohesively and is an extremely palatable track. (8/10)
4. Strawberry Sunday – Just as sweet as the title suggests, Strawberry Sunday is a sweet track. It is also the most upbeat number of the mini-album and I appreciate this infusion of energy. I really like the funkiness the instrumental had and the synthesizer was a really nice touch. The dreamy instrumentation to the bridge was also a highlight. The chanty moments in Strawberry Sunday gives some punch to the song. I also enjoyed Jungwoo’s part in the second chorus, where he breaks up the title (by syllables) between the beats. It made for a cool ad-lib in the track. Doyoung and Jaehyun also provide some ad-libs and these sounded amazing, as well. As you can tell by my long breakdown of Strawberry Sunday, there is a lot to like. And it all enough to earn it a 10/10 rating. (10/10)
5. Can We Go Back (후유증) – Signs of the trio forming a unit emerged many months ahead of this album release, with Can We Go Back being previously performed at the MBC Gayo Daejejeon. Can We Go Back features some smooth melodies, guitar riffs and rhythmic beat – all of which feels synonymous to the R&B genre. The vocal work from the trio is impeccable, especially in those memorable “Oooh, Oooh, Oooh” melodies. Each member had standout moments, with Jungwoo standing out in the second verse, and Doyoung and Jaehyun shining the most in the bridge of the song. (9/10)
6. Ordinary (안녕) – The final track on the mini-album is Ordinary and it departs from the R&B centric exploration. Instead, the final track is a ballad, which was expected somewhere along the way from the trio, given vocals is what comes to mind first when you put together the names Doyoung, Jaehyun, Jungwoo. The vocals are showcased well in the song, with the trio given another opportunity to convey emotions to the audience (which they do successfully). The piano centric instrumental does seem to have a tinge of R&B to it, which does help make it relevant and fit in with the rest of the mini-album. (8/10)
The next album to be reviewed on my blog is KARD’s ICKY, which was released in May of this year. The mini-album features the pre-release single Without You, the title track ICKY, a remixed version of the pre-release track and three side tracks – a total of 6 tracks. The release of ICKY follows the news that the group had renewed their contract with DSP Media and begins the group’s world tour that is currently ongoing. It also follows the release of Re:, last year’s mini-album release.
3. Fxxk You– Fxxk You is one of two unit tracks on this mini-album. This one features Jiwoo and Somin, who both gracefully drop f-bombs in the song with their sexy yet smooth vocals. Obviously, the song is much more than just f-bombs (even though it is the most memorable line of the song), with the pair expressing their love to their partner. The melodies were so flowy and the Latin influence on the instrumentation was super effective. I really liked the how the electric guitar plays into that Latin influence. Fxxk You was such a charismatic and captivating listen. (9/10)
4. Been That Boy – BM and J.Seph are the two other members of the quartet and they bring us the second unit track. Been That Boy is a rap song that features trap and moombahton elements in its background. This combination brought a serious and subtly intense atmosphere that heightens the suspense and tension of the track. The two members each brough something different in Been That Boy. J.Seph brought power and speed which I would love to hear more of in future songs, while BM brought impact with his lines and delivery. (8/10)
5. CAKE – One of the things I don’t understand from this mini-album is why CAKE was not chosen to be the title track. The intensity and the sexiness that both the male and female members exuded from just their vocals and rapping alone was a highlight for me. The instrumental was dark and edgy, but also refreshing at the same time. And when I first heard this song months ago, I felt like it would have rivalled the likes of their more bombastic tracks like Bomb Bomb (which is my personal favourite of theirs). I also highly recommend that you check out the dance performance that was released for CAKE, as that pretty much captures all of the sentiments above I had for CAKE. (10/10)
6. Without You (Alok Remix) – Refer to the link to the full review of Without You above.
The next album review on this blog is iKON’s 3rd studio album, TAKE OFF. It is iKON’s first album release since all of the iKON members departed YG Entertainment (their last comeback under YG was BUT YOU from last year) and signed on with 143 Entertainment. Following signing with their new company, iKON released Tantara as a pre-release single in late April, and then U and TAKE OFF as the title track and the full album (respectively) in early May. Keep on reading my thoughts on the individual songs (including the reason to why I am bumping up my song rating for the title track), all of which come together to create an album that is consistent with their previous album releases.
TAKE OFF Album Cover
1. U (Title Track) –My feelings towards the song pretty much stand the same as per my original review. But upon reflection, I feel like my original score for U was a bit too harsh. Hence, I will bump up the score by one whole point. Click here to read the full review for U.(8.5/10)
3. RUM PUM PUM – RUM PUM PUM goes for a stronghold and powerful track, featuring an experimental mix of traditional Korean instruments and modern beats that really slap. The energy that came off this and the group’s delivery of vocals and raps in RUM PUM PUM took me back to some of iKON’s previous hits that have been of that same nature. If you are a fan of iKON’s earlier works, then this track will definitely speak to you. (8/10)
4. Like a Movie (영화처럼) – The vocals really standout in Like a Movie in this soft pop tracks. The vocalists were really captivating and delivered such a strong yet emotionally charged vocals in this track. The acoustic guitar makes for a really nice backing piece and can be heard even over all the heftier instruments such as the drumming that comes into play later on. Even Bobby’s rapping had great flow and worked well with the music. (9/10)
5. Driving Slowly– Driving Slowly takes us back to the bright energy that the title track U had. However, instead of another upbeat song (which I wouldn’t complain about), Driving Slowly opts for a laid-back tone that makes the song super easy to get into. This laid-back tone is conveyed so well across through the member’s vocals and rapping, which just make Driving Slowly also super enjoyable. There was great flow in terms of melodies and it just has a summery vibe that I just want to chill to. Super easy to get into, but super hard to leave it behind. (10/10)
6. Never Forget You (잊어볼게) – The album refocuses on the emotions with Never Forget You, which once again highlights the group’s vocals impeccably. The bridge, an example of the vocals reaching their peak, was amazing. The rapping in the first verse was a bit of a miss for me, but Bobby’s rapping in the second verse was quite well done. The instrumentation was pretty consistent throughout the track, but the instrumental break that ends Never Forget You just has the right amount of power to emphasise the emotions the members conveyed in the track. (8/10)
7. All The Way Here (여기까진가봐) – All The Way Here is the final group song on the album, and it garners mostly positive reviews from me. The instrumentation was the highlight for me. The verses feature a cool layer of guitar that I find myself thinking off after the song finishes. All The Way Here then turns into a club banger in its choruses with clean EDM beats. However, I wished the instrumental during the final chorus went further than just what we heard in the first/second runs of the chorus, as this would have kept finished the song on a more profound note to take it to the next level. The vocals and rapping were rather slight and kept a low profile, but I am not too troubled by this as it allows the instrumental to really be heard. (8/10)
8. FIGHTING (으라차차) – We enter solo territory with the final three songs on the album. FIGHTING is a solo track from SONG and he ventures into trot territory, which is an unexpected surprise to hear on an album for a hip-hop group. Trot is not my cup of tea, but I really like the electronic elements that FIGHTING features in this traditional style of Korean music. And SONG’s vocals had the right amount of rasp and throat for the genre, which makes for a riveting listen for those who enjoy the genre. (7/10)
9. Kiss Me – DK sings Kiss Me and delivers a sexy and powerful R&B track. The track itself features rock instruments to give its powerful tone. I really like the churn of the instrumental, which works super well with the R&B melodies that DK masterfully brings to life with his perfectly raspy vocals. (8/10)
10. Want You Back – The final track on the album is JUNE’s solo Want You Back. The track is quite laid back, which makes for a nice choice to ease us out of TAKE OFF. The song feels very R&B, but also features some groovy elements in the background as the song progresses. It also features JUNE’s widely known raspy vocals, which made Want You Back captivating to listen to. (9/10)
IVE’s 1st studio album, I’ve IVE, is today’s album review focus. It released back in April of this year and features the pre-release single Kitsch, the title track I AM, and nine additional side tracks. 11 tracks in total, it is clear that this album full to the brim with new IVE songs – a nice change since IVE has only released single albums up until the release of the studio album.
While the presence of more songs from IVE does excite me, the studio album was more of a mix bag for me. There are some standout songs (one of which is the title track) on this album, but there also some fairly so-so and weak tracks on here that I am personally not a fan of. Find out which songs falls on which side of the spectrum by continuing to read my thoughts on the songs below.
I’ve IVE Album Cover
1. Blue Blood – Kicking off the studio album is Blue Blood. From the very first second and the presence of those strings, you can tell the instrumentation tries to set up Blue Blood to be a striking track. And I am very happy to say it does achieve this goal. However, I did think the vocals could have been less processed and a lot sharper, and those vocals embedded in the background in the verses could have been lost, for Blue Blood to reach that striking impression sooner. But a strong opener nonetheless. (8/10)
4. Lips – Lips reminds me of a more defined Alcohol-Free, especially thanks to its beachside vibes and the bossa nova touches. It is a very chill number that you could relax to poolside. I do like the brief pause before the chorus of Lips and how that sets up the central sequence of the track. But it is IVE that holds back the song for me, as their vocals felt very dull and don’t really evoke much excitement from me. The instrumentation was there, but the execution was plain. (6/10)
5. Heroine – I personally would describe Heroine as a low-key track, as there isn’t much going on. But it is one of those that manages to stick in your mind thanks to the memorable melodies and hooks. The low-key vibes come about from the use of higher registers and a much lower tone used during those descending hooks during the post-choruses. The synths keep a low profile but also are aesthetic at the same time. (9/10)
6. Mine – Mine is an alright track. It is an example of a song that is quite linear and never really strays away from its backbone. We did get a bridge where everything was stripped back to vocals and a light presence of guitar. But in a soft pop track like Mine, it isn’t really a major change up. I did like the pleasantries from the instrumentals and the breathy vocals at the start and during the bridge. But everything else in Mine felt muted and uneventful. (6/10)
7. Hypnosis (섬찟) – For me, Hypnosis my most disliked track on this album. Its elements just don’t seem to meld with one another and everything just felt jarring and distinct. There also seemed to be no attempt to try to bring everything together. Aside from the instrumentation, I wasn’t vibing with the members’ vocals as well. While the members did introduce some much-needed smoothness via their vocals to Hypnosis, their vocals lacked emotion and just didn’t have an appealing effect to them. (4/10)
8. NOT YOUR GIRL – Korea is currently in its final weeks of Summer (though at the time of releases, they were gearing up for Summer) and the weather is ever-so-slowly warming up where I am. No matter what, I am enjoying the summery vibes that NOT YOUR GIRL was bringing to the album from the get go. There is a very bright energy coming from the song, and the instrumentation feels very tropical. I liked the energetic delivery by the IVE members and how well it compliments that aforementioned summery vibe. (7/10)
9. Next Page (궁금해) – Next Page is an interesting but enjoyable mix. I really liked the deep drumming in the background of the pre-chorus, and how this contrasts with the more pleasant and melodically flowy chorus that follows. The chorus also has a much cleaner production to it and there were backing vocals to help heighten the melodies they members bring via their own vocals. This is in comparison to the verses of Next Page, which went down a similar route as the choruses, but ended up feeling more boring as it went without the aspects that made the choruses stand out. (7.5/10)
10. Cherish – Good old plain R&B takes over completely in Cherish and I am all for it. I really like how the instrumentation doesn’t confuse, saturates or muddles the R&B sound in anyway. It is straightforward and direct to the point. the softness of their vocals in this track was impeccable, and the melodies are so smooth. This helps makes the chorus stand out. The rapping, an element in many of the above songs that I haven’t really touched on, was well executed in Cherish’s choruses and was a winning element overall in Cherish. (9/10)
11. Shine With Me – Per usual with most albums, the final track on the album is a song for the fans. And I’ve IVE is no exception. I actually liked how the chorus of Shine With Me steps up a level (relative to the verses) and the chimes add a very beautiful effect to the song. The strings in the bridge added a nice hint of dramatism without overdoing it. Their vocals were dreamy and lovable. It was a nice track overall, which I am sure their fandom adores. (8/10)
I begin this new week with an album review. And over the next few weeks, you will see more album reviews posted during the weekdays in another attempt by me to get across the backlog of albums I personally want to review. The focus of this post is Kep1er’s fourth mini-album, LOVESTRUCK! which was released back in April this year. Leading the mini-album of five songs is the title track Giddy.
Interestingly, Kep1er has been very consistent with their album releases, with my way of making that determination is by comparing the album ratings I give at the end of each mini-album. All of Kep1er album releases have leaned towards the generic side, with the presence of a great odd track or two. LOVESTRUCK! appears to be a bit of an outlier though, with the lead single off this mini-album holding back the rest of the mini-album, and the side tracks each making more potential than the title track. Let me know if you agree with this (and my individual thoughts on each song below).
2. LVLY – LVLY is a definite improvement from the title track. I really like instrumentation of this track, which makes the track dynamic and a fun listen. The reggaeton approach to the song’s beat makes for an intriguing and cool track. The presence of the more electrifying synths later on was super cool, and I enjoyed the touch of Latin that features in the background. As for the members, they bring a matureness to the track that felt very well executed, and the hooks/melodies were catchy. The track does not feel like Kep1er one bit, but I appreciate the step-up it brings. (8/10)
3. Back to the City– When I listen to Back to the City, I really like how I can imagine myself listening to the song whilst driving in the city, which I am sure is the intention behind Back to the City. The 80s synths were incredibly light but also makes the track very pleasant and upbeat. I also like how the track flows, gliding from start to finish effortlessly. The rapping works in tandem with the instrumental to be a bouncy component of the track. The vocal work was very warm and I like how it all brings a smile to my face when I listen to the track. Back to the City is easily the best track of the mini-album. (10/10)
4. Why – Kep1er steps into R&B territory with Why. I liked the 90s synths and touch that feature in the track, and the vocals make it an appreciable listen. There were also some good hooks in Why, as well. I just feel like the track feels safe and lacks something punchy to take to the next level. (7/10)
5. Happy Ending – Happy Ending closes out the mini-album, and takes us into coffee-shop territory. It is a little more upbeat than usual coffee-shop tracks, but the instrumentation could easily blend into such a setting without much eyebrow raises. Kep1er’s vocals and rapping in this track are probably the most interesting showcase from the group on this mini-album (and probably their discography thus far). They really nail the higher pitch/falsettos/lower registers that were all present in the song, which proves to me that they have a lot more to offer than what is shown in their title tracks. (8/10)
APINK’s SELF mini-album is the next on the reviewing block. SELF serves as the second generation’s 10th mini-album since their debut back in 2011 and this dropped in April of this year as the group’s first official five member release. SELF features the title track D N D (one of my favourite tracks of the year thus far) and four additional side tracks, all of which contributes to a very solid mini-album. For more of my thoughts of the mini-album, keep on reading below.
2. Withcha – The production of Withcha feels very clean. From the leading vocals to the harmonies to the R&B pop instrumentation to the little details in the background, everything sounded distinct but also cohesive at the same time in Withcha. I liked how playful the hooks and melodies were, with the repetition helping the song become one of the more recognisable side tracks on this mini-album. Adding to the playfulness is the faint whistling and retro tinge the instrumentation has. But even in the midst of all of that, Withcha remarkably maintains a mature persona that allows the song to fit neatly with APINK’s current sound. (9/10)
3. Me, Myself & I– I start swaying along to the melodies as soon as this beautiful track begins. The instrumentation features a mixture of strings, along with beats and synths that makes it a pleasant and chirpy number. The vocals are amazing and are truly a highlight for me in this track. And the combination of everything that makes Me, Myself & I creates a riveting and stunning listen in the midpoint of the mini-album. (10/10)
4. Candy – Candy is a more typical pop track for me. It was a very pleasant and likeable track, with some sweet vocalisation from the members. I also enjoyed the falsettos that the members add to the song, and the rapping is a nice surprise. But on the melodies and hooks front of Candy, I can’t help but describe those aspects of Candy to be rather plain and ordinary. But still a decent track. (7.5/10)
5. I Want You To Be Happy (나만 알면 돼) – I Want You To Be Happy was actually a single released last year to celebrate the group’s 11th anniversary. I Want You To Be Happy takes the form of a ballad and it is a touching one for their fans. The music video that was released last year also features shots of now-former member Naeun (who left the group early April), and so the song can also be taken as homage to the former member. The melodies were heavenly and heart-warming, while the vocals were very touching and comforting. The strings and drums came together to create a delicate and beautifully orchestrated piece. (8/10)
The next album to be reviewed on the blog is xikers’ debut mini-album, House of Tricky: Doorbell Ringing. This was released back in March of this year, and features the title tracks TRICKY HOUSE and ROCKSTAR. Alongside those tracks are 3 side tracks and two instrumental tracks that serves as an intro and interlude to the mini-album. The seven track mini-album successfully kicks off xikers’ career with a strong setlist of songs, and immediately introduces the group as one that embraces intensity and powerful sounds. Each track on this mini conforms to that description. So if you like your intensity and powerful sounds in your music, then do check out the tracks below.
House of Tricky: Doorbell Ringing Album Cover
1. The TRICKY’s Secret – Creating suspense from the very first second is the intro track, which runs for just under 2 minutes. The TRICKY’s Secret begins with some haunting music box twinkling and some eerie yet captivating narration that introduces the xikers’ debuting concept. From there, the synths build into the song and we are given an intense rush of synths that feels euphoric. No score will be given to this track, but it is a bold and cool start to both the mini-album and xikers’ career.
2. Doorbell Ringing – It took a while for the next track to really get somewhere. But when Doorbell Ringing gets to it, it knocks my socks off. The start of the track continues that haunting vibe that we heard in the intro track. As it is something we have heard before on the mini-album, the start does come off a bit boring. It isn’t until the second half of the chorus where Doorbell Ringing builds up its intensity and energy does the track really wakes me up and delivers a banger. The first half of the chorus is very hip-hop centric and playful, but the background is a little too empty for my liking. From there, the rapping and vocals becomes more appealing and the intense instrumentation becomes more interesting. But the final chorus was definitely the highlight, with everything from the build-up to the eventuating energy coming together well and strongly closes out Doorbell Ringing. (8/10)
4. Dynamic (淸亮(청량)) – Dynamic serves as an interlude track, introducing the rock that is about to come in the mini-album. This instrumental track was super energetic and fast-paced. The guitar work is quite crunchy at the start, and develops into a purely electrifying element. The drumming is also awesome.
6. XIKEY – xikers spit fire in XIKEY, with the rappers really standing out in the verses. That haunting vibe returns in the pre-chorus segments (and later on, in the instrumentation of the second verse), but it isn’t exact replication of what we heard earlier on in the mini-album, so it doesn’t become off as boring. The choruses are super rough and the contributing members are very hoarse in the central piece of XIKEY, which makes for a deep yet intriguing centrepiece. After the second chorus, the song changes and I am not entirely sure what to think about that. The bridge of the song unexpectedly switches up for a lighter tone, with the vocalists given a chance to come to the front. It does balance out the track in a way, but it just too many steps away from what precedes and succeeds the bridge. The lighter tone does make way for an explosive end that turns the track into a powerful and robust anthem. (7/10)
7. Oh My Gosh – After the likes of XIKEY, I am glad the mini-album ends on a more cohesive note. That being said, there are some changes to the momentum as Oh My Gosh progresses, but it isn’t as wild as the preceding track. The chorus has this bombastic feel that does not disappoint. The use of EDM in this hip-hop track opens up the track to some dynamic energy and enables an upbeat dance track at the same time. The track also gives the rappers opportunity to spit their fire once again and the vocalists are given multiple moments to shine (really enjoyed the bridge in this one). Yet there was no cost to the energy and intensity of Oh My Gosh, which stays pretty high and consistent throughout. (9/10)
Today’s album review focuses on JIMIN’s solo debut mini-album, FACE, which was released back in March of this year. As we all know, BTS is currently focusing on solo endeavours as they are near (or currently are) carrying out their military enlistments. And since that announcement, each member has been releasing solo music. JIMIN is the 3rd member to do so, with a mini-album that features the title track Like Crazy, the English version of the title track, a pre-release track titled Set Me Free Pt. 2, an interlude and two side tracks.
While the mini-album appears to be light on, FACE is pretty loaded with high quality tracks. The two side tracks I just mentioned both earn a 10/10 rating, while the interlude earns high praises from me. And if you remember my posts on the pre-release and title track, then you know my thoughts about those songs. But apologies if you don’t, as it has been a while since I put those reviews out. To see my thoughts on each song, including links to those two reviews, keep on reading below.
FACE Album Cover
1. Face-off– Beginning the mini-album is Face-off, which is an edgier and grungier side of Jimin that feels very unexpected and different for Jimin himself. This doesn’t mean the song is bad. Rather, I think Face-off is a very strong song and gives off such a dark aura that just feels very compelling. The plucking synths and the trap-based instrumental was subtly intense, and Jimin’s vocals and delivery was very intriguing throughout Face-off. His delivery is also very emotionally charged, to the point where you can feel his anger and distrust. (10/10)
2. Interlude: Dive – Dive begins by rapidly reversing, before a simple knock on the doors signals the true beginning of this 2-minute instrumental track. I really like how sensory the track is. We hear an audience cheer as Jimin speaks on stage, then footsteps, then a car engine start and drive off, and finally the pouring and swallowing of water at the end. I presume this is all post-concert, with Jimin retiring back home for the day. All of these audible sounds occur over an atmospheric set of instrumentation, creating a unique interlude track.
4. Alone – Alone goes for a softer pop approach. I found the track to be so captivating to listen to and a clear standout on this mini-album. From the very first moment, we hear delicate vocals. As the song progresses, more is added to the track. Jimin’s vocals become more defined with the addition of backing vocals and the instrumentation becomes more layered. That descending distortion at the end of Jimin’s vocals was another intriguing element on this mini-album, but it was a punchy and alluring aspect of the song. (10/10)
6. Like Crazy (English Version) – Refer to link above to the review of Like Crazy for my thoughts on the song. But the English version is still linked below.
Today’s album review is for NMIXX’s first mini-album, expérgo. This was released back in March of this year, and features six tracks in total including the title track Love Me Like This and the pre-release single Young, Dumb, Stupid. expérgo is the first of two releases for NMIXX this year so far, with the second being their more recent comeback with the singles Roller Coaster and Party O’Clock.
For whatever reason, expérgo is the group’s first mini-album. It proves that the group has potential, as it successfuly shows the group’s capabilities of a vaireity of different sounds and tyles that we have not heard from the group yet due to the lack of side tracks in their discography. The side tracks out-rank the pre-release and title track (though I might reconsider the latter’s rating in the future). Hopefully, their next comeback after the more recent Party O’Clock sees the group with another mini-album or a studio album. But for now, here are my thoughts on expérgo.
3. PAXXWORD – PAXXWORD is a nicely pleasant and upbeat track. I really enjoyed the balance of everything in the track, from the variety in the group’s vocal range and harmonies heard in the song, to the easy-going and gratifyingly textured instrumentation, to PAXXWORD’s very catchy hooks. All of this made for a great listen and is a strong addition to the mini-album. (10/10)
4. Just Did It – Just Did It sparks some interest from me thanks to its intriguing instrumentation. At first, the song felt familiar for NMIXX, given there are number of changes and turns within the background. But unlike their past attempts at the MIXX pop trend, the changes in Just Did It somehow feel consistent and keeps you on your feet. I put this to their vocals/rapping, which bought a steady element to the song, serving as an unchanging anchor. This doesn’t mean the members were boring or dry in anyway, as I could sense a slightly attitude and confident tone behind their vocals which complements the song’s lyrics quite well. (8.5/10)
5. My Gosh – We turn to a softer sound on the mini-album through My Gosh. This R&B track just comes together so well. The acoustic guitar and inviting synths just feel so comforting, while the members sound stunning. The “My Gosh, My Gosh, My Gosh” hook in the song was so damn catchy, and the melodies were flowy. While one of the earlier upbeat songs did appeal a lot to me, I just cannot help enjoy and love My Gosh even more. (10/10)
6. HOME– HOME has this nostalgic melody to it, which I really enjoy. Elsewhere in the track, HOME features bold instrumentation (Exhibit A: the pounding beat that kicks of the song and heard throughout the track), bold vocals (Exhibit B: the vocal work in the choruses) and bold rapping (Exhibit C: the rapping in the verses). It is quite interesting, as you don’t usually hear this level of boldness in the final track on the album. But I am all for it! (9/10)
Finishing off today is the album review for Rover, KAI’s 3rd mini-album. Rover is KAI’s last album release prior to his enlistment in the military. However, we did get to see KAI in the two EXO pre-releases for EXIST (EXO’s more recent album release). Anyway, back to Rover. The mini-album was released back in March of this year, and features the title track of the same name and five other side tracks.
To me, Rover is a mix bag of an album release. There were some really good songs on the mini-album. But other songs earned a luke-warm response from me. Find out which songs on Rover got what type of response by reading the rest of the review below, and let me know if you agree with my sentiments of Rover and the individual songs.
2. Black Mirror – Black Mirror is a solid hip-hop track that provides commentary on our dependence on social media on our phones, with the title Black Mirror making reference to what the phone becomes when it is off or not in use. I liked how the producers kept the song low, which takes advantage of KAI’s deeper tone quite well. On the flip side, however, I just found it hard to connect as there wasn’t anything memorable or catchy coming the song, especially when it came to the choruses. (7/10)
3. Slidin’ – With the R&B genre in play, Slidin’ enables KAI to bring a sensual tone to the song, which per past tracks sees KAI in familiar territory. This sensual tone allows more appealing moments to come to life, which helps makes the song more appealing and notable (when compared to the preceding track). The instrumentation, for the most part, consists of a continuous loop of a harp-like synth and trap elements. A heftier set of string comes into play at the very end of the song. Despite its late introduction in the song, it interestingly felt well-placed and (retrospectively) allows Slidin’ to finish on something that isn’t what we have heard previously in the track. (8/10)
4. Bomba– Bomba is the side track on this mini-album that caught my attention when the mini-album was released months ago. And it still continues to stand out for me. Bomba goes for a reggaeton-inspired instrumentation, whilst also bringing a pounding rhythm and some really nice synths into the mix. All of this makes Bomba into an effective track. KAI’s vocals were quite well executed and lively in this track (comparison to the other songs on the mini-album), and the melodies and repetitive hooks are all very catchy and memorable. A definite 10/10 for me. (10/10)
5. Say You Love Me – Say You Love Me returns the mini-album back to R&B and hip-hop territory. I found this track to be super easy to get into and enjoy, with a simple yet catchy chorus driving this home for me. I also really like how KAI becomes dynamic in his vocals and rapping in this track. My biggest gripe about Say You Love Me is that quivering synth we hear in the background. It just gives off an unstable vibe, which I didn’t think the song should be exuding. (7.5/10)
6. Sinner – Sinner begins with KAI’s deep yet monotonous-like vocals and a very minimalistic yet atmospheric instrumentation consisting of piano and synthesizer. I did wish the instrumentation in the beginning was a little tighter, just so KAI’s vocals felt more form-fitting. You kind of need to stick around to fully appreciate Sinner, which the start of the song might undermine. I personally felt that the producers went a touch too light on the instrumentation in the beginning, which might turn people away who gets the impression that Sinner is plain and lacking. If you do stick around, Sinner changes gears and intensifies towards the end of the song, allowing the synthesizer to take over the song and close it out in a well-rounded manner. (8/10)
The next album to be reviewed on the blog is OnlyOneOf’s seOul cOllectiOn, which was released back in March of this year. This is my first time reviewing an album from OnlyOneOf. They have such different music to other artists in the past, so I thought I give them an album a try and see what else they have to offer. Apologies that it has taken me a while to actually get around to reviewing on their albums.
In my opinion, there is a bit to like on this mini-album, which includes the title track seOul drift (which, spolier alert, is the lowest ranked track on the mini-album, in my opinion) and six other sides tracks (2 of which are the Korean version of previously released Japanese singles and another is the English version of a previous Korean track promoted by the group). I won’t tell you the title of those songs, so scroll on down to find out what they are and to check out my thoughts on seOul cOllectiOn.
seOul cOllectiOn Album Cover
1. chrOme hearts – Originally released a Japanese single, the Korean version of chrOme hearts kicks off this mini-album (retitled as chrOme hearts). The start of the song takes me back to their libidO era. But as chrOme hearts builds, the beat gets harder and the EDM synth choice becomes so much more metallic and unique. chrOme hearts ends up being quite an intense and powerful number. The vocals, especially in the choruses, were so sleek and I really enjoyed how fitting the gritty texture of song. a standout from the very beginning. (10/10)
3. mirage – Briefly moving away from the synths and EDM is mirage, which brings forth acoustic guitar and softer beats to the mini-album. It holds very well after all of that intensity and power. The track is detailed with some jazzy touches, which gives it a classy feel. The jazzy touches also serve as the backing for the raps, which gives mirage some oomph. I also really like how breathy the vocals are and the flowy melodies the vocalists bring to life in the song. (7.5/10)
4. candy bOmb – The synths return in candy bOmb. I really like how deep the synths go in this track, while the beat keeps the track going forward. The tempo of candy bOmb is very quick – the saying “blink and you will miss it” applies to this song. I wished the melodies and vocals were a bit more developed. There is some catchiness to them, but they really need to be more memorable to offset the tempo. The bridge of candy bOmb is a complete 180, going into a dreamy mode for a matter of seconds, before the main beat and synths come back to close out the song. (8/10)
5. blueblueseOul – blueblueseOul is the Korean version of Hidoi Otoko, a Japanese single which comes from the group’s Cunning Woman single album. I really like the atmospheric vibes that kick off the song. While the atmospheric vibes continue in the background, the beat and guitar work grounds the song. We get breathy vocals once again, which sound blissful in blueblueseOul. It was a nice listen, and paired with the instrumentation, is well produced and amazing track. (9/10)
6. nabi – The final new track is nabi, the group’s answer to the obligatory ballad for every KPOP album release. It is nice to hear the group away from the intensity that they build their image and sound upon. It is a delicate number, with the members sounding soothing and the instrumentation gives off that swaying effect I look for in balladry numbers. However, I wished there was a more memorable melody to pull me back to the song. (7/10)
7. dOra maar (English Version) – I haven’t actually reviewed dOra maar yet, even though it has been over three years since its original release in Korean. It is a slow R&B dance track which is quite engaging to listen to. The members do an amazing job with the delivery of the track, bringing a mature and sensual tone to life. I enjoyed the clanging beat, which is a bit different. I did wish there was a bit more to the song towards the end, just to give the song a bit more edge and keep it interesting. But overall, a strong reason for me to revisit some of their earlier works. (8/10)
KPOPREVIEWED 