ENHYPEN’s latest mini-album, as you could have told from the review for their second single from the release, is next up to get an album review from me. MANIFESTO: DAY 1 was released in July of this year, and serves as the group’s second comeback of the year. The first was Blessed-Cursed, from the repackaged version of their first studio length album. Anyhow, back to their more recent releases. It features a total of six songs, including the title track Future Perfect (Pass the MIC), the single Paradoxx Invasion and four additional side tracks.
MANIFESTO: DAY 1, as an overall picture, was a decent album. The title track was the album’s weakest track, based on my ratings. Instead, the other tracks stand out. One of the side tracks became my highlight from the album (keep on reading to find out which one). The first and final tracks also serve as unofficial intro and outro tracks, which are common features of ENHYPEN’s release. I am specifically shining the spotlight on them, as they delve into deep topics, which might be of interest.
MANIFESTO: DAY 1 Album Cover
1. WALK THE LINE – Beginning the album is WALK THE LINE. This track features the members dramatically speaking in their own native languages of Korean, Japanese and English over a simple yet intense instrumental. The members speak and sing about their struggles whilst maturing, and how they come to realize that they are now the mature people who sets their own standards, relating everything to a line. A line once drawn for them, and a new line that they will draw for themselves. I like the meaning behind the track, but everything else was standard. (7/10)
4. TFW (That Feeling When) – Glad to see they clarified the meaning behind the acronym. Hahaha… TFW is quite a change to their previous tracks on the mini-album, which were more hip-hop centric. TFW is much more mellow, featuring a consistent pop rock band instrumental. I enjoyed the combination of the beat and melody, which bought out a pleasant atmosphere. This instrumental also enable the focus to be on the vocals, which were quite solid. However, I just do not see anything special with TFW, just that it is a nice track. (7.5/10)
5. SHOUT OUT – The opening of SHOUT OUT does exactly what the title suggests, allowing the song to just feel right from the very start. It then settles for an early 00s emo rock vibe, bringing great and nostalgic energy out of the song for me (especially during the chorus, when the instrumental is the most full-on and head-banging worthy). If the instrumental hasn’t won me over yet (spoiler: it has), then what I describe next will do the trick. ENHYPEN’s vocals are a perfect fit with the genre, with the members perfectly executing their delivery and encompassing the energy of SHOUT OUT. Without a doubt, my favourite from the mini-album. (10/10)
6. Foreshadow – Again, we go through the three-language narration from the initial song to close out the album. This time around, the members express their uncertainty about the immediate future. They say their past is making sense and they know there is a future waiting for them. But the light that is supposed to guide them to that future casts a shadow over the immediate future, hence the uncertainty and Foreshadow title. It is an abstract way of expressing uncertainty, but a clever way nonetheless. The song aspect of this track was more riveting than the initial song and has a much better bite to it. (9/10)
Another album review for you all. LOONA made their comeback back in June of this year with FL!P that, a special summer mini-album. The release features the title track Flip That and the single POSE, alongside another 3 side tracks and an introductory instrumental track. The latter named single was released as part of the group’s participation in Queendom 2, which they finished as the runner-up (after WJSN).
FL!P that was a standard length mini-album, but it just felt short. It doesn’t feel like a six track mini-album, for some odd reason. I kind of wished there was more to it. But still, a catchy title track and one of the side tracks might be able to sneak away with the title of best side track of the year. Read on to find out which one song that is, and let me know if you agree with me.
FL!P that Album Cover
1. The Journey – The Journey sets the scene for this special mini-album. It first starts off very ethereal natural sound, as if you are looking into a mystical forest in a fairytale. The synths build from here into quite a bass-heavy and boisterous piece that brings a whole heap of dynamic flair to the track, but the incorporation of the Flip That instrumental in the background (and more upfront and whole in the final moments of this instrumental track) hints at more delicate and sweeter undertone to the mini-album.
3. Need U – I quite enjoyed Need U’s chorus, which felt very minimal but also fulfilling at the same time. I also liked how the minimalism also comes through the members’ vocals and melodies, which made the chorus speak much louder than how it sounds. The verses, whilst less memorable, also had a minimalistic vibe. But every time I revisit them, I find they set up the choruses quite well. My only gripe about the song is the cutesy spoken line ‘You make me shine’ you hear in the chorus. I don’t agree with its presence, as it just stuck out like a sore thumb for me and detracted from the rest of the song. (8.5/10)
5. Pale Blue Dot – The bass that opens up Pale Blue Dot really pulls you in. And I am so happy that it did. The bass leads you to a thumping verse backing that is so pretty thanks to LOONA’s delicate yet vibrant vocal work and melodies of the song. The pre-chorus builds the song up in an epic fashion, yet also keeping the LOONA touch. What you don’t really expect the simplicity of this song’s chorus. But somehow it works and I am loving it. The ‘Ooh Ooh Ooh’ was super catchy and fun. The second run at the chorus incorporated more instrumentation, building the liveliness of the song. The drumming in the bridge and Chuu’s soaring vocals was definitely an amazing peak for (you guessed it) my favourite side track from this mini-album. (10/10)
6. Playback – Playback brings us back to a more typical sounding mid-tempo pop ballad. The melodies were on the plainer side, but there was still a decent swaying motion/effect coming out of this song. Unfortunately, Playback wasn’t as riveting as the producers had intended to be. I think this is partly due to the fact that Playback follows on from Pale Blue Dot. No matter what song that comes after the preceding track, it all would have felt plainer and dull. But at least the synths in this track gave it a more vibrant feel, which allowed to feel and sound suitable as a follow-up track. (7/10)
The next album to on the reviewing block of this blog is HUTA’s (who is otherwise known as Lee Min Hyuk from BTOB) second studio album, BOOM. This album, alongside the title track of the same name, was released at the end of June of this year and features another eleven tracks. This is HUTA’s first major Korean release since completing his military enlistment, participating on the Kingdom: Legendary War and making a few comebacks with his fellow BTOB members through the singles Show Your Love, Outsider and (most recently) The Song.
All the songs on BOOM (the album) basically were all strong showing from the soloist, with the album receiving a 8.2/10 rating and most songs earned a 8/10 from me. This is quite consistent for the wide range of songs that HUTA had put on the album. I commend HUTA for doing this, as it proves to me (and all his fans and the listeners of BOOM) that he is more than just a rapper (not that he needed to as I am totally aware of his potential through BTOB’s works and his first studio album). Just through this album, we can easily see that he is capable of releasing an intense and powerful number that aligns with his rapper image, or flipping the switch to release some thing more delicate and peaceful.
BOOM Album Cover
1. I’m Rare – Kicking BOOM (the album) off is the short track I’m Rare, which packs a punch with its super energetic electronic instrumentation. I quite enjoyed how the song developed as it progressed, moving from a mid-tempo pace to a fast-paced track. This helped hyped the track and the album’s opening, which in turn got me excited for what is to come. HUTA’s rapping was quite dynamic and heightens the energy of the song, rounding out a very strong start to the album. (8/10)
3. Shadow – Third track into the album and I think we are treated to the album’s standout track. Shadow focuses on HUTA’s vocals, moving away from the rapping that dominated or stood out in the preceding two tracks. His vocals took a lowkey approach. They never really went further than how he started. While this might be something I raise as an issue usually, it worked well with the 80s synth-based instrumentation. That itself had the right amount of momentum to propel the song forward, but at the same time not feel too filling or intense. The melodies that HUTA brought to life with his vocals were quite chill and easy on the ears. I enjoyed everything from Shadow. (10/10)
4. Dear My Spring (넌 나의 봄이야) – Dear My Spring follows up Shadow and the two songs sounded quite similar in some regards. But the main difference between the two songs is that Dear My Spring is a lot sweeter sounding, and this basically came down to two aspects. Firstly, HUTA’s vocals brought a smile to my face and was quite soothing throughout the song. This works well with the topic of spring, which is what the song is based on. Secondly, the instrumental features a more acoustic feel which is synonymous with the Spring season, rather than an 80s synth instrumental. (8/10)
5. Secretly (그대가 모르게) – Secretly is a lovely track to follow the sweetness of the preceding track. HUTA sounds very charming and romantic in Secretly. I quite liked the bounce to the instrumental, and how it developed from just a simple piano instrumental piece into a livelier piece thanks to the addition of other instruments. All of this helped make Secretly more appealing to listen to. (8.5/10)
6. Is It Love? (사랑일까요) – Is It Love? is another romantic song on the album. It also doubles as a duet with fellow BTOB member, Lee Chang Sub. HUTA starts off the song with deep vocals, and subsequently reverts to his lovely vocals. Lee Chang Sub serenades with his vocals. I particularly liked it when Lee Chang Sub’s vocals peaks in the chorus, provides a high note and ad-libs to the end of the song. It was also nice to hear some rapping from HUTA in this song, especially since that has not been much rapping throughout this romantic side of the album. I wished there was a more memorable melody to the song, however. (7.5/10)
7. Firework (위험해) – Firework begins with a rather sinister yet moody atmosphere. Once Firework reached the chorus, it changed itself up by going with an upbeat and slightly groovy house based instrumental. I really liked how engaging HUTA was in the chorus. There was a lot of personality and energy that he himself puts into the chorus, which made it stand out for me. Firework also features a really cool bridge, where HUTA was given an opportunity to intensify his rapping and delivery in a more natural manner. This gave Firework a bit of edge and definitely helped the song finish on an enticing manner. (9/10)
8. Real Game (Like Messi) – Real Game brings a more consistent and dynamic energy to the album. It is a short number, spanning only just over 2 minutes. But I quite liked how it gets straight to the point, launching right into the chorus and the aforementioned energy. And I liked how it doesn’t let up. HUTA follows through with a consistent delivery of his lines, yet his rapping just intensifies everything to just be so alluring. I know we were constricted by time, but I would have liked the ending just to have a bit more oomph to close out the song appropriately. (8/10)
9. Us Together (우리 함께 걸어요) – We revisit the likes of the first half of the album with another sweet song. I find Us Together to be nicely instrumented with the pop instrumental it went for. A bit plain, but it works well with the rest of the song. HUTA showcases soft vocals throughout, which sounded very soothing. A different instrumental would have easily overpowered the vocals. There is also rapping in the song, which might make you think would have done the overpowering instead. But HUTA was careful in approaching the rapping in a suitable manner for Us Together and the sweeter pop sound of the song. (8/10)
10. Red Wine – When I first saw the title of this song, I was expecting a more mature track. While the R&B genre that Red Wine did go for is typically mature, Red Wine was more so upbeat and bright. The synths gave the song a subtle disco tinge, which ended up being quite fun to listen to. The brass detailing was also a highlight in this song. HUTA’s delivery also adds to this, and this helped make Red Wine a fine song to listen to. If anything, I wished there was stronger hooks in Red Wine, as I felt the hooks we got in Red Wine were lacking. (7.5/10)
11. Stay (기다리고 있어) – Stay was previously released in Japan, as the lead single from his solo debut mini-album in Japan. For this album and its release in Korea, it was rewritten with Korean lyrics. Everything in this song can be described as nice and pleasant, which is all very much different to the likes of BOOM (the title track). But aside from that, there wasn’t really much else to comment in the song. (7/10)
12. Hello and Bye (끝 눈) – Completing the 12-song length studio album is Hello and Bye. It is another pleasant number, this time tapping into the balladry side of music. I liked the dreamy nature of the instrumentation, which is made up of piano, a bit of percussion and a light sprinkling of synths. HUTA’s vocals a very soft and fitting for the ballad genre in this song, particularly when they get breathy. Overall, it closes the album on a very soothing and calming note. (8/10)
It is a short one today, but an album review nonetheless. The album in question belongs to WONHO, who made his comeback in June with FACADE (his 3rd mini-album) and CRAZY (his latest title track). FACADE features a total of three full tracks (one of them being the title track itself), and an intro and outro instrumental track (both of which is not factored into the final rating of the album). This is his first release since his first single album OBSESSION and EYE ON YOU.
I feel like some explanation for the intro and outro tracks is required to give some them (and potentially the entire mini-album) context, as they felt very random. But I will admit they do flow into the title track (in the case of the intro track) and flow from the Korean version of last year’s Japanese winter single (in the case of the outro track) in a somewhat logical fashion. But when you consider the middle section of the mini-album together (i.e. the three tracks that I have included ratings for), FACADE felt like a hodge podge. And given the small length of the album, this feeling is more so broaden out to the whole mini-album, as well.
FACADE Album Cover
1. INTRO: 9AM – The start of 9AM gives off haunting vibes, which I am all down for. I love a bit of eerie and mysteriousness, and I feel 9AM really concentrates all of that in its instrumental piece. It definitely got me intrigued with the rest of the mini-album.
3. CLOSE – Following the very groovy and sensual CRAZY is the more atmospheric and ambient CLOSE. This is another all-English pop song from the artist (and KPOP in general) that attempts to appeal to the international audience. And I think WONHO did a good job. His vocals were quite prominent and straight forward in the track. But it still managed to pair well with the riveting (to a degree) softer synth instrumentation. There was still a bite to the song thanks to the beat present in the pop instrumentation. While CLOSE is pleasant, I did find the song to be linear, which dulled its appeal slightly. I think more drifty melodies and smoother vocals could have boosted CLOSE. (7.5/10)
4. White Miracle (Korean Version) – Winter Miracle was originally released in Japan at the end of last year, but I never got the chance to review the Japanese single. As it is part of this mini-album as well, I will be reviewing the Korean version instead. There isn’t a whole lot going on in White Miracle aside from an apparent sweetness to the song. It makes sense given that this was a Winter single released ahead of last year’s Christmas holiday. WONHO does sound quite decent. But apart from those aspects, the song is pretty much in neutral gear and doesn’t deviate from this sameness. So, the track is a skippable number in my opinion. (6/10)
5. OUTRO: 9PM – While we started off the album in a Halloween-like spirit, we end off with an instrumental piece that gives off Winter Wonderland vibes. 9PM felt very comforting, special and warming. I found this thoroughly interesting, but it works well given the previous track (i.e., the previous track’s original period of release matches the vibes of this song).
ASTRO’s full length studio album from mid-May is the next album to be reviewed on the blog. Titled Drive To The Starry Road, the studio album is ASTRO’s third one since their debut back in 2016. It features the title track Candy Sugar Pop and ten additional side tracks. In those ten side tracks, six of them were solo tracks from each of the members. This album does feature all six members, but promotions only consisted of five members, with MJ sitting out due to his military enlistment prior to the comeback.
Like the last album review, there appears to be a common description between most of the songs on Drive To The Starry Road. And that particular word is ‘pleasant’. I tried my best not to repeat it over and over again in this review to avoid repetition, but I could have gotten away with using it alongside most of the songs on this ASTRO album. There are two standout tracks, in my opinion, on this album. More particularly, two solo tracks. Have a read below to see which solo track I had given a 10/10 to (and to find out which one of the two that I strongly recommend overall)!
2. Something Something – Something Something hovers somewhere between a pleasant pop track and a groovy number. I don’t think Something Something leans towards any side in particular, and was balanced enough to still be engaging. The vocals paired well with the pleasant pop side of the song, bringing the song’s nice melody to life. The rapping worked tandemly with the groovy side and it too brought forth a dynamic touch and kick to Something Something. (8/10)
3. More – More concentrates and intensifies those funky vibes from the previous song without going down the usual vibrant route. As a result, I feel that More comes off as quite refined and mature. Their vocals and rapping follows suit, going with a more serious tone which definitely meant business. A more memorable melody or hook would have taken More to the next level, but what we got was pretty good. (8/10)
4. Light The Sky (하늘빛) – ASTRO continues their pleasant run with another pleasant pop track. Light The Sky goes down a pop ballad route with a very delightful instrumentation that feels quite atmospheric and definitely makes you think of a clear sky – either during the day or at night where the stars are shining brightly. The vocal work was soothing and brought a smile to my face. The rapping was low-key but works well with the softness that is Light The Sky. Overall, a comforting number. (9/10)
5. Story – We enter solo track territory with the first one belonging to MJ, who unfortunately didn’t get to promote the album due to his military enlistment. It is definitely nice that we still got to hear from him on this album. Story is a ballad really brings out MJ’s raw vocals. He was definitely stunning. The instrumental starts off minimalistic with just guitar, which brought your attention straight to his vocals. The second verse featured a rapid build in instrumentation, bringing in classical and synths into the mix. It eventuates into a stunning and epic backing piece. (10/10)
6. All Day – JinJin follows with his solo track, All Day, a hip-hop track. It is such an upbeat number that brings the energy of the album right back up. I liked the vibrant nature of the song, as it isn’t a profile that we have yet to hear on the album since the title track. JinJin adds a dynamic front to the song with his cool rapping and anthem-like chorus. Unfortunately, All Day does lack memorable elements, which pulls the song towards skippable territory. It is decent, but I kind of wanted more. (7/10)
7. First Love – First Love continues the brightness that featured as part of the previous solo track. But Eunwoo’s solo track is much more mellow and lovely. Both the instrumentation and Eunwoo’s breathy vocals were incredibly soft and fragile, but not in a balladry sense. Instead, First Love felt lovable and touching. I did quite like that brief guitar solo in the bridge and the swayable melody that First Love brings. The latter brought a smile to my face. Overall, another decent solo track. (8/10)
8. Let’s Go Ride – Moonbin brings R&B to the album with his solo track, Let’s Go Ride. I honestly did not expect anything else from Moonbin, simply because his solo performances and fancams from their recent concert show him pushing a sensual and mature agenda. And well, Let’s Go Ride definitely brings those descriptions to fruition. From the instrumentation to even Moonbin’s vocals, everything just oozed sensual energy and charisma that I am all for. His smooth approach to the song’s bridge was on point. (8/10)
9. S#1 – Out of all the songs on the album, Rocky’s S#1 is my favourite. I remember being in awe with the song and Rocky when I first vetted the album for an album review. His vocals were amazingly passionate, expressive and emotive. That high note was spectacular. S#1’s pop rock ballad instrumental was also quite riveting. Digging into the song, S#1 tells a full story of when a love first began between a couple and the breakup point of said couple. It was an interesting piece as a result. If you want any recommendation from this album, Rocky’s S#1 is what I will be recommending to listeners. (10/10)
10. 24 Hours (24시간) – The final solo song on the album belongs to none other than the maknae of ASTRO, Sanha. I feel Sanha was slightly disadvantage, following on from the likes of Rocky’s song. But 24 Hours is still (yet again) pleasant and soothing piece. Sanha’s vocals were nice, while the toots in the instrumental (can’t tell what instrument it was) helped give 24 Hour a unique profile. Not as captivating like the other tracks on the album, but still a nice listen. (7/10)
11. Like Stars (밤하늘의 별처럼) – The six members of ASTRO regroup for the last song on the album, Like Stars. It was a nice ender to the album, and rounds out the entire album in a heartening manner. The synth pop of the song’s instrumental brought a nice upbeatness, with certain parts of the song diverting to an atmospheric feel as well. Both the vocal work and rapping were fine, with the latter also bringing a bit of intensity to the song. I did wish the melody was more memorable. But what we got works absolutely fine. (8/10)
The second album I wanted to review during the week which I didn’t get around to was ATEEZ’s most recent release – The World EP.1: Movement. This is a more recent release to the albums I have been reviewing, dropping at the end of July of this year. And you will probably see me visiting some more recent album releases as I want to make sure I reviewing albums from all over the 2022 timeline (not just ones released many many months ago). The World EP.1: Movement features the title track Guerrilla, an introductory track (not included in the final rating) and 5 additional side tracks.
I use the word ‘epic’ or synonyms of the word a few times throughout this album review. And I think it is the right word to describe the album as a whole. And it comes no surprise for ATEEZ, who have put out some epic mini-albums over their years since their debut in 2018. I was only slightly disappointed with one song, and the rest of the mini-album really compensated for that. Can’t wait to see what else ATEEZ has in store for us in this new series!
The World EP 1: Movement Album Cover
1. PROPGANDA – This intro track was first introduced to us in the teasers leading up the album’s release. It serves as ATEEZ’s wake-up call to the dystopian world, which under the control of regime of the time. For majority of the length of PROPGANDA, the track features a lot of powerful EDM. But as we reach the end, electrifying rock takes over (hinting to us what is yet to come) and Jongho’s signature delivery of high notes. If you are not woken up from this intro track, I don’t know what will.
2. Sector 1 – Sector 1 starts off with simmering intensity but a calm atmosphere. But this arrangement only lasts briefly, just until the chorus. Then, Sector 1 quickly propels itself into its punchy chorus. I really liked those higher pitched vocals, which heightens the chorus even further. From there, Sector 1 maintains its punchy and intensity nature through some powerful rapping. The second verse’s pre-chorus briefly calms the song down before we find ourselves in the same chorus as before. The bridge maintains the intensity before the chorus comes back for its last hurrah in a hip-hop anthem fashion. Overall, a grand song that knows how pack a punch. (8.5/10)
3. Cyberpunk – I can definitely see how Cyberpunk attracted the attention of the fandom. The psychedelic-trance EDM instrumentation was definitely a prominent and iconic piece on this album. I really liked how the energy is paced in Cyberpunk and how that momentum was maintained throughout the track. In addition to that, the descending chorus line was superb and definitely added another iconic feature to the song. Seonghwa’s rendition of the line in opening the final chorus is the best in this song, with the roughness in this voice just doing wonders to that part. (10/10)
5. The Ring – To me, The Ring felt suitable for an epic adventure movie and we are at the part of the story where the characters needed some encouragement or hype to go on with their mission. On top of the hip-hop synth arrangement that plays an important part in The Ring, the addition of violins gives The Ring that epic vibe. I also really enjoyed the dramatic and theatrical flair of the chorus, which really solidified the momentous feeling behind The Ring. And, given that the song is more geared towards the hip-hop genre, the rappers really take full control of the wheel of The Ring and adds more to the epicness of the song. (10/10)
6. WDIG (Where Did I Go) – WDIG continues the epic vibes from the previous song. But WDIG falls more into the usual EDM realm of KPOP nowadays, bringing a more electronic prominence to the song. While I thought the verses were really well done and were relatively clear to appreciate, the chorus was a bit too autotuned and the hook was felt too drawn out for my liking. This made the song less appealing, compared to the rest of the album. Jongho’s vocals were probably the more enjoyable aspects of the chorus, but this doesn’t really help out much as it reflects the clearness factor which I had already touched on for the verses. (7/10)
7. New World – New World follows the formula of the title track, bringing together EDM dance synths and rock to form a powerful and bombastic end to the album. The rock is a tad slower and this makes New World more mature to a degree. Mingi is the standout member in this song, simply because his rapping was fire. And naturally, it was paired with some of the best aspects of the instrumental – such as that fast paced and thrilling thumping at the end of the bridge which brought New World a head-banging climax. A strong ender to the album. (8/10)
Today, I will finally get around to writing and posting two of the album reviews that I should have posted during the week. The first of the two is iKON’s FLASHBACK, the group’s fourth mini-album released back in May of this year. It features the group’s memorable title track, BUT YOU, and four additional side tracks. FLASHBACK was also the first release from the group since their Why Why Why promotions back in early 2021 and their participation on Kingdom: Legendary War last year.
BUT YOU remains as one of the best title tracks from any group for me this year. Even as I am writing this review, I am digging the track and reliving the satisfaction that I get from it, as I had expressed in my song review. The rest of the mini-album follows on in a neat manner. The hip-hop tracks weren’t exactly my favourite, but they had their place and presents a sense of familiarity. The rock ballad and the EDM side tracks, on the other hand, were my highlights from the FLASHBACK mini-album. Overall, the mini-album is enjoyable to listen to. Let me know if you agree with my thoughts in the comments section below!
2. DRAGON (용 (龍)) – DRAGON follows the title track with an EDM instrumental that is best described as exciting and exhilarating. Parts of DRAGON felt textured like a banging rock song, which I thought was very cool. And given the likeness to a rock track, the rough and raspy vocals of the members were nicely brought out in the song. The rapping also felt cool, riding nicely off the trendy and cool energy of DRAGON. I kind of wished the last sequence of instrumentation in DRAGON could have been more electrifying, but that doesn’t stop DRAGON in being my pick for favourite side track on FLASHBACK. (9/10)
3. FOR REAL? (말도 안 돼) – FOR REAL? mellows out the energy with a laid-back hip-hop track that feels very much in iKON’s wheelhouse. It doesn’t feel as iconic as their more successful and well known takes on the ‘laid-back hip-hop’ sound due to a lack of a memorable ring, but FOR REAL? was still quite nice as a side track. The guitar work and smoother vocals were pleasant and quite appreciable. (7.5/10)
4. GOLD (금) – GOLD is a lighthearted hip-hop track that adds a bit of sunshine to the album, fitting for a track that is titled GOLD. This track is the least like what we have heard from iKON previously, given they tend to gear towards a heavier and/or serious sound. The instrumental and beat feels trendy and their vocals were nice. But given that this isn’t what I am personally used to from iKON, it ends up being my least favourite track off this mini-album. (7/10)
5. NAME (그대 이름) – NAME had all the hallmarks of a nicely done ballad. But the main takeaway for me was that NAME is quite an emotive track, with the members portraying emotions in the song that really hit me in the feels. The starting piano instrumentation and the piano work following Bobby’s rap sequence in the second verse was beautiful. But as NAME progresses further, we get more of a rock ballad approach that complements the emotive that iKON is really pushing throughout NAME. Overall, a remarkable ballad track that ends the album on a bittersweet note. (10/10)
I start off the new week with another album review. This time the focus is on TXT’s fourth mini-album, Minisode 2: Thursday’s Child, their first album release since their The Chaos era last year. Thursday’s Child features the title track Good Boy Gone Bad, both of which were released in May of this year. On the mini-album alongside the title track, there are four additional side tracks – two of which are unit tracks.
Another strong release from TXT with this mini-album. With the success of The Chaos era being a big driver of the group’s growing popularity, I feel that fans had big expectations that Minisode 2: Thursday’s Child would further that growth. And I believe that the mini-album did just that. Not only was Good Boy Gone Bad was an epic comeback for the group, the other tracks on the mini-album were definitely of a high quality and proves that TXT are indeed artists that we need to keep on eye on for future releases.
Minisode 2: Thursday Child Album Cover
1. Opening Sequence – Kicking off the mini-album is the track Opening Sequence. And this is one really strong track. The development of the song as Opening Sequence progresses was one of the key aspects of the song that I was drawn to, with haunting piano and breathy vocals starting off the song. This last until the first chorus, which brings a heavy beat to the mix. We then get electric guitars to bring forth a rock tinge in the second chorus, and an even heavier rock presence aided by boastful synths came about in the final chorus. The melodies, particularly in the chorus, were iconic and super memorable. As for the vocals, they were very well done and you can definitely hear the emotions behind the vocals of the TXT members. (9/10)
3. Trust Fund Baby – I remember having a bit of a giggle when I saw the title of the song for the first time – it just felt so random as a title. Interestingly, I got reflective vibes from the indie ballad, which in turn intrigued me into understanding the song. When you read the lyrics, you read about how the members feel empty and meaningless following the breakup with their partner they tried so hard to be with in LO$ER=LO♡ER. Both the lyrics and balladry style represent a tonal change from their previous title track LO$ER=LO♡ER, with references to that song interwoven into the lyrics of Trust Fund Baby and a clear acceptance of their current circumstances. Again, amazing melodies and heartbreaking/emotive vocals are featured throughout the track. I also enjoyed how atmospheric the instrumental was. (10/10)
4. Lonely Boy (네 번째 손가락 위 타투) – An interesting mix of acoustic guitars and trap makes up the instrumental for Lonely Boy, the mini-album’s first unit track. It features the vocals of Yeonjun and HeuningKai. Their chemistry in this paced song was quite good. HeuningKai’s vocals oozed charisma, while Yeonjun’s rapping gave the song some much needed oomph. The English lines in the chorus were quite repetitive, but they did it in a way where it wasn’t overbearing and actually came off as memorable, instead. (8/10)
5. Thursday’s Child Has Far To Go – Thursday’s Child Has Far To Go features the balance of TXT members (i.e., Soobin, Beomgyu and Taehyun). I quite liked the ease of the song, as it was easy on the ears and easy to get into. The retro synths and mid-tempo upbeatness were quite pleasant and enjoyable. The trio’s vocals had a tinge of hopefulness, which pairs well with the lyrics of the song. The melodies were also quite soothing and light. Everything in Thursday’s Child Has Far to Go came together nicely and created a track that eases you off the album in such a perfect manner. (9/10)
The only album review I can put out this weekend belongs to SEVENTEEN. If you could not tell, I was preparing to post the review for FACE THE SUN and SECTOR 17 (4th studio album and the 4th studio album repackaged, respectively), following the reviews for the two pre-release tracks from the album (Darl+ing and CHEERS) – links below. In addition to these tracks, the album also features the title tracks HOT (released at the end of May), _WORLD (released in July), the Korean version of Fallin’ Flower (orignally released in Japan in 2020) and 8 additional side tracks.
To be honest, after writing this review up, I felt the album is one of their weaker releases to date. SEVENTEEN has always put out strong albums, and my final rating of the album might indicate that it is a fairly strong release. But this is the first time I can remember where I made a number of comments that expressed some disappointment with some of the songs on the album. But don’t worry, this is just my personal thoughts and there are still some strong side tracks on there. So, if you enjoy SEVENTEEN’s releases, you will definitely find something to enjoy from both FACE THE SUN and/or SECTOR 17. And if you are looking for a new song or not a SEVENTEEN listener, I will always recommend a SEVENTEEN album, as they have always been a well-rounded group!
FACE THE SUN Album CoverSECTOR 17 Album Cover
1. Circles (놀고 놀아) – Opening the repackaged album is the track Circles. It is quite a pleasant mid-tempo ballad, which leads into the title track of the repackaged album quite nicely. Everything in Circles – from the melodies to the vocals to the youthful choir to the classical instrumentation – were all warm and welcoming. Listening to the song brings a smile to my face. It might not be the most innovative start ever, but it was definitely enjoyable. (8.5/10)
3. Fallin’ Flower (Korean Version) – I have previously reviewed the Japanese version of Fallin’ Flower. To see my thoughts for Fallin’ Flower, please click here to read the review for Fallin’ Flower. (9/10)
7. DON QUIXOTE – For some reason, I felt DON QUIXOTE was quite an unsuspecting track to enjoy. It was one of those songs where I had no expectations heading into the song. But somehow, I am genuinely surprised with DON QUIXOTE. The chorus, which opens the track, falls squarely into the pop genre. It was a bit dry, but I appreciated the vocals in the pop sections of the song. As DON QUIXOTE progresses, we get hip-hop and rock influences on top of the pop, as well. The way these influences comes and goes in the track made it quite enjoyable. I wished there was a more explicit peak and drive to the song, as DON QUIXOTE almost falls into a neutral gear for me. But the already mentioned changes in style and instrumental helps keep the song afloat. (7.5/10)
8. March – March picks up on the rock influences from the previous song, and dives deeper into the genre. But while I am digging the instrumental, I am left disappointed with the vocals. I think the members could have really picked up on the rock influence and gone much harder with their delivery and execution. The rappers and that chanty bridge definitely have the right idea, as I found their parts to be a lot more satisfying. The vocalists, on the other hand, just seem to scrape the surface of the direction they could have gone down with. (7/10)
9. Domino – Domino is my pick for best side track on this album. It is definitely a cool track, with funky and groovy vibes throughout the track just screams a good time. I really liked the way the choruses start, with Vernon/Wonwoo’s countdown, the domino falling sound effect and the piano slide. The anti-drop that comes after was a great concentration of the funky and groovy vibes already mentioned. The addition of the electronic synths for the bridge was a neat development, as well. The vocals and rappers really did well in this song. I liked the breathy effect on the vocals and the rapping was sleek. (10/10)
10. Shadow – Next up is Shadow, which was a superb side track as well. Atmospheric and fast paced percussive synths in the verses, hefty guitar playing in the first half of the chorus and heavier pop rock is brought to round out the chorus. From there, the instrumental repeats but maintains the momentum it had created it for itself. The vocals in Shadow were really very well done, adding a suitable lively tone to the song and balancing out the heft that Shadow has. The roughness and textures of the rappers’ vocals were just perfect for a song like Shadow. Interestingly, the rapping was left to Dino, who nailed his rapping sequence perfectly and adds the right oomph to compliment the momentum of the song. (10/10)
11. ‘Bout You (노래해) – After such a hefty track, SEVENTEEN surprises with a lighter and smile filled summer pop track. Per most summer pop tracks, I am digging ’Bout You’s vibrant and playful manner. While the summery pop nature of the instrumental isn’t anything new to KPOP, I did still find it danceable and will not deny having a bit of a dance whilst reviewing the track. Overall, a fun track! (8/10)
12. If You Leave Me – The second last song on the album is another ballad. If You Leave Me, as alluded by the title, is a more emotional one (compared to the opening ballad of the repackaged album). The instrumental was only piano and I liked the beautiful tone it brought to the ballad. Per most ballads, there is a focus of vocals, and I liked the share of delicate and powerful vocals throughout If You Leave Me. The song also stands out with its interesting layering of vocals and the intertwining of vocals. The harmonies in the end were also just stunningly beautiful. (8/10)
13. Ash – Closing out the album is Ash, a trap hip-hop track. It is quite heavy on the autotune, which gave very different and unique vocal effects to members throughout the track. I kind of like that in this song as it gave Ash variety. Without this source of variety, I would have found Ash to be more of a bore than what it is. As alluded in the previous sentence, I don’t really care for Ash. It was more of a skippable song, in my opinion, which is slightly disappointing given you want the closer of the album to be memorable. (6.5/10)
The next album review belongs to MONSTA X, who returned to the KPOP scene back at the end of April, with their 11th mini-album SHAPE OF LOVE and their title track LOVE. Out of all the albums that I have to catch up on, MONSTA X’s (with a few others – one of which I will be reviewing later this weekend) have consistently been on my mind to review. As part of this mini-album, LOVE is featured alongside five other tracks.
SHAPE OF LOVE proves that MONSTA X is still powerful and impactful as they have always been. It is another high quality release from the group, with a slightly different yet refreshing title track than usual and very strong side tracks. And with such another mini-album under their wing, I am glad we will be hearing more from MONSTA X into the future, following news that all members (sans I.M) had re-signed with Starship Entertainment to continue MONSTA X activities. And even though I.M had elected not to be part of Starship Entertainment, he reaffirmed with the news that he will still be part of MONSTA X moving forward.
2. Burning Up (ft. R3HAB) – Following the title track is Burning Up, a very addictive synth pop track. Despite having deep retro influences and groovy vibes, Burning Up was quite minimalistic. You don’t expect that with songs with retro influences, but somehow R3HAB managed to get Burning Up to do just that. Very interesting. The minimalistic approach of Burning Up allows the vocals to be the pure focus of the song, and the MONSTA X members sound so striking. The rappers, in particular, sung their way through track alongside the other vocalists. I found the simple repetition of the song’s title to be so catchy and effective. Overall, an interestingly simple yet bold track. (10/10)
3. Breathe – Another retro track follows Burning Up and the title track. This time around, MONSTA X opts to include brass, alongside atmospheric synths, in Breathe. If you listen closely, you can hear breaths in the background. Clever. I quite enjoyed the soft nature of Breathe, as it allowed the members to bring forth smooth vocals that had a lot of character and charisma. It isn’t as striking as the previous song, but Breathe was still pretty good. (8/10)
4. Wildfire – While the side tracks have been simple so far, MONSTA X adds a relatively more complex song to the tracklist via Wildfire. I don’t mean that in a negative manner, however. I am referring to the fact that Wildfire brings merges two types of instrumentation – orchestral and EDM – into one piece. This has been done before. But I don’t remember any song from the top of my head that has done this to be so stunning and captivating. I like the extra oomph that the vocalists got to show in Wildfire. But for me, the standout member is Joohoney, who really got to show-off via a fiery rap sequence in the second verse. (10/10)
5. 사랑한다 –사랑한다 (or Love You) was a nice sentimental song that was extremely pleasing to listen to. I don’t have much to say about the song as I think the song talks for itself. It was heartwarming, especially when they all sing the title together on repeat (the best parts of the song, if I am being honest). The rest of the vocals (including the rapping) were stunningly beautiful and clear. The instrumental, whilst generic, was pleasantly simple and suitably soft. (8/10)
6. AND – The vocal focus continues with the last song on this mini-album. There was an epic and grand nature to AND’s slow pop rock instrumental that made the song sound loaded. The vocals match wonderfully, helping to create a powerful atmosphere with the instrumentation. The slow paced nature of the song does dry out the song for me personally. But if you are looking for something more balladry on this album that isn’t necessarily a ballad, then AND is the song for you. (7/10)
Next up on the album review block is WOODZ’s Colorful Trauma, his fourth mini-album. Leading the album and its five songs (in total) is the title track I HATE YOU. Both Colorful Trauma and I HATE YOU were released in May of this year. This is also WOODZ’s first comeback following his October 2021 ONLY LOVERS LEFT and WAITING comeback.
WOODZ amazes the audience (and myself) once again with another knockout mini-album. This time, WOODZ deep dives into the rock genre, which is an emerging trend in KPOP that I am all aboard for. What I like about the mini-album is that it shows shades of the rock genre, with WOODZ not shy with either hardcore rock or softer approaches to the genre. Versatility with a theme! Let me know down below if you agree with my thoughts on the songs and/album.
Colorful Trauma Album Cover
1. Dirt On My Leather – WOODZ goes hard with the opening track, deep diving into the rock genre. He definitely knows how to have a good time. Dirt On My Leather blasts out from the speakers with its hardcore, powerful, electrifying and adrenaline rushing rock instrumental. The exact same things can be said about his vocals. From start to end, WOODZ was superb and so expressive. The ad-libs was sooooo damn good and he just blows me away with this track. Also, it is all in English! (10/10)
2. HIJACK – HIJACK isn’t as hardcore as the previous track. Instead, it takes more of a punkish direction. Parts of HIJACK were still quite electrifying, following nicely from the previous track. This creates a very interesting combination that oozes charisma and personality for WOODZ. I liked the angsty and intense atmosphere that comes from the song, thanks to both instrumental and vocals, as well. I did wish HIJACK picked itself up as it progresses, just so it doesn’t feel totally sluggish. But it was still a strong track regardless. (8/10)
4. Better and Better – A sentimental tone was adopted in Better and Better, quite different from the usual tone that WOODZ brings to his songs. But it was a worthwhile change, as I pick Better and Better to be another favourite from this album. The song still aligns with the rock genre, taking a more alternative approach this time around. I thought the instrumental was very clean and neat, which is quite the opposite to how rock is usually prosed to us. WOODZ’s vocals were stunning, with this sentimental tone bringing a more delicate touch on WOODZ’s part. (10/10)
5. Hope To Be Like You (안녕이란 말도 함께) – Ending the album is Hope To Be Like You, an upbeat and pleasant pop track. Rock instrumentation still appear in the backing of the song, alongside atmospheric synths. Together, they create such a harmonious instrumental that is light and soothing in its own way. WOODZ brings soft vocals and warm harmonies to the song, help furthering the gentle atmosphere. Somehow, Hope To Be Like You still works well with the rest of the mini-album, closing out what is a satisfying album release from WOODZ. (9/10)
September will be one big month for this blog as I make an attempt to catch up on album reviews (and other song reviews). My plan is to publish a few album reviews during the week, in addition to reviewing multiple albums over the weekend (like this past weekend). First up in this mammoth task is ONEUS, who previously returned in May with their 7th mini-album, TRICKSTER. Headlining the album was Bring It On. This mini-album precedes the group’s next comeback, MALUS, which is scheduled for 5 September (i.e. next week).
ONEUS really delivered with the powerful and punchy tracks that form the TRICKSTER mini-album. If you ever want something super intense, boastful and/or fierce, just tune into a ONEUS album. Chances are, you will satisfy your craving. It is quite interesting, as the group also stands out for their more delicate title tracks (see LUNA or A Song Written Easily). Goes to show that ONEUS is an all rounder group. Overall, TRICKSTER is another strong release from the group and it makes me eagerly await for their comeback next week.
TRICKSTER Album Cover
1. Intro: Who Got The Joker? – This intro track starts off like any introductory track. Dramatic synths, suspenseful vocals and dynamic rapping. However, when we get to the chorus of Who Got The Joker?, the track steps it up. It brings forward rock influences and gives us a taste to the intensity that is to follow through the rest of the mini-album. Ravn’s lurching ‘Who Got The Joker’ was impressive and I sense a subtle growl to that line’s delivery. This introductory track earns a massive wow from me. (9/10)
3. Skydivin – ONEUS jumps on the pop rock train with Skydivin, and it is another massive yes from me. Skydivin comes off as a Summery track with the vibrant and refreshing tones present. As for the pop rock influences, ONEUS went in really hard with it. Said influences gave the song so much texture and oomph, especially during the chorus. The drumming left me stunned (in a good way). The vocals were clear as day and the rapping were dynamic and fun to listen to. (10/10)
4. Firebomb (두 눈 빠지도록) – Firebomb is another vibrant track added to the group’s portfolio. This is a lot heavier (thank the bass!) and falls into the realm of a dance track that we have associated with ONEUS. It starts off like any other dance track, but the chorus is where Firebomb really sets it apart from the rest. The squeaky brass synth that dominates the chorus is definitely an ear-catching piece and gives the song an interesting vibe. The bass helps add definition to the song, and the pair comes together to create a very vivid and robust number. The vocals and rapping were quite expressive and adds a further layer of ‘interesting’ to the song. (9/10)
5. Fragile (취급주의) – In the midst of dance tracks, there is always a need for a ballad or similar track to the same effect for some reason. For TRICKSTER, Fragile is that. However, it isn’t a ballad. It is more of a R&B track, with a hefty beat and bass to it. The rest of the instrumentation is pretty typical for a R&B track. I liked the upfront vocals and rapping in Fragile. They really drove Fragile forward and gave the song a neat melody to groove your body around. Overall, a decent but typical track. (7/10)
6. Mr. Wolf – The final original song on the album is titled Mr. Wolf. It is by far the most unique track, pulling its inspiration from a childhood game ‘What’s the time Mr. Wolf?’. Oh, the memories are rushing back. From the very first second, the song sets it up as a suspenseful and dramatic song, and I liked that they maintained that throughout the song. You don’t really know exactly which direction Mr. Wolf would go in, so you have to be a bit cautious. Mr. Wolf does give a few surprises, such as the heavy thumping in the midst of the verses, the simple yet highly effective ‘Na Na Na’ hook, the hollow synths used for the dance break, the screams and even a wolf growl. The rapping and vocals kept the song dynamic and were on point. (10/10)
7. Bring It On (English Version) – Refer to the link above for the full review for Bring It On.
I hate to admit it, but I actually forgot about ONEW’s April comeback. I was only reminded of it whilst I was plotting down dates for when certain album reviews would need be to posted by. However, I made sure that ONEW got his mini-album review for DICE, which is the title of both the lead single from the mini-album and the 2nd mini-album itself. This comeback followed his 2018 solo debut, where he debuted with the single BLUE and mini-album VOICE.
ONEW’s second mini-album is astounding, to say the very least. So much so that I ran out of words to describe a very key aspect of the album and ONEW himself – his vocals. So much so that I gave out 3 10/10 songs in this album review. It (probably) makes DICE one of the best albums so far this year (in my opinion). I need to update my personal records to make sure of this. But with such a high rating overall, I am certain DICE is up there.
2. Sunshine – Sunshine goes slightly harder with its pop sound, whilst also staying lighthearted and carefree like the title track. ONEW’s vocals find a balance between being dreamy and light, whilst also complementing that the harder tone of Sunshine (as mentioned). The flow of Sunshine helped make the song fun and captivating for me. The post-chorus, which had a memorable ring thanks to the English phrases and its rap like approach, was probably my favourite part of the song. That is closely followed by his incline towards the final chorus. The ad-libs we hear as the song fades out to a close brings back that dreamy nature. (9/10)
3. On The Way – On The Way takes down the energy a notch with a more subdued track. The instrumental takes on a disco like approach, but it has been refined to be more fitting of the subdued nature of the song/vocals. The winning element of On The Way is ONEW’s vocals. I had to listen to the song a number of times to write this review, simply because I keep on getting distracted by the vocals. Needless to say, they are stunning throughout this song, especially when he effortlessly goes into the falsettos and the more dynamic moments such as the brief jab that is the song’s title. Overall, a very perfect and well-rounded song. (10/10)
4. Love Phobia – Again, we are taken down an extra notch with an even more subdued track. Here, ONEW really conveys his emotions well and gives Love Phobia a fragile and vulnerable characteristic. Just take a listen to the bridge if you have yet to (or another listen at the bridge if you already heard the song). You can hear the fragile nature of his vocals so clearly. It is riveting. ONEW also provides harmonies in this song, helping to soothe the piece. His vocals are backed up by a R&B piece. Together with the vocals, Love Phobia is another undeniably strong track on this album. (10/10)
5. Yeowoobi (여우비) – Excuse me while I pull out the thesaurus. I am running out of ways to describe ONEW’s vocals. Enchanting, alluring, charming etc. All could be used to describe the singer in this song. Unlike in the previous songs, however, ONEW sounds a lot stronger, taking an upfront position in Yeowoobi compared to the subdued tracks that preceded Yeowoobi. I liked this change in pace, which gives us an intense look at his vocals. The chorus is so gratifying to listen to, as well. And the “Your love takes me higher than how I ever been” line is quite memorable and catchy, especially with how it ended the song. This is all over a simple slow rock instrumental, emphasizing the fact the focus of this song is on the vocals with little doubt. (10/10)
6. In The Whale – Both vocals and instrumental throughout In The Whale were captivating (no surprises here, to be honest – just look at every other song on the album). I don’t see myself having any problems with closing my eyes and drifting away to this atmospheric and ethereal track. What does set In The Whale apart from the rest of the album is the fact that the instrumental is quite prominent. The producers do an amazing job of ensuring the track is balanced out (hence why I made the drifty comments) so that ONEW isn’t overtaken. A soothing end to the album. (9/10)
Next album to be reviewed this weekend is GHOST9’s Arcade: V, the group’s 6th mini-album since their debut. It was released back in April of this year and features the title track X-Ray. X-Ray is largely the reason why I checked out this mini-album and decided to put it on the reviewing list. Also, my goal to review more albums from artists whom I don’t usually write album reviews for had a play in my decision to review Arcade: V, as well. (I actually have not reviewed a GHOST9 mini-album before).
Overall, it is a decent mini-album. I do think the title track is the strongest track on the mini-album (spoiler: X-Ray actually grew on me substantially and even topped one of the Weekly KPOP Charts post since its release – see below). However, the side tracks do follow through well. The mini-album predominately visits pop through the side tracks, as well as EDM via the title track (and intro track). Let me know if you agree with my thoughts of the mini-album and individual tracks down below!
Arcade: V Album Cover
1. Dot (닻) – Launching us right into the mini-album is Dot, an introductory track spanning just over a minute. The bass and accompanying EDM is quite alluring and kept the song dynamic. The rapping had a punch and brought expressive energy to the song. However, the vocals were the weakest aspect. For some reason, majority of the vocals approached Dot is a very low manner, which in turn allowed Dot’s instrumentation to really take over and dominate. Some refinement would be beneficial to the song, especially since the melodies were good. (7/10)
2. X-Ray (Title Track) – As already mentioned, X-Ray has grown substantially since I had last reviewed it, thanks to the chorus. It has grown so much that it went on to top the Weekly KPOP Charts for the 2nd Week of April 2022. As a result, I have decided to bump the rating to a 9/10 and will return in the future to explain why the rating has gone up. Click here for my initial thoughts of X-Ray. (9/10)
3. CHAMPION – CHAMPION features a combination of dramatic and punchy electro synths, a subtle groove and some common boxing sound effects. Altogether, we get a thrilling dance track that is bound to get some adrenaline coursing through your veins. I really liked the consistent intensity that features throughout the song, which helps take everything to the next level. The rapping adds a dynamic and serious touch to the song. The vocals bring a smooth inclining melody to the song via the pre-chorus, whilst also bringing a memorable melody to the chorus. (8/10)
4. T.Y.T (Take You There) – T.Y.T changes up the mini-album by infusing some pop into the tracklist. It is more vocal centric, giving the vocalists a chance to shine on the album. I appreciate it, as the vocals sound really nice and sweet throughout. The chorus has a nice fast tempo backing to it, amping the existing instrumental up in a typical but also satisfying manner. The anthem-like post-chorus hook that we get was a bit traditional, but really concentrates everything I really mentioned thus far. My only problem with the song is the not so exciting second verse. It just felt flat and didn’t live up to the rest of the song. I wished that the second verse kept the first’s atmospheric start but built on it to make it more stunning. (8/10)
5. Always, All Ways – Continuing on with the pop direction is Always, All Ways. However, Always, All Ways is not a repeat of T.Y.T. Instead, the producers really gave the song some strong and some unique moments that helps it stand out. The whispery like ‘Keep me fly’ rapping in the verses was quite cool. The subsequent rapping that follows to lead us to the chorus was definitely a nice ramp up the song’s central piece. The chorus has a dynamic kick to it and that squeaky muted brass synth was quite cool. I do think Always, All Ways could have been a bit bolder in some respects and this would have taken the song to the next level. But overall, a strong side track from the group. (9/10)
6. Stranger – Stranger has a neat backing piece, complete with pulsing beats, robust trap elements and a harp-like synth. On top of that, solid vocals and rapping throughout and a recognisable melody. Altogether, Stranger comes together to form a wholesome track. However, it is more so a typical R&B/pop dance release. I was kind of hoping for a change of momentum, ever so slightly to make Stranger more dynamic and appealing. But it was a decent track, overall. (7/10)
I time travel back to April this time to cover Dream Catcher’s second studio album, Apocalypse: Save Us. This was released mid-April with the title track, MAISON, as its lead track. The album features two halves, one full of group tracks and the other half is made up of solo tracks from each of the members. There is also an introductory track and an interlude questionably labelled as a skit (both of which do not feature as part of the final album rating as they do not feature lyrics). In total, Apocalypse: Save Us features 14 tracks to satisfy our Dream Catcher music cravings.
Another strong album from Dream Catcher, which features a number of 10/10 tracks. Find out which songs I gave the perfect rating to down below! Honestly, I am not surprised about this. Dream Catcher has always given us strong side tracks, and Apocalypse: Save Us is not exception. I also liked that the members got to explore individual sounds with their solo tracks. As a result of this, we were given very different tracks to what we usually hear from Dream Catcher as a group. There is probably something for everyone on this album! Also, each member shot a MV (branded as a ‘special clip’ on their YouTube channel). I have included a link to each video, so make sure you check the videos out as well!
Apocalypse: Save Us Album Cover
1. Intro: Save Us – Beginning the album is this instrumental introductory track, which can be further broken into two halves. The first half is this haunting and sinister classical organ instrumental, and the second half is a hip guitar instrumental that feels very urban and contemporary.
2. Locked Inside a Door – Following the introductory track, we move onto the album’s first 10/10 song. This album really sets itself up from the beginning. Locked Inside a Door is a groovy track thanks to its jazzy instrumental. And like most groovy numbers these days, I find myself having a bit of a dance along to the music when I hear it. I liked how both Dream Catcher embraced this jazzy side, going with some awesome vocal and rapping delivery and styles that work hand-in-hand with the genre. I also enjoyed how they were upfront, allowing their vocals to gain a stronger vibrant and appealing tinge. (10/10)
4. Starlight – Starlight tackles the synthpop genre, and I am loving it! I found the instrumentation to be blissful and quite a vibe throughout. I really like the consistency from start to end. Most of the time, I am complaining about songs being too consistent. But Starlight definitely thrives and excels as a result of this consistent approach. The vocals align nicely, and I quite liked how the producers did an amazing job ensuring that the song matches up with the rest of Dream Catcher’s discography. Dami, in particular, shines in this song. (10/10)
5. Together – Together continues the experimentation with different musical styles, this time dabbling in deep house. I liked how club ready this song is. I also enjoyed the way their vocals are kept delicate and soft, placing emphasis on breathy tones. In addition, I liked the pop of energy added to the chorus through that vibrant synth, giving the catchy sequence some depth, grooviness and allowing the chorus to be quite distinct from the rest of the song. The ‘Say that you love me’ repetition in the second half of the chorus is super catchy. Siyeon’s high note was spectacular. I have to admit though, this sone is slightly more plain than what we have heard so far. But it still a strong number. (9/10)
6. Always – Once again, Dream Catcher changes it up the trajectory of this album with a different genre. This time, it is ballad. If you know me, I have a soft spot for ballads. And Always proves just that. Always is a beautiful instrumented ballad with stunning piano work as the basis of the instrumental. It is also complete with wonderful and captivating vocals. The swayable melodies are just to die for and adds a memorable aspect to the song. (10/10)
7. Skit: The Seven Doors – The Seven Doors acts as an interlude between the two halves of the album. The first half (what we have heard thus far) are the group songs, while the second half (what we are about to venture into) are solo tracks from each of the members. The Seven Doors itself brings it all back to their energetic rock roots which sounds appropriate as an anime soundtrack. It is squashed between an atmospheric wind intro and nature sounds as the outro. My biggest question is, however, why is The Seven Doors labelled a skit?
8. Cherry (Real Miracle) – The first solo track on the album belongs to JiU. It is a cute track about her dog named Cherry. Cuteness is not something I would ever associate with Dream Catcher, so a track like this is actually quite refreshing and different. I enjoyed the upbeat funky and groovy vibes that’s Cherry (Real Miracle) had. A lovely and satisfying track, overall. (8/10)
9. No Dot – On a much more serious note is No Dot, which is SuA’s solo track. This is more within Dream Catcher’s wheelhouse for obvious reasons. No Dot is quite intense, thanks to the trap and rock elements in the instrumental. I also liked how the bass bolstered and added definition to the song towards the end, concentrating the darker and more intense notes of No Dot. SuA also sounds amazing, particularly when she uses her lower and breathy tones in the post-chorus hooks. (9/10)
10. Entrancing (황홀경 (极夜)) – As mentioned earlier in the review, I am a sucker for ballads. And Siyeon’s solo track, Entrancing, does exactly as the title suggests. It is a ballad that is draws influences from traditional Korean music. But it is not just that. Entrancing sounds like it uses a mix of classical, traditional and modern instruments to bring the captivating effect to life. It is very unique and leaves me floored (imagine my jaws dropping to the floor). Siyeon’s vocals were stunning and breathtaking throughout Entrancing, drifting along with the melodies. There was also a soft rap in the song, something I would not have expected with such a delicate song. (10/10)
11. Winter (한겨울 (寒冬)) – The next solo song (belonging to Handong) is another ballad. But this time, it takes the form of a R&B ballad. This song is quite delicate and remains quite soft throughout, reminding you of a winter’s day. Personally, Winter is not my type of song. Usually, I find the style dry and Winter did fall into that trap. Handong does surprise me at the end with an acapella ending that did perk my interest. Also interesting is that she ended the Korean centric song with Chinese lyrics. (7.5/10)
12. For– Yoohyeon‘s solo track, For, is an old time jazzy number. The track is well executed. From the jazzy instrumental to the sweet vocals from Yoohyeon, everything was on point and sounded ideal for the direction in which the influences had directed the song to go towards. What was quite unexpected was the fact majority of For is in English (sans a couple of Korean words in the choruses). To me, that is quite a surprise and give Yoohyeon a unique edge with her solo track (when compared to the other members). (8/10)
13. Beauty Full – Beauty Full is up next, headed by Dami. I have high expectations with her solo track, simply because she is my favourite member of the group! Consider Beauty Full to hit those expectations! Her track taps into the pop rock genre that has been in abundance in KPOP with some more recent releases. Beauty Full is pretty nostalgic for me (as are the other pop rock KPOP tracks), as pop rock is what I grew up with. I liked the vibrant energy that is coming from the song, with some really satisfying head nodding sequences. Dami’s vocals are superb and her rapping is top notch (per usual). The anthem direction of the bridge was very cool, as well. I might be bias heading into this track, but I leave happy and satisfied. (10/10)
14. Playground – We end the lengthy album with a vibrant and cheerful track from Gahyeon. Playground is a pleasant track that makes me smile while I listen to it. It is largely pop, but there are also some funky and jazzy elements as well. I also liked the subtle violin and brass in the instrumental. Gahyeon sounds really nice throughout Playground, though I think a high note (which might be beyond her abilities) would have really added the cherry on top for me. (8/10)
I continue to skip back and forth in time with my album reviews. This time, I land at the end of May to review GOT7’s self-titled 12th mini-album, GOT7. For those who somehow missed out on this momentous comeback, it serves as the group’s first album release since leaving JYP Entertainment and their first music release in over one year and four months. Lead by the title track NANANA, the mini-album also reunites the GOT7 members in another five tracks.
I quite liked how the mini-album is self-titled, a statement that the group owns GOT7 (which is actually the case). News stories have emerged that each of the members own the GOT7 brand and name, which usually isn’t the case given that the group was created under a label (and usually ownership goes towards the label). With that in mind, GOT7 really goes down their own path with this mini-album, dabbling heavy in their R&B sound and breathy vocals that is pretty much their wheelhouse. Overall, I consider this to be a decent album release. I would like to see where GOT7 will take themselves in the future, given that they now have full control. But I don’t expect them to be making a comeback anytime soon given that they are all doing their own things, as well. But for now, I am happy with the likes of GOT7.
GOT7 Album Cover
1. TRUTH – TRUTH begins the album as a R&B number. GOT7 has put out many R&B tracks over the years, so this is familiar territory for the group. However, there many elements within TRUTH that helps make the song individualistic. The metallic and percussive synths add a layer of intriguingness and uniqueness to the track. The slower pace and beat also adds a slow and sensual vibe to TRUTH. The breathy vocals, alluring raps and pop melodies tie up the song nearly into a very attractive opening track. (8/10)
2. Drive Me To The Moon – Drive Me To The Moon brings upbeatness to the album. Alongside the chill nature of the instrumental as well, Drive Me To The Moon becomes a great song to listen as you go for a drive, like on a road trip or another scenic route. The vocal work and rapping were ideal and I liked how it was kept all light to complement the instrumentation. The melodies and hooks were all very pleasant and enjoyable, as well. It isn’t my go-to song on the album, but it was still a decent one. (7/10)
4. TWO – TWO is a R&B track that exudes very mature and sensual vibes. Actually, I think the correct description to TWO is that it oozes sensual vibes. I really like the slow and paced beat of the song, which embodies the genre perfectly. Again, the breathy vocals throughout TWO were on point, show so much charisma and features melodies that would go in tandem with body rolls. All of this contributed to the conclusion that I would love to see the members perform this track live as this would be one wild performance to drive fans (including myself) insane. (8.5/10)
5. Don’t Care About Me – We end the album with two ‘Don’t’ tracks. First up is Don’t Care About Me – my pick for favourite side track on this mini-album. Don’t Care About Me has some powerful moments and sequences, all relative to the other tracks on the mini-album. The trap and synth-pop instrumental comes together to create a sleek atmosphere and there were some dynamic flair to the instrumental break during the bridge. Catchy hooks help make the song continually ring in my mind even after it is completed. The refined and held back explosions of energy featured in the back of the choruses and the electric guitar in the pre-choruses were some of my favourite moments in the song. The vocals were really well done, with Youngjae’s stealing the show in my opinion. (10/10)
6. Don’t Leave Me Alone – The next ‘Don’t’ song, Don’t Leave Me Alone, also serves as the album’s final track. It is a R&B ballad for their fans (IGOT7s), as GOT7 is asking them to not leave alone, which I find to be very fitting given the group’s circumstances. Even without the context behind Don’t Leave Me Alone, I think the heartwarming effect was very noticeable. The synth-heavy instrumental feels soothing as it could be. The vocals and rapping were nicely executed and complements the soothing nature of the song. A fulfilling ending to the mini-album. (8/10)
KPOPREVIEWED 