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)
CRAVITY made their comeback last year with Part 1 of their 1st studio album, The Awakening: Written In The Stars. This was headlined with the title track Gas Pedal and the secondary track VENI VIDI VICI. 7 months on (to March 2022), CRAVITY returned with the second part of their 1st studio album. This time, the album is titled LIBERTY: IN OUR COSMOS and features the title track Adrenaline. Alongside that, there are 6 other songs and an outro track.
Between the two halves of the studio album, it appears I enjoy LIBERTY: IN OUR COSMOS more (but only by a smidge). This is based on final rating of both halves (which is simply the average of the all the song ratings on that album). That is just my attempt to quantify it though (because I like numbers). To be more truthful, I enjoyed both equally. Sorry for being so diplomatic and fair. But that is the case. Both parts had some great tracks and both had more generic singles as well. But altogether, it was all an enjoyable listen. Do you agree with me, or do you think one or the other is significantly better than the other? Let me know in the comments below.
2. POW! – Heavy thuds, dulled guitars and the super bold hook of POW! opens up the song and keeps me from turning away. The hook was quite aggressive from the first listen. But after multiple listens, I have become used to the hook and find it to be quite an ear-catching piece. POW! draws on hip-hop influences and I really liked their expressive rapping in the verses. The choruses were energetic and had a vibrant feel to them that helped make POW! so enjoyable for me. I particularly enjoyed the definition added to the beat for the final chorus, helping make the final chorus more climatic and punchier. (10/10)
3. BOPPIN’ – BOPPIN’ has me grooving about and this is probably the best thing for me to experience with a hip-hop based song. There is a bit of a sexy vibe to BOPPIN’, especially when the vocals are in play. It smooths out the song, balancing out the energy and powerfulness that the rappers give the song (which gives the song so much body and energy). The “We’re boppin’” and the ”Its Bubbling Bubbling … Bubbling” in the chorus are super catchy lines and has coming back for more. (10/10)
4. Chandelier – Chandelier continues the hip-hop influence that has been coursing through the last few songs, though it is less prevalent this time around. As a result, I find this to be more on the generic side. It wasn’t as exciting. The vocals take more of a hold in the song, which might explain why the Chandelier took on a softer edge and smoother vibe. They sound good, but not as great as the preceding tracks, with exception for the duo who sung the bridge. The bridge was definitely the highlight of the song for me. The rappers help add some energy to the song, but it isn’t on par with what I have heard so far. (7/10)
5. FLIP THE FRAME – The way FLIP THE FRAME started was quite interesting. It appears to be quite a long instrumental intro to the song. It is quite an atmospheric piece. What comes next was quite unexpected, with a heavy beat and strong vocals. The chorus literally flips the frame with another unexpected change in momentum. I didn’t think the verses (nor the intro) would have led us to this chorus. The first half is so sleek and edgy, whilst the second half brought more of a pop vibe to the song. The rapping in the second verse also literally stood out, pairing well with the heavy beats. (8.5/10)
6. Maybe Baby (좋아하나봐) – Maybe Baby goes into pop territory. Maybe Baby is not as heavy as the other tracks that come before it, but the EDM used still kept the song upbeat. The melodies helped bring the pop vibe to life and also give the song such a pleasant appeal. The members, on both vocals and raps front, sound very nice and remained in line with the pop and chill vibes of the song. I particularly enjoyed the interchanging vocals and rapping at the very end, which closed out the song in a neat manner. (8/10)
7. Late Night – More pop comes through Late Night. But instead of EDM, Late Night’s instrumental is more acoustic based. Despite that, the song remains upbeat and enjoyable. The members made me smile throughout the song with their delivery and I loved the inclusiveness of the chorus where they all sing together. I liked how the rapping was done in this song. What we have heard so far on the album was heavier and powerful sides of the rapper, but here they fitted the pop vibe extremely well. (8/10)
8. Outro: In Our Cosmos – Closing out the album and era of Gas Pedal and Adrenaline is the outro track: In Our Cosmos. The track starts off with a breathtaking backing and soothing vocals, before the instrumental starts ramping up alongside some powerful rapping. It then moves onto an EDM instrumental that continues the breathtaking vibe, before ending with the instrumental at the beginning and some more vocals. Thus, returning full circle to how it began. (9/10)
The next album on the reviewing front is Kwon Eun Bi’s Color, her second mini-album since her debut last year with Door and Open. I unfortunately have not reviewed Open. However, I put on her second mini-album on my reviewing agenda as I wanted to expand on the different artists who I commonly write album reviews for. And with the title track Glitch (and ESPER, her single for the UNIVERSE app) impressing me, it felt logical for me to expand and include Kwon Eun Bi. After all, who knows what I might discover.
While Color might not be the knockout album I am looking for, it was still a particularly decent one. The album, consisting of five tracks and one introductory track (not included in the final rating), starts off with dance tracks and eased out a series of ballads. It is two sides of the spectrum, but we get a bit of variety as a result (and that is always a good thing). Check out the mini-album and let me know what you think on the overall album and the individual tracks, as well!
Color Album Cover
1. The Colors of Light – Starting off this mini-album is the intro track The Colors of Light. This is primarily an instrumental track (aside from the faint whisper of ‘Like a glitch’ in the background towards the end of the song). The track begins with this scenic and dreamy instrumental piece that reminds me of the playlist I play when I go to sleep. But The Colors of Light hints at what is to come as it glitches up. Some of the glitches resembles the title track, while others are much harsher and abrasive. However, the track soon normalizes back on the dreamy aspect just before we ease out of the song.
3. Magnetic – The violins make Magnetic intriguing and keeps me around for the rest of the song. And I am glad that was the case as Magnetic was a pretty awesome song overall. Its chorus was quite charming and there was some nice flow in the song. Kwon Eun Bi sounds amazing throughout and impressed me with her more powerful moments and ad-libs. I think it would have been nicer to hear the very brief rapping earlier in the song (i.e. second verse) but in a more fulfilling manner. I think Magnetic calls for it and this potentially could have taken the song to the next level for me (provided it was executed well). (8/10)
4. Colors – Colors is a neat R&B ballad track. While the entirety of the song is pretty straight forward, I enjoyed Kwon Eun Bi’s is delicate vocals at the start of the song and how it builds towards the end to give the ending a definite and conclusive ending. The presence of both delicate and defined vocals helps keep the song from falling into neutral territory and allows the song to be somewhat more impressive. (7/10)
5. Speed of Love (우리의 속도) – Next up is a ballad, slowing the album down even further. The combination of the jazzy styled instrumentals and Kwon Eun Bi’s youthful and smile-inducing vocals in this song makes it a really soothing piece. Speed of Love features swayable and drifty melodies that makes this a strong track. I liked the golden aura that comes from the song, and the old Hollywood style start. (9/10)
6. OFF – OFF continues the slow momentum of the album with another ballad. The swaying melody is a lot more noticeable in this song, as it isn’t masked up by other elements or characteristics. This is because the producers allow Kwon Eun Bi’s vocals to be the focal point of the song, with the accompanying instrumental being small and soft for the most part. It isn’t something unique, but it is spectacular and ends the album the opposite manner to how it started. (8.5/10)
I jumped to May earlier, and now I jump right back to March as I am not just finished with the albums from that month just yet (PS. I have a somewhat ambitious plan to cover the last few months of albums, so keep your eyes out for more album reviews coming your way). The album for this review is BAE173’s 3rd mini-album, INTERSECTION: BLAZE, which dropped at the end of March alongside the title track JAWS. A total of five songs featured on the album, one of which is the instrumental for JAWS.
Given the title track, which is usually my first impression of the album, I did not expect the other tracks to swing into the pop realm. I expected a harsher, rougher and edgier album. As I mentioned below, I am not complaining about this unexpected swing given that I liked BAE173’s past pop releases and I am totally for them delving back into the genre. Read onwards for more of my thoughts on the album and the side tracks.
INTERSECTION: BLAZE Album Cover
1. Runnin’ – Dohyun opens up the album with a solo track. With BLAZE for the title of the album, this one hits the brief for being a blaze. It was a fierce hip-hop track, merged with EDM for the instrumentation. It was energetic and gave me a kick of energy to look forward to in this mini-album. Dohyun really worked it in this track and delivered Runnin’ without a hitch. Personally, not my cup of tea. But I can definitely imagine a lot of people enjoying this track, as there isn’t anything wrong with this introductory track. (8/10)
2. Annoyed (짜증나게) – Next up on the album is Annoyed. For those who may have missed my review for Loved You, I was an absolutely a fan of BAE173 pop direction. And I am so glad that they revisited that pop sound (even if it was just a brief tinge) in this song. Naturally, it is an instant favourite in my book. I would love BAE173 to venture down more of this pop path, especially since Annoyed pretty much summarised KPOP in a nutshell for me – that is the mergence of house and pop in one song. The house element really filled out the track, while the pop influence came through with the members’ vocals and melodies. I also really enjoyed the piano peeking out in background and giving off a twinkling like effect, and the falsetto-like approach the members brought to the chorus. (10/10)
4. Not Alone (혼자가 아니야) – Not Alone also ventures down the pop path. It is a lot softer compared to the three tracks preceding it and features a neat instrumentation that is quite upbeat and textured. The vocals and melodies are sweet sounding, while the instrumental adds a cheerfulness to the song. I find Not Alone quite suitable to be an OST for a drama, playing in the background of a sweet and heartwarming scene. It doesn’t draw my attention as did Annoyed, but it definitely what I wanted! (9/10)
LE SSERAFIM’s debut mini-album is next up on the reviewing block. LE SSERAFIM, the newest female group that hails from HYBE Entertainment and Source Music, debuted back in May with the title track and mini-album of the same name, FEARLESS. It features a total of 5 songs, including the already mentioned title track. FEARLESS originally featured 6 members. But as of last month, Kim Ga Ram exited the group due to her bullying controversary that emerged whilst the group was promoting their debut. She was quickly sidelined and the group temporarily reformed into a 5 member group before becoming a permanent formation in July.
While LE SSERAFIM’s debut isn’t necessary the best start to the group’s career for obvious reasons, FEARLESS (the title track) was quite successful. It grabbed the attention of a lot of people, including myself. Based on what I saw, it also become a hit and hopefully people will remember the group for their debut track from this era and not because of something else. As for the mini-album, it was a fair one. I am not head over heels over the entire mini-album, but there was at least some good songs on there. Do you agree with me? Let me know in the comments below (after reading my thoughts below, of course!).
FEARLESS Album Cover
1. The World Is My Oyster – Starting off their debut mini-album and their overall debut is the intro track, The World Is My Oyster. The instrumental for this track takes on psychedelic trance, which is right up my alley. There is an epic vibe simmering away in such songs, which makes me like the style. I also enjoy the suspenseful nature behind it. The World Is My Oyster features each of the members speaking in their own languages, introducing themselves as fearless, fitting for a group whose name is an anagram of I’M FEARLESS and begins their career with the title track titled Fearless. Not much else to the track, but a potentially epic one. (8/10)
3. Blue Flame – The secondary promotion track for LE SSERAFIM’s debut is Blue Flame. It is groovy number, going into down the disco route. The vocal work extremely nice and showcases potential behind the group’s vocals. However, Blue Flame was pretty generic and plain. While I really enjoy the retro sound that has been dominating KPOP for a while now, I am a bit disappointed about the lack of excitement or energy behind the song. If there was some sort of zing or vibrancy to Blue Flame, maybe I would have liked the song more. But it is just too consistent and doesn’t offer anything unique to the group. (6.5/10)
4. The Great Mermaid – To me, the difference between Blue Flame and The Great Mermaid is night and day. The Great Mermaid had so much oomph to its instrumentation thanks to the bass that featured in the song. The energy is exciting and memorable. The instrumental was so textured due to the combination of synths and bass. The vocals, while autotuned, felt fitting for The Great Mermaid, and well rounded. The ‘Na Na Na’ that follows the chorus was so catchy and the retelling of The Little Mermaid story in the lyrics was quite unique. (9/10)
5. Sour Grapes – The final song on this mini-album is Sour Grapes, a much softer track compared to any of the above tracks. It taps into the R&B realm and again features neat vocals. I liked the wavy melodies that the members deliver. It gives Sour Grapes a comforting and dreamy vibe. I did want a bit more to the song. It feels pretty elementary without going further and I am not entirely sure if I enjoy that. As an ender, however, Sour Grapes eases us away from the commotion that the title track caused, along with the upbeat backings of the other tracks on this album. (7/10)
Next album on the reviewing block is NCT DREAM’s 2nd studio album, Glitch Mode, and its repackaged version, Beatbox. It has been a while since these albums dropped, with Glitch Mode dropping back in March and Beatbox dropping in May of this year. And I am finally getting around to reviewing them! A total of 15 tracks are present on these albums, including the title tracks Glitch Mode and Beatbox. This makes this album review a lengthy one, so I am going to get straight into it!
Once again, NCT DREAM delivers on quality and quantity. While it was a doozy to write up this album review, I really enjoyed the final product. I even handed out quite a few 10/10’s whilst writing this review. However, I expected this happen as NCT DREAM always has amazing side tracks that needs more attention directed at them. Let me know if you agree with my ratings of each song below in the comments section after reading through my thoughts, of course.
2. Fire Alarm (파이어 알람) – Right off the bat, the initial track of the Glitch Mode album grabs your attention. To me, it doesn’t really grab your attention in the same way that a fire alarm alerts you to a fire. But rather, it is fire! Each time I end up listening to the album, I can’t help but groove along to this track. The synth-centric instrumentation was memorable and exciting. The fast tempo of Fire Alarm adds to the excitement and hype energy of the song. It feels relentless without going overboard or overwhelming with synths. The chanty nature of Fire Alarm adds to the memorability if the song, while the rapping was dynamic and the adlibs were effortless. (10/10)
4. Arcade – Arcade is an extremely satisfying mix of EDM and hip-hop influences. That alone makes Arcade a standout track, as everything felt cohesive and the styles naturally go hand-in-hand with each other. But the winning element in Arcade are the members. From the vocal side (my favourite side of this song), it was so flowy and smooth. It left me floored and I always want to delve back into the song due to the vocals. As for the rapping and the chanty sections, they give Arcade so much oomph and heftiness, balancing out the smoothness from the vocals. Another standout track, in my opinion. (10/10)
5. To My First (마지막 인사) – To My First is one of the new tracks on the Beatbox repackaged version. Its position following Arcade was perfect, as it continues those smooth vocals from the previous track. But instead of a EDM and hip-hop hybrid, To My First takes on a R&B sound profile instead. To My First has such amazing harmonies on top of the stunningly smooth vocals and you can feel the emotions that the group pours into this song about their first loves. (9/10)
6. It’s Yours (너를 위한 단어) – Despite being a light track, I really liked the thumping instrumental for It’s Yours. I quite liked how consistent the thumping nature of the instrumental was. It was intriguing, unique and cool. Again, the vocals bring a vibrant factor to the song, whilst the melodies and hooks bring forth a happy and cheerful tone to the song. I particularly like little uptick in melody when one of the vocalists begin their solo part in the chorus. The rapping also gets a tick of approval from me, with the rapping adding a bit of oomph to the song, as well. The simple repetition as the hook was a bit generic, but it caught on quite fast. (9/10)
7. Teddy Bear (잘 자) – Teddy Bear delves into R&B territory, even though the instrumental still has a foot within the EDM genre. I liked the punch the chorus had, which really woke me up from the soft and dreamy vocals. Teddy Bear was quite smooth as well, but I am not as excited about this aspect as per the other songs on this album. The vocal work was a bit linear in terms of trajectory and made the song less engaging as it progressed to the end. (7/10)
8. Sorry Heart – The Beatbox repackaged version brings us the second of two unit tracks (I consider this second as the first unit track consisting of the other members initially featured on the Glitch Mode album). Sorry Heart features Renjun, Haechan and Chenle. This lineup immediately means this is a vocal-centric track, and they do not mess around in this track. It was very stunning, emotionally packed and extremely captivating. The best parts, however, were the harmonies, the ad-libs and the acapella harmony sequence at the very end. This was all done over a soothing guitar instrumentation that allowed the vocals to do all of the speaking. (10/10)
9. Replay (내일 봐) – NCT DREAM regroups following the vocalists’ unit track for Replay. Replay takes me back to the 2000s with its old-school boy group style that easily could have been passed off as a promotional single. NCT DREAM fits in with this sound perfectly! The rapping was on point throughout, and the smooth vocals continue on in this song. Great melodies, but I feel the hooks were undeveloped. (8/10)
10. Saturday Drip – The first unit track from NCT DREAM on the album (even though the second on for this review/on the Beatbox version of the album) features Mark Jeno Jaemin and Jisung. Like Sorry Heart, when you look at Saturday Drip’s lineup, you know that this track will be rap heavy and go down the hip-hop hole. Every time I listened to this track when I play the albums, I find myself fighting an urge to dance. As you may know, hip-hop tracks are not really my style, so this urge to dance comes as a surprise and definitely shows you how much I enjoy the track. I also enjoyed the use of their deep vocals, which felt stylish and trendy. (10/10)
11. Better Than Gold (지금) – Better Than Gold brings a retro flair to the album with its funky and synth track. This one too gives me an urge to dance, but admittedly not as strong as the preceding track. What I think makes this track appealing is its brightness and upbeat nature. With the brass in the bridge, it is very hard to deny that this track is bright and upbeat. The vocals and rapping make it cheerful. A fun track, overall. (8/10)
12. Drive (미니카) – Drive has this feel-good vibe without stepping into the preppy and upbeat territory. Instead, I find the track to be calming and soothing. But it still puts a smile on your face. It is quite a mature and refined approach to this intention, if you think about it. Again, amazing vocals and rapping takes hold over a simple pop instrumentation. There is absolutely nothing wrong about this song, just one to enjoy. (8/10)
13. Never Goodbye (북극성) – NCT DREAM almost enters balladry territory with this track. I specifically say ‘almost’, as I feel like the instrumentation doesn’t follow. It remains atmospheric as result to electronic elements and I liked the twinkling detailing the background had. The vocals were very dreamy throughout the song, and the rapping (another not-so-common balladry element) was well executed for this softer track. In terms of me liking this track, I will say Never Goodbye is easily forgotten when considering the bigger picture of the album. But standalone, it is a nice and pleasant track. (7/10)
14. Rewind – Rewind revisits that retro style that NCT DREAM had already touched upon on this album. The piano and synth detailing in the instrumentation definitely brings this retro style to life. The melodies and rapping adds a fun element to the song that I thoroughly enjoy, whilst the vocals brought a youthful appeal to the song. (8/10)
15. On The Way (별 밤) – The final track on the Beatbox album (and the conclusion of the Glitch Mode / Beatbox era for NCT DREAM) is On The Way. It is such a neat ender, summing up the albums in a meaningful manner. I find On The Way had the best parts of the album, such as cool and trendy rapping, smooth vocals and soothing harmonies. The ending of the track was extremely well done, with the harmonies and beautifully sung chanty melodies. There is also a meaningful tinge to this song, which makes it super appropriate at the end. This is all on top of a simple but atmospheric synth instrumental. (9/10)
Next album to get the review treatment is memeM, PURPLE KISS’ 3rd mini-album since their debut last year. It was released way back at the end of March of this year, and features the title track of the same name. I know this album review is very much delayed, especially since PURPLE KISS has returned more recently with another comeback (NERDY) and their fourth mini-album, Geekyland. That unfortunately won’t be getting the album review treatment until the end of September (if I remember my reviewing schedule correctly). But hopefully the album review for memeM will be a sufficient dose of PURPLE KISS for the time being.
memeM is a solid release from PURPLE KISS. They are only in their second year of their career, so there is still a lot to discover about this group. But if the memeM mini-album is indicative of anything, it has to be the fact that they have a lot of potential, as highlighted by the strong rating this mini-album received. Do you agree with my overall thoughts and individual thoughts on the songs? Let me know in the comments below.
memeM Album Cover
1. Intro: Illusion – The mini-album kicks off with a mysterious intro track. Illusion just spans for over a minute, but considered me intrigued and interested with this opener. There is an exotic colour to this track thanks to the instrumental. And the vocals were sleek and alluring. I would have loved for this to be a full track on its own. (9/10)
3. Oh My Gosh (날 좀 봐) – Oh My Gosh started off with a pretty chill instrumentation. It is trendy, but there wasn’t really much going on in the background. The vocal work and rapping were solid, and remains so throughout the rest of the track. I did wish the hooks and melodies were more engaging, as better hooks and melodies would have made Oh My Gosh more memorable and better. What I did enjoy with this song is how Oh My Gosh changed momentum and develops itself into a substantial dance track. The chorus felt more amplified and the heavier presence of synths and percussion following the chorus made the song much more attractive and robust. (8/10)
4. Pretty Psycho – Pretty Psycho is my favourite side track from this mini-album. A large part of this is due to the instrumentation – groovy and bass-prominent. There is also a dynamic side of Pretty Psycho, as the tempo changes between sequences. The instrumental sequence of the bridge was very cool, while the twinkling effect during the second half of the bridge gave the song a haunting aspect. All of this could easily rival the likes ofNERDY, the group’s more recent comeback, which I enjoyed. But this is only one aspect of Pretty Psycho. The other aspects that I usually comment on – vocals and rapping were really well done in this song, especially during the chorus. Memorable hooks and delivery here. (10/10)
5. JOAH (좋아) – JOAH turns the attention onto the members’ vocals, which have been strong so far on this album. But JOAH magnifies the focus onto the vocals with the song’s slower approach. I like the R&B pop vibe that the instrumental had and the melodies in this slower song were very calming and soothing to listen to. (8/10)
6. Hate Me, Hurt Me, Love Me – This song infuses an upbeat pop energy back into the mini-album with its electronic instrumentation. Its vibrant and bright, which is instantly appealing to me. I did think the actual execution of the instrumental was a bit generic and straightforward, but this isn’t a big deal for me. The vocals keep Hate Me, Hurt Me, Love Me light and pleasant. The chorus melody was vibrant and catchy for me. All of this made the song enjoyable to listen to. (8/10)
7. Cursor (빈틈) – The most captivating song on this album comes at the very end. Cursor really took hold of me during the start, with a balladry-like motif in both instrumentation and vocals. Following the first chorus, the song abruptly tacks on some EDM to the song. This was quite an unexpected change, but one that works. We soon return to those balladry vocals and the captivation continues. I am more upset on how the EDM transitioned into rapping (and into the final chorus). I thought this ruined the flow of the song (more so than the EDM itself), and weakened the integrity of the song. But other than that, a neat track. (8/10)
Next up on the album review chopping block is Real Love, Oh My Girl’s second studio length album since their debut. It was released at the end of March. Leading the album is the title track that shares the same name as the album and features an additional eight tracks. While the release of Real Love is all good news to fans, Real Love also is the final release to feature Jiho as a member, who left the group and their company (WM Entertainment for those who are wondering) following the album’s release and associated promotions following the completion of her contract. All the best to Jiho for her future endeavours and to Oh My Girl as they reform into a six member group.
When I was writing this review, I was wondering how I would best sum it up for you in this initial paragraph. And my best idea was to describe as an ‘pleasant experimentation’. It sounds odd, but it actually the hybrid of two different styles Oh My Girl had attempted on Real Love. There are a handful of songs that I actually describe (repetitively) as pleasant, while there were also a handful of songs that were experimental, unique and different from other artists. Do you have any other ways to describe the album? Let me know in the comments below once you have finished reading my review for Real Love.
2. Drip – If you were listening to the song for the first time, you would have noticed that there were so many twists throughout Drip. You wouldn’t know where the song is heading, so it keeps you on the edge of your seat. This style might be disjointed, complicated and overwhelming for some, but I really liked it. This pop song’s chorus featured catchy hooks and the verses were felt fashionably sleek. I think there was room for the group to be bolder in some of the segments as some of them were relative forgettable, but it is a great track nonetheless. (8/10)
3. Eden – Acoustics opens up the pleasant sounding Eden, paired with such soft vocals from some of the members. But Eden doesn’t stay acoustic all the way through. Synths are eased in and Eden features an interestingly paced pre-chorus, before proceeding to a glitchy chorus. It is so intriguing that the synths and glitchy chorus doesn’t detract from Eden’s soft and pleasant beginning. It is different overall, but so enjoyable at the same time. The song repeats the same set up of verse, pre-chorus and chorus as described above. But after all this time, Eden still sounds refreshing and original after all this time. (10/10)
4. Replay – Replay forgoes melodies, but brings the bass and rhythm in this freaking amazing song. Replay brings forth voguing vibe, which I believe the group has previously approached in another side track from the top of my memory. But Replay feels just right for a club and/or party. Its groovy, its attitude/sassy and its sleek. And it is super catchy and memorable as a side track on this album. (10/10)
5. Parachute – Parachute feels like it easily could have traded places with Real Love as it too delves into the disco pop genre. While the instrumental was great (I enjoyed the buoyancy the steelpan brought to the instrumental), I did feel the vocals was pretty generic and didn’t bring much excitement. Real Love played around with the vocals, which helped make it interesting for me, whereas Parachute was pretty straight forward. It is slightly disappointing that the vocals weren’t as memorable, as I felt the hooks were. (7/10)
6. Kiss & Fix – Kiss & Fix is another pleasant and soft track on this album. I liked the soft drumming in the instrumentation, as it helps sets the soft tone of the track. The vocals also help out with this. The best showing of vocals comes from Binne and YooA in the bridge. That part of the song floored me. The chorus goes with this nursery-rhyme-chant-esque style which was memorable and easy on the ears. Another great track on the album. (9/10)
7. Blink – Turning to pop, Blink is a nice track. It has pleasant instrumentations that doesn’t catch you off guard or overwhelm you by being excessive. I enjoyed the underlaying guitar in this song. It felt hidden, but it peeked out enough for me to recognise it. The melodies and vocals were nice and enjoyable, as well. The rapping changes up the momentum just enough and at the right time to keep the song from falling into a ‘too consistent’ state. All is good with Blink. (8/10)
8. Dear Rose – Dear Rose is another pleasant track, even though the instrumental and rapping might not be in agreeance with this observation at first glance. I attribute the pleasantness to the vocals, which were quite soft and doesn’t ever stray from how it the song first started. I also find the softness might have come about from another nursery rhyme-like melody that the lyrics were delivered in. The ‘Pretty Little Rose’ hook was quite catchy as well. As for the instrumental, we get dance synths suitable for the club. And the rapping added an edgy tinge to the Dear Rose. Quite the opposite of soft, but somehow Dear Rose makes it work. (8.5/10)
9. Sailing Heart – The album ends with a stunning ballad. I liked the pulsing bass in the background, which added so much depth to the song. Sailing Heart also features a piano-centric instrumental. And the warm and drifty vocals lays on top. Interestingly, Sailing Heart doesn’t have a swayable melody, as the ad-libs were added throughout the song. But that doesn’t instantly mean it is not good. Sailing Heart still managed to captivate and end the album on such a dreamy note. (8/10)
KPOPREVIEWED 