As alluded earlier this week through my review of Hurdle, I will be reviewing SUHO’s most recent album, his first release since completing his military enlistment last year. Titled Grey Suit, this is SUHO’s second mini-album and was released back in March of this year. Alongside Hurdle, the mini-album also features the title track Grey Suit (links below) and four other side tracks.
It was extremely hard for me to pick a favourite song from this mini-album. All the songs on Grey Suit were top notch and very strong contenders for perfect rankings. I only ended up handing out one perfect 10/10, after considering the songs side by side. But Grey Suit probably has to be one of the best sounding albums I have reviewed thus far this year. Continue reading to see more of my thoughts on the album.
Grey Suit Album Cover
1. Morning Star – I really liked the way the song opened up and eased us in. It was a fantastic way to open up the album and left such a strong impression on me. I really enjoyed the laidback and softer nature of this rock style. Despite the softer tone, however, Morning Star still proves to be a jam with its upbeat and energetic nature, making the song perfect for a road trip. SUHO’s vocals are so light and delicate in this song, complementing the instrumental. Morning Star starts the album on an extremely positive note. (10/10)
4. Decanting – SUHO continues to impress with Decanting. But this time around, SUHO revisits the slow side of the album with a ballad and R&B hybrid. I love the slow nature of this song, as it feels very sensual and deliberate. The electric guitar riffs that we get in Decanting helps drive this. SUHO himself sounds loaded with emotion, but maintains a tone that compliments the sensual nature of this song. Decanting doesn’t jump out at me straight away as a standout track, but it definitely builds towards being a strong track. (8/10)
5. Bear Hug (이리 溫) – Bear Hug is a ballad. And this ballad really put SUHO’s vocals into the limelight. His vocals really soar in Bear Hug to impressive levels that we don’t see elsewhere on this album (or within his parts in EXO’s works). The combination between the slow rock and classical instrumentation was very beautiful and sets a stunning backdrop to the song. I love the swayable melody of this song, as it is very drifty and captivating. (8.5/10)
6. Moment (75분의 1초) – Final song on the album is Moment, a rock ballad that feels like an appropriate closer for this mini-album. Again, great vocalization from SUHO himself. And the instrumental was quite pleasant and neat, for the most part. But this does change towards the end of the album. Moment definitely peaks at the end and this turns the background into a stunning piece. The violins in this section really shocked me (in a good way), while there was also some clashing of cymbals. All of this heightened the ending of the song, finishing the album on a very positive note. (9/10)
As flagged yesterday in the Weekly KPOP Post, I was going to post another album review because I thought I had some time. But I did not have some time. So, before I get on with this week’s new releases tomorrow (and any attempt to catch up on the boat load of releases that I have missed), I decided to make some time. Red Velvet made their comeback earlier this year in March with Feel My Rhythm, which served as the title track of the group’s special mini-album, The ReVe Festival 2022 – Feel My Rhythm. After a long overdue wait, I am finally getting around to reviewing Red Velvet’s release.
My best and honest thoughts about the album is that it is lukewarm. While there was one really great track, in my opinion, the rest of The ReVe Festival 2022 – Feel My Rhythm just played it safe. Do you agree with my thoughts? Let me know below.
The ReVe Festival 2022 – Feel My Rhythm Album Cover
2. Rainbow Halo – Rainbow Halo brings forth a pleasant tone with this R&B track. The use of synths in the instrumental was very interesting. It may sound like I don’t like their presence in Rainbow Halo, which is completely incorrect. I do not mind them. However, some of it (especially the vibrating synths that underlays the entire track) could have been toned down to be less noticeable. Though, I will acknowledge that it gives Rainbow Halo an unique feature. On a more positive note, I really enjoyed the vocals and saxophones, both of which adds so much depth in their own way to the song. (8/10)
3. Beg For Me – At first glance, Beg For Me was pretty much a standard R&B track. It took a couple of listens for a few aspects of the song to really pop out at me. Firstly, Red Velvet themselves gives the song a vibrant factor with their vocals. Secondly, the pre-chorus ended up giving Beg For Me some character, which really helped boost up my personal rating for the song. Thirdly, the spoken-rapping in the bridge was on point, and help disrupt the standard nature of Beg For Me. (7.5/10)
4. BAMBOLEO – BAMBOLEO features a synth pop instrumental that dips into the retro sphere that has dominated KPOP for a while now. It is a pretty instrumental. Not a personal cup of tea, but it was a decent one. What caught my attention with BAMOLEO are the vocals, particularly the high pitch falsetto that the members deliver during the chorus. They complement the instrumental very well. I also enjoyed the catchy ‘To the left, to the right…’ soft chant that appeared throughout the song. (8/10)
5. Good, Bad, Ugly – This one is probably the weakest song on the album. Good, Bad, Ugly is one of those songs that I describe as ‘overly consistent’, where the first few seconds of the song are pretty much what you will get as the song progresses along. While this can be a charming point in some songs, more often than not it isn’t. Good, Bad, Ugly does have some nice vocal work, but there wasn’t much else alluring about the song in my opinion. (6.5/10)
6. In My Dreams – The most riveting track of all (aside from the title track) comes at the very end of this special mini-album. In My Dreams has a nursery rhyme or lullaby type of melody for the song’s main hook, which I found to be quite memorable. It isn’t childish, however. It was more flowy and the use of the deeper vocal tone to deliver helped give it a very mature and loaded tinge. The clashing cymbals was a really powerful way to grab my attention and the way the vocals peak during the chorus was very captivating. (10/10)
Overall Album Rating – 8/10
The ReVe Festival 2022 – Feel My Rhythm Teaser Image
Still lagging behind with these album reviews. The focus of this post was released mid-February of this year, and I am only finally getting around to writing it and posting it! The album belongs to none other than APINK, who returned with a special full-length album (though, it is also their fourth studio album since their debut 11 years ago) HORN. Headlining HORN is the title track Dilemma and it also features 10 other tracks (including their 10th anniversary single Thank You). HORN is also the last album to officially feature Naeun as a member, as she pulled out of the group two months after the release of HORN.
I picked APINK’s album to review because I feel like I have neglecting female groups in the album review segment. On top of that, I really enjoyed this album whilst vetting to see if it is worth writing an album review for. So it made logical sense for me to put this onto the album review agenda. There are few gems amongst HORN‘s tracks, so do check out the album if you have not done so yet. Though, I presume you would have already listened to the album at least once in the past five months.
2. Holy Moly – There was some good pop energy to Holy Moly once the song reaches the chorus, my pick for the highlight of the song. The bridge comes in a close second thanks to its melody. The etchy effect just before the chorus was cool and added an unexpected zing to Holy Moly. The verses, whilst featuring really nice vocals, felt like a slow burn and sluggish. In particular with the second verse, I wished the energy was maintained from the chorus. I also did not enjoy the autotuned ending, simply because it felt unnecessary. (7/10)
3. My Oh My – My Oh My was the group’s secondary promotional track, performed in the first week of promotions alongside Dilemma for their comeback. And I completely understand why My Oh My was chosen. It is the type of song that makes you want to smile whilst listening to it. It also stands out for its pleasantly light atmosphere, instrumental and melodies. There is also a brightness to the song that I really enjoyed. (9/10)
4. Nothing – Nothing is the first of two unit tracks, consisting of Namjoo, Chorong and Eunji. It breaks away from the lighter pop tracks that followed the title track. There is a hard beat and strong energy coming from this track. The vocals help makes Nothing feel more explosive and bolstered. The ad-libs are also on a whole different level. Nothing also features some catchy hooks, making this one of the stand-out tracks of the album. (9/10)
5. Red Carpet – It seems the common thread with the unit tracks is that they stand out. Red Carpet is performed by Bomi, Naeun and Hayoung, who brings some attitude to the album. It continues the dramatic turn in the album, but with a much harder beat and stronger energy compared to its predecessor. Unlike the predecessor, however, Red Carpet utilises the instrumental to make the song bolstered and explosive. The harmonies help out with this, as well. This in tandem with the unit’s mature and alluring vocals creates a more powerful atmosphere, making it more memorable. The repetitive and memorable hooks and squeaky synths gives Red Carpet a lot of character and profile. (10/10)
6. Single Rider – Single Rider has such a funky and bouncy instrumental, along with a subtle mature atmosphere. I love the upbeat tempo of Single Rider, which help give the song so much captivating energy. The vocals were superb, especially when the falsettos were effortlessly used. The dance break sequence we got in Single Rider was very intriguing and different, and I mean that in a good way. APINK and their producers on this album also seems to enjoy adding ‘endings’ to the end of their songs, with Single Rider closing out with a funky piano line. For this song, this ending feels just right and fits right in with the rest of Single Rider. (10/10)
7. Free & Love – Continuing on with the groovy and energetic aspects of the last track is Free & Love. I have to be honest, but Free & Love is a little more typical and straight-forward. But that doesn’t mean it isn’t a great song. I enjoyed the bright and vibrant energy that Free & Love exudes. The brass plays a bigger part in the song, and this adds a golden vibe to the song. As a result, Free & Love is another song that makes you feel good and want to smile. (8/10)
8. Just Like This (그날의 봄) – Just Like This takes it down a notch, going for softer jazzy pop and laidback vibe. The instrumental has a nice upbeat feel to it, but the instrumental feels a bit generic. However, I really enjoyed the vocals in this song, and the melodies had a nice ring to them. The ‘Just Like This’ repetitive hook was quite catchy, as well. (7.5/10)
9. Trip – Trip starts off with the sounds of a plane flying above us. It then proceeds to enter balladry territory, before unexpectedly going with a stronger instrumental in the chorus. From there, the instrumental maintains that stronger atmosphere, but the vocals continue to remain within that balladry territory. This stronger instrumental helps makes Trip more captivating than compared to a classically instrumented ballad. (8/10)
10. Dream (작은 별) – Continuing with the balladry theme and style is Dream. But like Trip, Dream is not classically instrumented. Instead, Dream incorporates synths into its backing and consists of a mid-tempo beat. It sounds atmospheric as a result, and is also quite captivating to listen to. The vocals in Dream are another showcase of APINK’s abilities, with the members sounding ethereal in this track. This helps adds that extra 0.5 in its ranking. (8.5/10)
11. Thank You (고마워) – The album closes out with Thank You, which was originally released last year to celebrate the group’s 10th anniversary. In case you cannot tell, the song was written to say thanks to their fans (PANDAs) for supporting the group over the last 10 years (or 11 years, for its inclusion in this album). The pop track brings back memories of their cute roots, especially thanks to that ‘Da Di Da’ hook that started off and ended the track. I quite enjoyed the song, overall. (8/10)
As promised, the next album review here. And it is for WEi’s fourth mini-album Love Pt.1: First Love, which was released back in March of this year. The mini-album consists of 6 tracks, including the title track Too Bad, which also dropped on the same day of release of the mini-album.
I find Love Pt.1: First Love to be a fair mini-album. No knockout tracks, but there are a few gems on the release that I think should get recognition. I had the idea of bumping up the rating of title track for this album review, simply because Too Bad caught on and I enjoy it even more than when I first reviewed it. But I stopped myself, given that this isn’t the time and place to do it. I will consider it later on, to see if my thoughts on the song actually have changed and put it into a whole different segment on this blog. But more on that in the future. In the meanwhile, check out my thoughts on the tracks below.
Love Pt. 1: First Love Album Cover
1. BLOSSOM (피어나) – From the start of BLOSSOM, I thought the song was going to be more of an ethereal and atmospheric track. But it ultimately ended up being a soft pop rock track. Not the development I had in mind, but it was still a great track nonetheless. I enjoyed the softer tones of BLOSSOM, while the melodies and hooks were very satisfying. My favourite bit of the song were the pre-choruses, where that soft pop rock influence just creeps in to be more profound. Overall, BLOSSOM kicks off the album in a very pleasant fashion. (8/10)
3. Super Bumpy – Super Bumpy is a bit of an oddball, in my opinion. But I mean that in a good way. I didn’t expect such a smooth and delicate pre-chorus in the midst of such a cool and bumpy synth line. The same comment can be applied to some of the harmonisation we get in the song. I do think the members could have been a bit more dynamic and bolstered with their delivery, just to give Super Bumpy a bit more of a oomph factor and to make it more exciting, on par with the instrumental. (7.5/10)
4. Know Ya – The sleek but subtly dynamic house-based chorus to Know Ya steals the show for me. I also enjoyed the sleekness and sensual vibe that comes from the member’s R&B centric vocals, especially in the chorus. The breathiness and harmonies were really on point. All of these components came together to create a low-key song. But in terms of execution and delivery, Know Ya spoke volumes to me. (9/10)
5. Bad Night – Bad Night tones down the mini-album, but it does so in a strong fashion. Bad Night turns to acoustics at the start, before a slightly softer pop approach takes over. I like the touch of brass added to the song. It is kept soft and light, fitting in with the overall sound of Bad Night. The vocal line really shown in Bad Night with their higher pitched parts in the chorus and harmonies (once again). (8/10)
6. Bouquet (꽃다발) – Bouquet is this album’s ballad. It is classically instrumented and is a beautiful piece. All the members do a great job with their vocals, and the melodies make me sway along – just how I like it. I did think the melodies could have been a bit more memorable, however, just so the ballad can have more of a drawing point than beautifully executed vocals and instrumental. (8/10)
The next album to be reviewed is Moonbin & Sanha’s second mini-album, RFFUGE, which dropped mid-March this year. It features the title track WHO, and four additional singles including Ghost Town, which served as the mini-album’s pre-release single. Moonbin & Sanha’s comeback follows the debut of ASTRO’s second subunit, JinJin & Rocky, who made their debut with the single Just Breath and mini-album Restore. Their comeback precedes ASTRO’s Candy Sugar Pop comeback and the group’s third studio album, Drive to the Starry Road (which I will be reviewing at a later date).
I can’t remember the exact reason why I chose to review REFUGE, as it has been a while since its release. I just have it down as ‘TO REVIEW’ in my notes. It has been bumped up slightly, however, as I don’t think I can handle another full length album review this weekend, but thought it would be nice to still put out an album review. And REFUGE was the first mini-album on my list to review. Overall, REFUGE was a decent album with some good and weaker songs. It is still worth a listen, as you may find something you like, as I did.
2. BOO – BOO takes on the R&B genre. I personally like the beat, the brighter tone, the clear vocals and the intriguing nature of the twangs we get in the instrumental. But beyond that, I find BOO to be just a decent track. Unfortunately, the melodies or hooks weren’t as memorable as they could be. And compared to the other tracks on the album, BOO easily becomes the forgotten single. (7/10)
3. DIA – DIA is more of my jam. The disco influences in the crunchy instrumental brought a more dynamic profile to the song (which I find to be extremely memorable), and I find myself having a boogie in my chair every time this song comes on. I really liked their vocals throughout DIA, with this song showing off their vocals in the best on this album. There is no standout hook in this song, as the instrumental really dominated the track for me. But I feel there is enough in terms of melodies to help boost the song’s memorability factor. (8/10)
4. Distance – Distance brings forth balladry energy. Distance starts off with an acoustic centric instrumental which I thought was really soothing and nice, before developing into a more bolstered instrumental that somehow maintains the acoustic roots it began with. I find myself swaying along to the song, as the pair delivers very captivating vocals and melodies. I am not entirely keen on the siren-like synths, but they do help fill up the background of the song, creating a heftier number. (8.5/10)
At the start of February this year, Wonpil made his solo debut with Pilmography, two months prior to his military enlistment. This release comes in the form of a studio album (which is a rare form of a debut, though it has been done before), which is lead by the single Voiceless. In addition to Voiceless, there are nine other addition tracks on the album – some of which have been performed live by Wonpil in some form following the album’s release. Today, I will finally be reviewing the album (almost five months after its release).
Going into the album, I thought we would be getting ballad after ballad for some reason. I guess Wonpil looks like a ballad type of guy. But I was genuinely surprised that ballads only make up a small portion of the album. Instead, we got different song styles coming through. It is all in the realm of music that can be performed by a band, but it isn’t all rock (as one might think when it comes to band music) or ballads. I highly recommend you check out this album, as some of the songs are stunning. Others are surprising or just plain old pleasant. But all are very good songs.
2. Sincerity (지우게) – At first, I thought Sincerity was a straight forward ballad with striking piano, which I totally enjoyed. But as the song continues, it unexpectedly changes momentum via the insertion of synths during the choruses. It isn’t a complete shakeup though, as the beat is maintained and the song reverts between the two as its progresses along. I also found it to be quite cohesive, as a result. I enjoyed the way Wonpil’s vocals climbed to match the intensity that the synths bring and how he brought an airiness of the verses to give it some colour. (9/10)
3. A Writer in a Love Story (소설 속의 작가가 되어) – You can tell that A Writer in a Love Story is a lot more cheerful compared to some of the other song, thanks to its upbeat and jazzy tone. I feel that this brought a warm feel to the album as a result. And since it is cold where I am, I was really feeling it. I also like how Wonpil’s vocals compliments different genres, with his vocals sounding splendid in this enjoyable and pleasant song. (8/10)
4. Walk With Me (우리 더 걸을까) – The acoustic nature of Walk With Me feels very fitting for the Springtime in which the album was released in. It felt like a song that easily could have risen in the charts had it been standalone and well promoted, just like how some other Spring songs tend to rise out of nowhere during the Spring season on the Korean charts. Wonpil sounds sweet and warm touch to the song, complimenting the lyrics and overall feel of the song, which highlights the loving nature of the song. (8/10)
5. Stranded (외딴섬의 외톨이) – One of my picks for best song on Pilmography is Stranded, simply because I don’t mind having this song on repeat. It brings back synths, bringing forth a jazzy city pop vibe, and an upbeat tempo. Both are appealing aspects on a vocal centric album like this. I find Wonpil’s voice to be the best in Stranded, as he pulled out a few different techniques to make the song more interesting on his part. I particularly enjoyed his interaction with the backing vocals in the pre-chorus for this song. (10/10)
6. Someday, Spring Will Come (언젠가 봄은 찾아올 거야) – If you are looking for a softer and an ‘easy on the ear’ song, Someday, Spring Will Come is the song for you. It is, however, a more bittersweet song, reminding us that there is always good news down the track or ‘light at the end of the tunnel’ (for this song, the good news or light is likened to be Spring). The instrumental is interesting, bringing in horns and flutes into the mix. Not unheard of, but it a bit different set of instruments commonly heard. I enjoyed the percussion in this song, which made the song extremely pleasant. Wonpil’s vocals are good, but they felt a bit flat in this song. (7/10)
7. Pieces (휴지조각) – Another favourite of mine from this album. Pieces takes on a pop profile and explores Wonpil’s lower registers, both of which hasn’t really been touched upon on this album in great detail yet. I really like the pulsing melody in the verses and throughout instrumental. It creates an intriguing and different dynamic that is quite cool. I also enjoyed the building momentum towards the lyric-less chorus. It’s a bit abstract, but that makes the track unique and individualistic, which I am always for. (10/10)
8. Last Goodbye (늦은 끝) – We re-enter ballad territory with Last Goodbye, with features a piano only instrumental that is quite beautiful. It actually didn’t occur to me at first (only as I was typing this review) that the instrumental was just piano, as the piano compensated for what usual is present (i.e. some form of percussion, strings etc.). With such an instrumental, the focus is squarely on Wonpil. And as indicated throughout this album, he shows off his vocals in a manner that is extremely pure and untouched. (9/10)
9. Unpainted Canvas (그리다 보면) – Unpainted Canvas is an uplifting pop rock song that is so captivating to listen to. While I try hard not to think of DAY6 whilst writing this album review since this is Wonpil’s own work, I felt that Unpainted Canvas is the most DAY6-like track thanks to the rock band feel that the instrumental brings. I also enjoyed the lyrics, conveying one’s journey from young to present via the idea of painting or drawing a future. I also liked Wonpil’s vocals throughout this track, as well. (8.5/10)
10. A Journey (행운을 빌어 줘) – Final song on this stunning album is A Journey. Wonpil saves one of the best to the very end. It closes out with the message that he will be back as a better person and to wish him luck for what is to come next in his journey. It is also the most surprising track on the album thanks to its synth/band instrumental that drives the song forward. The chorus is just so vibrant and cheerful, and I like how Wonpil matches this energy with his vocals. (10/10)
As mentioned yesterday on Twitter (yes, I have a Twitter account – @kpopreviewed), there would be two album reviews today (as I was slightly busy yesterday). The second album review of the day is for KIHYUN’s official solo debut, which occurred back in March of this year. The solo debut was titled VOYAGER, and is the title for both the lead single and single album. In addition to VOYAGER, the single album also consist of two additional side tracks. Following his solo debut, KIHYUN returned with MONSTA X through their LOVEand Shape of Love comeback (which I will be writing an album review for some time in the future). It was also recently announced that KIHYUN had renewed his contract with Starship Entertainment.
I am a bit disappointed that KIHYUN’s solo debut came in the form of three songs (i.e. the very typical length for a single album). It is far too short to appreciate what KIHYUN has to offer. He definitely deserves a mini-album, at the very least. But hey, this is what KIHYUN has provided us, so I shouldn’t be complaining. Again, a strong album release from this seasoned KPOP artist. VOYAGER takes the cake for best song on the album, but the other two songs have their own charm. Continue scrolling to see what I thought about those songs.
2. , (COMMA) – COMMA continues the pop rock vibe from the title track, but opts for a much softer and more emotional atmosphere, expressing his own desire to take a break or rest when he is lost, similar to how a comma brings a brief pause in a sentence. It is a completely different energy to what we got before it, as KIHYUN’s vocals convey more emotions in this song. I quite like the oomph he puts behind his vocals during the chorus, in contrast with the softer approach he takes in the verses. It makes for a slightly more riveting piece. The instrumental feels on trend, but I wished it was a bit more innovative, just so COMMA can have a bit of an edge. (8/10)
3. RAIN – RAIN opts for a more intense instrumental piece, featuring what felt like a slow burning rock instrumental. The intensity is so gripping, it was quite hard to be distracted from the song (or to turn away from the song). KIHYUN’s vocals are powerful and felt so loaded, particularly during the chorus, which in turn felt relatively explosive. I did like how he kept held himself back throughout RAIN, keeping that energy and intensity simmering away until the end to make it a captivating piece. (9/10)
It has been almost a month since my last album review. But I am finally getting back to writing them and posting them on weekends. But be aware as I am quite back up with a very long list of many great albums I want to review, so please bare with me. The first album I want to visit is BTOB’s third studio length album, Be Together, which was released back in February of this year. Featured on this album is the title track The Song, nine side tracks, an intro, an interlude and an outro track. So it is definitely jammed packed. This album, for those who may not recall, was also BTOB’s grand comeback as a full group since 2018 and follows the military enlistment of all members (aside from Peniel).
As a quick summary. I find myself to be a fan of every song on this album in one way or another. That is the greatest outcome for any album. Knowing BTOB’s background and successful songs, there are obviously ballads on this album. But some of the album’s standouts are not ballads and are more so hidden gems on this album (as they are placed in the midst of the many ballads on this album). But obviously, more on those songs as I get to them. So without any more delays (or else this might get delayed), let’s me get straight into the first album review after a while, BTOB’s Be Together.
Be Together Album Cover
1. Intro: The Trace (Intro: 발자취) – The album starts off with a fairly simple introductory track. Over a really nice piano melody that sets a balladry tone for the album, we can hear someone walking through the snow. It is piece I can vividly imagine and see myself in.
3. Blooming Day (봄이 피어나) – My favourite aspects of Blooming Day are the presence of the raps in the verses. Minhyuk really pushed the song to the next level with his sequence, while Peniel brought a nice flow. They also brought whole lot of intensity to the ballad, which peaked my interest in the song and made it so captivating. I also liked that the chorus follows the momentum of the raps creating a powerful centrepiece. The ad-libs in the final chorus also builds the intensity and gives off a similar effect. (10/10)
4. Be Together (우리) – Be Together, the namesake for this album, continues the album’s ballad focus. Be Together is a beautiful one with a swayable atmosphere and melody that you will know I would like. I really like the rock elements in the instrumental of this ballad, which throws out the idea that a ballad has to be classically instrumented in order to beautiful. The vocals stand out in this one, showcasing strong and powerful vocals. The rappers held themselves back with small and slighter sequences, but I liked how their parts still had intensity. (9/10)
5. My Way – My Way changes the momentum of the album up with a more upbeat track, delving into a R&B and hip-hop mix. It sounds quite urban, and is a song that I wouldn’t mind listening to whilst walking through a hip neighbourhood. I like how everyone brought their A-game for this track. Unlike the preceding track, both vocalists and rappers’ factions of the group were on par with each other and brought great energy to the song. I particularly like the echoing effect of the post-chorus hook. (9/10)
6. Whiskey – Whiskey follows My Way’s more urban feel, but opts for a R&B instrumental that feels groovier while the lyrics are a lot sexier. There is also a sleekness to the song’s instrumental that I totally digging. I really like the character and personality that the members put behind their vocals. It just adds depth and energy to the song that would have felt plain had more standard vocals/raps been used. It also demonstrates BTOB’s vocal versatility between members, but their ability to also remain cohesive. For example, Peniel’s more hip-hop aligned breakdown in the second verse was a surprising presence, but fits into the bigger picture that is Whiskey. (8/10)
7. Interlude: Re – The album features an interlude track, Re, which is a minute and a half of a soothing piano melody. It brings down the energy of the album following some upbeat tracks, enabling the next track to be placed.
8. Lonely – Lonely is another ballad on this album. But rather than being your typical slow or flowy ballad, Lonely is a fairly intense ballad thanks to the presence of the strings throughout the track. Not in the dramatic sense, but more so in a captivating sense. In addition to the strings, the members’ vocals also build up the intensity of the song and adds to that captivation. It isn’t a smashing ballad like the others earlier on this album, but Lonely is still a strong one nonetheless. (8/10)
9. Dance With Me (춤) – Dance With Me bring up the album’s energy levels with another dynamic track. The energy is quite refreshing and thoroughly enjoyable. And for that, I deem it as one of my favourite side tracks on this album. Dance With Me features some really cool and intriguing guitar work at the start. But that is not only where we get the guitar work. I liked how the guitar makes a presence throughout the song, pulling the different segments together. The powerful vocals are a highlight in this song, while the upbeat nature enables the rappers to dive into their parts. (10/10)
10. Higher – Thanks to its rock influences, Higher is definitely the odd one out on this album. But instead of me questioning its presence on the album, Higher steals my attention and carries me away. Before I know it, the song is over and I am left wanting more. I remember it leaving me floored when I listened to the album back in February. And after four months, Higher still leaves me on the edge of my seat and gets me head banging! I quite liked the snowballing effect the energy has, which is thanks to both the rock instrumentation and the members’ powerful energy they channeled through the song. (10/10)
11. Thank You – Thank You is the type of song to bring a smile to your face. At least, it did for me. Thank You had a tall order in following the likes of Higher, but I think it handled it pretty well. The song is much sweeter (to match the lyrics) and less energy driven, but it wasn’t as an extreme step down in terms of upbeatness. I like the jazzy notes within the instrumental, the more loving vocals the members provide to the song and the random burst of brass we get consistently in the backing. (8.5/10)
12. It’s All Good (흘려보내) – The second last song on the album remains in upbeat territory with its pop rock instrumentation, but you can tell that the group is slowly tuning down the energy to help ease us off the album. It isn’t as a riveting piece as it could be, but it has its charms. I really like the soaring and floaty melodies that It’s All Good has. My only critical note about the song is Minhyuk’s powerful and strong entrance in the bridge, which contrasts practically everything in the track and it feels a bit unexpected. I am not entirely sure what to think of this. It works with the idea of a pop rock instrumental, but it doesn’t work in harmony as with the rest of the song. (7/10)
13. Outro: Encore – Ending the album is an outro track, titled Encore. Usually, when the title includes the ‘Outro’ tag, it is something brief, and not a full-fledged 4-minute-long track like how Encore was. It is fitting that the album closes out with a ballad, just like how it started. I enjoyed how stunning this one was, from start to end, vocals to raps. I really liked the high notes in this as well, giving the track a breathtaking element. Encore is classically and acoustically instrumented and was quite riveting. An amazing end to the album. (10/10)
The album review for this weekend fits in with my focus on solo artists. Taeyeon (from SNSD) needs no introduction, as she is currently one of the most famous solo artists in KPOP at this moment. Since her solo debut back in 2015, Taeyeon has been delivering hit after hit, proving herself to be a momentous artists in the KPOP landscape. In February of this year, she returned with her third studio album, INVU, which features the title track of the same name, two pre-release tracks (Can’t Control Myself and Weekend) and ten other singles on the album.
INVU (the album) is another great release for Taeyeon. And this comes as no surprise to me, as I have already mentioned that she has many hits under her belt. A lot of the songs on INVU steals my attention, and Taeyeon’s vocals are shone in its best light yet. If I had to choose one word to describe the release, it would have to be ‘captivating’. Sure, the album has its strong and weak songs (find out which songs fit in which category below). But as a big picture, INVU does not disappoint.
2. Some Nights (그럼 밤) – If you are after a stunning pop ballad, then Some Nights is the song for you. It is hard for me to even write just a few comments about this song whilst listening to it, as I have to drop whatever I am doing to take it all in properly. Taeyeon’s vocals captivates and leaves me in awe, especially when she soars. The instrumental, which takes on a bit of a R&B profile, was heavenly and soothing. And together, they create an emotionally loaded atmosphere that is hard to ignore. (10/10)
4. Set Myself On Fire – Set Myself On Fire is another song in which Taeyeon’s vocals just steals the show. The balladry instrumental we get acts as a blank canvas, whereas her vocals act like the paint strokes that paint an intense image. The harmonies, ad-libs and high notes she brings to the Set Myself On Fire act as noticeable details in image that adds depth and so much meaning to the song. Another 10/10 song in my opinion. (10/10)
5. Toddler (어른아이) – We enter more upbeat territory after a string of ballads with Toddler. But we aren’t talking anything overly upbeat. I actually find Toddler to be in the middle ground between what I would consider fully ‘upbeat territory’ and the songs that came before it. The funky instrumental does add colour and a much-needed kick to the album, while her vocals and melodies added an aesthetic touch that also makes Toddler a great piece. (8.5/10)
6. Siren – Like many of the other songs on the album, Siren is quite captivating and consistent. What impresses me about Siren is the chorus. It is impactful without being explosive or doing much. The synth backing differentiates it from the rest, and the presence of the barely audible sirens in the background was a nice addition. Taeyeon’s vocals are riveting (as always), and I quite enjoyed the spoken rap-like delivery that subtly changes things up in the second verse. (9/10)
7. Cold as Hell – Cold as Hell is probably the most relatable song on this album at this moment in my life. Winter has started (not formally, but it definitely feels like it), and it is Cold as Hell. Anyhow, back to the song. I like how the instrumental embodies strength and power, opting for an instrumental that features splashes of trap, haunted house music and rock. It was sinister and creepy, but also has that empowerment tone to it. And the EDM drops give it a cool effect. I liked how Taeyeon’s vocals build in this, though I think her vocal delivery could have been more memorable in this song. (8/10)
8. Timeless – I like the upbeat pop energy that Timeless has. It is vibrant and colourful, which is much appreciated following two songs that were on the serious side of the spectrum. The instrumental was more on the ordinary side, however. I liked how Taeyeon’s vocals soared in Timeless, and how simple the melody was. But unfortunately, this wasn’t enough to make Timeless the most memorable or strongest song on this album, but it has its merits. (7/10)
9. Heart (품) – Another track that undoubtedly highlights Taeyeon’s vocals. I just like how her vocals inclines in the chorus, making it a memorable aspect/sequence of the song. This is different to her vocals in the verses which were a lot quieter and more grounded, and so I didn’t get much out of those verses. The instrumental takes on a pop ballad profile, driven by guitar riffs in the verses and constant piano tapping in the chorus. Again, a bit ordinary. But there were some good elements in Heart. (8/10)
10. No Love Again – The beat to No Love Again is quite addictive and definitely foot-tapping worthy. In addition to the beat, the guitar work and Taeyeon’s vocals come off as quite striking. While these elements should have been enough to make No Love Again stick for me, it interestingly did not. I guess it is a matter that the album had better songs, that ended up shoving No Love Again out of the spotlight. (7.5/10)
11. You Better Not – You Better Not is my absolute favourite from this album. The song doesn’t shy from its rock roots, with the constant strumming guitar strongly indicating the direction in which You Better Not goes in. But the chorus still manages to surprise with its textured approach. It adds that head banging potential that I mentioned in my last song review. Also, the way Taeyeon’s deliver the pre-chorus was also a positive sign that I was going to enjoy the song. Taeyeon’s vocals were soft in that part (and for the rest of the song, as well), but was jammed packed into a tight timeframe to appear fast tempo. The falsetto at the end of each line at the start of the chorus was also a really nice touch. (10/10)
13. Ending Credits – Taeyeon wraps up the album with a song appropriately titled as Ending Credits. Taeyeon’s tone and the music did a great job with closing out the album, conveying the right level of each to signal the end of the album. The synths brought an ethereal-like atmosphere to the song (though I might argue that they are slightly overpowering), and the actual ending of the song faded out so satisfyingly. It is lovely, overall. (8/10)
I have finally moved onto albums from February! Hooray! (That being said, I don’t have time to write up studio album reviews over this weekend, so there might be one or two from January coming in the next few weeks). Anyhow, first up in the start of the post-January album reviews is TREASURE with their first mini-album, THE SECOND STEP: CHAPTER ONE. It is the group’s first album release in over a year (their last being MY TREASURE from January 2021) and features the title track JIKJIN. Three additional side tracks are featured on the album as well, making it a shorter mini-album with four songs in total.
Overall, a fair mini-album from TREASURE. It seems like the title track focused more on the hype energy that is synonymous with YG Entertainment’s release, while the side tracks focused more on the vocals and softer side of TREASURE. Both show potential and promise for the group, and definitely has me wanting more from the group in the future.
2. U – U starts off with a piano melody and sounds like a soft track from the beginning. But U emerges as a groovy track from the first chorus. Both sides of the song stay from then on, creating a neat pop track that is fun and showcases the group’s vocals. With the chorus, I liked the short and sharp guitar riffs that brings the groovy/funky nature of U to life. I also liked the slight glitchiness we get ahead of the final chorus, which helps keeps the song interesting (and not repetitive) in its final moments. (8/10)
3. DARARI (다라리) – As far as I am aware, DARARI is supposed to get its own music video and that it has been shot already. But it appears that it hasn’t been released just yet. Hopefully, we don’t have wait long for said music video. Anyhow, DARARI is an extremely pleasant upbeat R&B track that has very catchy and memorable hooks. I like how everything rolls off so smoothly in this song, and how easy on the ears it is. Again, the group’s vocals are on display in this song, and they sounds really solid throughout DARARI. (9/10)
4. IT’S OKAY (괜찮아질 거야) – Final track on this short mini-album is a ballad. I guess YG albums aren’t immune from having the mandatory ballad (quite sure I have used this joke somewhere before). My impression of IT’S OKAY is that it is pleasant. For a mellow guitar-driven ballad like this, this is a good impression. The vocal work is nice, and I liked how they added definition via backing vocals and harmonies in the chorus. The ad-libs at the end showcased their abilities really well. Also, the way they incorporated the rappers felt logical and fitting for this mellow style. (8/10)
Overall Album Rating – 8.5/10
THE SECOND STEP: CHAPTER ONE / JIKJIN Teaser Image
Max Changmin made his return as a solo artist earlier this year in January with his second solo mini-album, Devil. It features the title track of the same name, two pre-release tracks (Fever and Maniac) that I had previously reviewed in a double review format, and three additional side tracks. It is his first Korean solo release since Chocolate (name of both title track and his first mini-album) back in 2020. Devil is the focus of this album review.
Devil is such a dynamic album. It starts off intense and extremely aesthetic. As the mini-album progresses, it slows down a bit, but still maintains that dynamic nature. It isn’t until the final song does the mini-album slow down considerably. Nonetheless, this mini-album is a strong one and this expected from such a legendary artist that is Max Changmin. Do you agree with me? Let me know in the comments below.
4. Alien – Alien features a groovy Latin instrumentation that I thought was quite neat. What really impresses me the most in Alien is Max Changmin’s vocals. It didn’t take long for Max Changmin and Alien to win me over. He ultilises both his high and low ranges in this song extremely well, and the entire track comes off smooth. The ending changes up the dynamics of Alien, by featuring a high pitched autotune backing vocals. It is interesting and gave off a unique effect to the song. (10/10)
5. Dirty Dancing – The instrumentation for Dirty Dancing is quite interesting. It also plays into the Latin sound. But instead of just being Latin influences, Dirty Dancing adds bass and synths to make Dirty Dancing a bit modern and robust. The bass in Dirty Dancing allows the beat to really come to life, whilst also making it powerful in a subtle manner. Max Changmin provides solid vocals for this song, and the hooks was super catchy. Another strong track from the solo artist. (9/10)
6. Airplane Mode – Final song on the mini-album is Airplane Mode, and it is the album’s most mellow track. It is so much softer compared to the previous tracks, and it is a nice way to ease out of an intense mini-album like this one. It also feels quite refreshing. I really liked the laid-back manner of the instrumentation, and the soft and delicate nature of Max Changmin’s vocals. It is quite a warm and lovely song. (8/10)
The final album review for this weekend is for Moonbyul. Mamamoo’s rapper returned as a solo artist back in January with the title track LUNATIC. This follows two pre-releases in December 2021, G999 (ft. Mirani) and Shutdown (ft. Seori), both of which are featured on the 6equence mini-album as well. In addition to the title track and pre-releases (per usual, you can find the links to their respective reviews in the body of the album review), there are two more side tracks, an introductory track and the English version of her title track (not factored into the final album rating).
6equence definitely shows Moonbyul’s range. She goes from a fun title track to very emotional and heavy ballads. I would love to hear Moonbyul explore more and attempt different styles, given that her parts in Mamamoo’s songs tend to be quite limited (however, that has changed more over time after she gained more confidence in her vocals). Continue reading to find out my thoughts on her side tracks and more!
6equence Album Cover
1. Intro: Synopsis – Starting off the mini-album is an intro track titled Synopsis. It is a smooth R&B track that exudes a sensual and alluring atmosphere. The long instrumental segments of this song tell me that Synopsis would be more of a performance piece (Spoiler: it definitely was a captivating one, based on a performance I found at her solo concert from earlier in the year, capturing the smooth and sensual descriptions I just mentioned). We do get some vocals, and they work well with the instrumentation. (8/10)
5. For Me (너만 들었으면 좋겠다) – For Me enters R&B ballad territory. The instrumental features straight forward acoustic guitar and simple percussion. Sometimes simplicity is just enough, and this song proves just that. The simple nature of For Me also allows the focus to be placed squarely on Moonbyul’s vocals. You can tell just from her tone (and of the instrumentation) that For Me is an emotionally loaded song, and the melodies make For Me quite riveting. A strong song, ‘for me’. (8/10)
6. Ddu Ddu Ddu (내가 뭘 어쩌겠니?) – Ddu Ddu Ddu adds a slight kick to it that puts the song into mid-tempo waters, thanks to its band instrumentation. But that doesn’t really change much else, as Ddu Ddu Ddu continues the emotionally loaded direction of the album. And Moonbyul’s vocals a definitely top notch here. I find the band instrumental to be more up Moonbyul’s alley, as it enables for a smoother transition into rapping and Ddu Ddu Ddu’s style definitely fits her vocal tones. (9/10)
7. LUNATIC (English Version) – Refer to my full review of LUNATIC linked above.
The next album review belongs to PENTAGON and their 12th mini-album since debut, IN:VITE U. This one also dropped in January (although I am now making a start on albums released at the end of January, which mean I am slowly catching up on the backlog of albums I want to review. Just ever so slightly, however.). IN:VITE U features the title track Feelin’ Like and five additional side tracks.
After finishing writing this album review, my summary comment is that I am very impressed with IN:VITE U. The quality of songs on this mini-album was well above average. But that shouldn’t come as a surprise, given that I have previously enjoyed PENTAGON’s albums in the past (We:th springs to mind instantly). There are two 10/10 songs on this album, along with a slight alteration to the title track’s original song rating that I gave in the full review. Keep on reading below to find out which songs earned the perfect rating.
IN:VITE Album Cover
1. Feelin’ Like (Title Track) – Feelin’ Like has grown on me since its release considerably. I have decided that I shall revisit this song in the future to update my review. In the meanwhile, I have decided to bump the song rating for Feelin’ Like to a 8/10. Click here for the full review for Feelin’ Like.(8/10)
2. One Shot (한탕) – One Shot delves into alternative rock that actually comes off as quite sleek. I can imagine a cool and modern (because it is PENTAGON) cowboy style music video for this song. I quite liked the energy that comes from One Shot, especially during the chorus where the energy become quite relentless and subtly intense. Their vocals were quite clean throughout the One Shot, as well. But the scene-stealer moments of the song have to the ‘Are you ready?’ that starts off the song; is present at the start of the chorus and in the bridge; and merged into the background at the end of the song. Definitely pulled out the sleekness that I mentioned earlier. (10/10)
3. The Game – The Game kicks off with an opera one-liner, courtesy of Jinho. Right off the bat, this makes The Game super unique and intriguing to listen to. It doesn’t stay an opera piece, however, as The Game develops into an epic sounding dance track that thrives on intensity from both rock and EDM synths. What I appreciate about The Game is that opera influence isn’t lost. It re-incorporated into the song for the second verse. Overall, The Game is another standout track from this mini-album, and one (as a whole) that left a strong impression on me. (PS. Would love to see a live performance for this track, as well.) (10/10)
4. Call My Name – Call My Name goes for bolder vocals (shouty at times, but I don’t mind that) that are extremely clear and clean. It is layered over funky instrumentation that also makes Call My Name a highlight on this mini-album. Electric guitars also played an important part in this song, giving it some cool twang and emphasises that funky sound. I also liked how catchy the song was, despite how straight-forward the repetitive hook was. (9/10)
5. Sparkling Night (관람차) – Sparkling Night tones down the energy a notch, going for a (relatively) softer approach with its instrumentation. It is a synth pop track that has a melodic touch, both of which helps create and exudes a dreamy atmosphere. The hooks a bit more generic in this track, but they had a nostalgic vibe to them that helps make Sparkling Night an appealing listen nonetheless. (8/10)
6. Bad – An acoustic ballad closes out the album. The music doesn’t necessarily hint towards this, but the song is actually an emotional one. Again, the vocals are extremely clear and clean throughout this song, and the acoustic instrumentation is rather straight forward. It doesn’t score any innovative points. But what I did enjoy was that Bad still had an upbeatness to it, which I think makes it fitting for this album (i.e. after such songs that had intensity and strong energy, the album didn’t end with an overly slow and typical song). The balladry nature still was a nice way to finish off the album. (7.5/10)
The next album review covered this weekend is Restore, the debut mini-album for ASTRO’s newest subunit, JinJin & Rocky. Restore, which is another album that dropped in January, features the title track Just Breath and four side tracks, three of which are solo tracks from the two members (one for JinJin and two for Rocky). The remaining side track is another single from the pair.
Compared to the other subunit under ASTRO (i.e. Moonbin & Sanha, who also recently came back), JinJin & Rocky have a very different and unique vibe that is more fun and bright. It comes as no surprise, given their witty and funny personalities and a title track that is as fun and outrageous. Let me know if you agree with my thoughts below and the summary of the album I just gave!
2. Lazy (ft. Choi Yoojung (Weki Meki)) – Lazy is JinJin’s solo songs on this mini-album, and it features Weki Meki member Yoojung. Lazy is a fairly simple song, consisting of a consistent piano and hip-hop based instrumental that comes off as lighthearted and fun. This lightheartedness and fun vibe is important in Lazy, offsetting the repetitive nature of the song. JinJin’s rapping is a bit heavy with the autotune, but is balanced out with Yoojung’s higher pitch vocals. Overall, a fair effort. (7/10)
3. Lock Down – Lock Down is my pick for best side track on this album. It is extremely dynamic, thanks to the bass and funky rock guitar that is present in the song. It almost felt like a stomping effect – quite effective in grabbing one’s attention. Both JinJin and Rocky showcased power in this song in their own way. JinJin obviously did it with rapping, while Rocky showed power through his vocals. I liked how both peaked at the end of the song, giving the song a strong ending that was unforgettable! (10/10)
4. Complete Me – Rocky’s first solo song comes in the form of Complete Me. Complete Me is quite a textured hip-hop dance song, with textures coming from both the instrumentation and vocals. It might be overwhelming for some (it did at first for me!), but repeat listens have helped lessen it. Now, I find Complete Me to be quite robust. Since Complete Me is a dance track and the textures gives it interesting potential, the song probably lends well as a performance piece, which is something that is definitely up Rocky’s wheelhouse. (8/10)
5. CPR – CPR is the second solo song from Rocky, and it also closes out the mini-album. It is a pop ballad that explores more of Rocky’s vocals. I liked the energy, passion and power Rocky puts behind his vocals for this song. I was thoroughly impressed with him in CPR, especially when it came to the ad-libs and high notes that we got. I want to hear more of Rocky like this in ASTRO’s work, as he has proven himself to be a capable vocalist. I also enjoyed the 90s instrumentation that CPR had in the background. Not spectacular, but definitely nice. (9/10)
Overall Album Rating – 8.6/10
JinJin Teaser Image for RestoreRocky Teaser Image for Restore
It is the weekend, so it is time for another album review. This album review is focused on fromis_9’s release from earlier in the year (you guessed it, another January release), Midnight Guest, which is the group’s fourth mini-album since their debut. The mini-album features the title track DM and four other new songs (including two unit tracks). Midnight Guest also serves as the group’s first album release after it was announced that the group would be exclusively managed by Pledis Entertainment (the home of SEVENTEEN, and former NU’EST members Minhyun and Baekho).
Midnight Guest is a pleasant album, and this was the reason why I picked it up for an album review. Furthermore, I really enjoyed DM as a title track and wanted to delve more into their side track. Have a read of my thoughts on the individual songs on the album, and leave a comment below on whether you agree with me.
Midnight Guest Album Cover
1. Escape Room – Escape Room starts off the mini-album in such an unexpected, but also exciting manner. Escape Room takes on a sexy R&B sound that is unexplored territory for the group. And fromis_9 definitely nailed this song. Hoping we hear more of fromis_9 in this style in the future. I enjoyed the slightly groovy nature of the chorus, and their smooth vocals definitely showcased their talents and capabilities. I would have loved to hear some rapping in this song, just to break the song’s consistency. (9/10)
3. Love is Around – The first unit track on the album, Love Is Round, features Lee Saerom, Song Hayoung, Jang Gyuri and Lee Chaeyoung. It takes the form of a ballad that is soothing and calming to listen to. It isn’t the most memorable track on this album, simply because it is soft ballad. However, at the same time, Love Is Around does have its merits, thanks to its soft ballad nature. The members sound really nice, while the instrumental was atmospheric and drifty, similar to what you expect with a lullaby. Altogether, it is warm and comforting to listen to. (8/10)
4. Hush Hush – The second unit track features the other half of the group (Park Jiwon, Roh Jisun, Lee Seoyeon, Lee Nagyung and Baek Jiheon). I found Hush Hush to be a pleasantly upbeat track. For this song, I use the word ‘pleasantly’ in a positive manner, as I quite enjoyed the song. While nothing in particular stood out within Hush Hush, I found there to be this happy energy and feel-good vibe to the song that helped it become appealing to me. (8/10)
5. 0g – Ending the mini-album is a city pop track. 0g takes on a slower profile, which is a nice way to ease out of this mini-album. The vocals in the song are silky and extremely pleasant (again, used in a positive manner), complementing the slower city pop instrumentation. Stronger and memorable hooks and melodies would have added an additional layer of appeal to the song. But overall, a good ending to this mini-album. (8/10)
The next album review is for Kim Yohan’s first mini-album, Illusion. No surprises here, but it is also another album release from January. It features Kim Yohan’s comeback single, DESSERT, and four other tracks. Illusion is his first solo release since debuting as part of WEi. He previously made his solo debut back in 2020 with No More.
Illusion was a decent mini-album release. While majority of the song’s shared that decent description (DESSERT is unfortunately one of them, but I have warmed up a bit to the lead single since its release), there were two knock out songs on the album that I highly recommend you check out. Keep on reading to find out which two songs they are. And let me know if you agree with my thoughts.
2. SELFISH – Kim Yohan’s vocals is freaking amazing in this track. I am always in awe with his vocals in this track every time I have played Kim Yohan’s album. I really liked how he employs his deeper tone in this song, making himself appear mature and emotive. When it comes to the chorus, his vocals paired with the synth instrumental makes the main centrepiece explosive and nostalgic for me. I am thrown back to the pop tracks from the 00s with this song. His deeper tone allows for a flawless transition into rapping. SELFISH is an awesome song that I just want to go back to. (10/10)
3. BAD – BAD makes a strong impression from the start as it starts off with a slaying rap verse (and replicates a similar effect for the second verse). It is definitely the song’s strongest moment, and one I like reliving by the number of times I have been drawn back to BAD. The chorus is another strong moment in the song. It’s busy with the synth heavy hip-hop instrumentation and the hype/energy that Kim Yohan brings via the vocals. But it isn’t overwhelming and creates a stunning centre for the song that I am all for. I just wish the hooks for BAD were a tad stronger. (9.5/10)
4. Landing On You (저공비행) – Landing On You follows a hip-hop trajectory, but is also playful and youthful. Unfortunately, I think Landing On You a bit typical and the whole instrumental feels a bit dated (particularly since it follows dynamic songs like SELFISH and BAD). Interestingly, I am not entirely turned off by Landing On You. It instead becomes a pleasant listen, even though Kim Yohan does hit it hard at some moments in the song. (7/10)
5. Star (반짝이는 별들처럼 나침반이 되어줘요) – Finishing up the illusion is Star, serving as the mini-album’s mandatory ballad. It is definitely soothing and calming track with a pleasant acoustic instrumentation. Kim Yohan sounds nice and dreamy, and I am liking the harmonies with the background vocals (especially at the end). I did wish that he was incorporated better into the song, however. There were moments where it sounded a bit awkward, with him and the instrumental not feeling connected, if you understand what I mean. I am also not a fan of the rapping. It distracted me from the pleasant nature of the song. But overall, a decent listen still. (7.5/10)
KPOPREVIEWED 