Stray Kids Stray Kids is nominated for Best Male Group, while Thunderous is nominated for Best Male Choreography (Group), Best Electronic Song and Best Music Video, and Changbin and Seungmin are nominated for other categories. Support Stray Kids, their members and Thunderous by clicking here.
Merry Christmas everyone! Fitting in with tomorrow (and as a small Christmas present), I have decided to review Stray Kids’ latest single album release, Christmas EveL. The single album consist of four songs, three of which I have reviewed before. They include Christmas EveL, Winter Falls and Domino (for this single album, the English version is featured, but I am carrying over my rating from the NOEASY album review). There is also a fourth song, which I will review below. Anyhow, I hope you have received great presents and the opportunity to spend time with family or friends this Christmas. And if you don’t celebrate Christmas, then I wish you a great day.
2. 24 to 25 – I am aware that 24 to 25 ended up getting a music video, but I will put that long list of Stray Kids music videos that I was supposed to review, which will now be a 2022 task. 24 to 25 is a ballad. A soothing, sweet and warm one, might I add. 24 to 25 showcases Stray Kids vocals. We don’t encroach into powerhouse vocal territories, but Stray Kids sound really comforting and stunning in this song. The rappers, who are usually harsh and rough around the edges with their tone and delivery, tweaked their style to be more of a rap-singing style, which works extremely well with ballad approach. I do wish the melodies made 24 to 25 stand out a bit more to make it more memorable. (8/10)
Support your favourite artists, performances and song in the 2021 KPOPREVIEWED Awards by clicking the link here to vote for them!
The next album to be reviewed on this blog belongs to Park Ji Hoon, who made his comeback with this particular album, HOT&COLD, at the end of October of this year. Leading the album is the title track Serious, and five other new songs (all of which will be reviewed below). HOT&COLD follows the release of My Collectionfrom earlier in the year.
HOT&COLD Album Cover
1. Escalator (Intro) – Kicking off the album is Escalator, a short intro track that felt like you are surging to the top. It is quite upbeat and focuses on a R&B sound. Park Ji Hoon repeats the title of the song a few times before throwing in some other lyrics. But it really doesn’t do much to the song. A pretty average start to the album. (6/10)
3. WANT! – WANT! is a pleasant pop track. It is upbeat, has good rhythm and nice melody. Park Ji Hoon also sounds quite good. But aside from that, I do find WANT! just pleasant, and doesn’t really offer anything more than that. I wished the song went above the general pop boundaries. (7/10)
4. CHEESE – CHEESE is a lot more vibrant than WANT! and I find that so much more appealing. It too falls under the pop umbrella, but I like it a lot more than the previous song (for reasons already specified). I like how the upbeatness, energy and Park Ji Hoon’s tone in CHEESE is playful and fun, further adding to that appeal. (8/10)
5. LOVE GLASS – LOVE GLASS enters R&B territory, revisiting the sound from the title track. I liked the kick the beat gave the song, making it even more upbeat and fun than the pop tracks on this album. Park Ji Hoon sounds really good here, which can only mean that the song’s playfulness and colour can only be more likeable and livelier. LOVE GLASS is also quite catchy, as well. (8.5/10)
6. All Yours – The saying ‘save the best til last’ is applicable for this album. All Yours returns the album to a pop sound, but delving more into the balladry side of music as well. I quite like the guitars in the instrumentation, which provided a great deal of texture to the song. His voice is well used here as well, with his huskier tone coming through. I also like how pleasant All Yours comes across, and here I use the term ‘pleasant’ as a positive descriptor to the song (as opposed to how I used it earlier). (10/10)
TWICE is nominated for Best Outfits (for their attire during their Alcohol-Free promotions) and Best Female Choreography (Group) for Cry For Me in the 2021 KPOPREVIEWED Awards. Support TWICE in their categories by clicking here to vote for them.
The first album for review this weekend is TWICE’s Formula of Love: O+T=<3, their third studio album since debut. It features the title Scientist (previously reviewed and factored into this album review), a remixed version of the title track (not reviewed) and the English (factored into this album review) and Korean version of their single The Feels (not reviewed), and 13 new tracks (all reviewed below and factored into the album review). That is a whopping 16 tracks in total. This new album tackles the funky and groovy side of music, with a few distinct outliers. Read on to find out which ones are ‘funky and groovy’ and which ones are the outliers.
2. MOONLIGHT – Following the title track is the all-English MOONLIGHT, which is reminiscent of 80s/90s female pop groups. There is this twinkling touch on top of the groovy disco influence that feels appropriate for that era. It is a pretty smooth and pleasant number, with nice melodies and innocent vocals from the members. I did wish it changed it up a bit towards the end, as I feel MOONLIGHT is a tad too consistent. But overall, an enjoyable listen. (8/10)
3. ICON – ICON is the second all-English track on the album. I really liked the confidence and empowering nature behind the English lyrics of ICON. And I get that same exact feeling from the members as they exclaim the ‘’Damn, I got it, I’m iconic!’ line (which is a very catchy and memorable hook, by the way). Instrumentally, I thought ICON was a bit meh and wished it enable a more sassy vibe. (8/10)
4. CRUEL – CRUEL is a very sleek and sexy pop number. TWICE’s vocals really standout in this song, especially during the chorus where they use falsettos to make CRUEL iconic (relative to the rest of the album). I was totally digging it! I also like the subtle groovy touch to the instrumentation, which made me want to get up and dance. (10/10)
5. REAL YOU – Another track that I am very willing to get up and dance to. But it isn’t as great as CRUEL was. My first impression of REAL YOU was that there was a fair bit going on when it came to the instrumentation. Repeat listens since the album was release have neutralised that thought. Now, I like the grooviness and upbeatness that the instrumental brings, even though I find it a tad squeaky. All the members sound great, as well. (9/10)
6. F.I.L.A (FALL IN LOVE AGAIN) – TWICE is nailing the groovy and funky sounds on this album. F.I.L.A is a disco pop song, which chorus reminds me of Saturday Night Fever. I like the softness of the vocals in this song during the verses, and the deep rapping that we got. It contrasts well with the higher pitched and much more powerful vocals during the chorus. (10/10)
7.LAST WALTZ – LAST WALTZ gives off a mature vibe that hasn’t been heard on the album yet. It is sensual, but also adds onto the album’s funky direction in a subtle manner. The members sound great in this track, though I wished the flow of their lines was a bit more cohesive. They sound rather jaggered, and this didn’t come off as pleasant as it could have. The rapping stands out in this track, with the relevant members slaying their delivery! (8/10)
8. ESPRESSO – Whatever I had in mind for ESPRESSO, the final product was not it. I expected café style music for some reason, but instead we got a heavy dance club track. I like this change in sound. Its even more mature than the previous track, and I can imagine a very classy and mature performance concept for ESPRESSO. The song contains some really good hooks that make it even better, such as ‘E.S.P.R.E.S.S.O That’s who I am’. (8.5/10)
9. REWIND (알고 싶지 않아) – TWICE tones down the music with the presence of REWIND, a R&B number. A very typically instrumented R&B track in my opinion, but the vocals are very soothing and gentle in REWIND. A nice relief after such energetic, upbeat and funky tracks. (8/10)
10. CACTUS (산인장) – CACTUS continues this subdued corner of the album. This time around, the song opts of a pop rock ballad. It sounds stunning. I really like the softer moments of the song, which align itself to more so the ballad style, while the chorus brings forth a rock influence to the ballad. The members sound amazing , with the harmonies being a strong aspect of CACTUS. (10/10)
11. PUSH & PULL (Sana, Jihyo, Dahyun) – Starting off the series of unit tracks is Sana, Jihyo and Dahyun with PUSH & PULL. It is also a return to the album’s funky and groovy roots. It is a neat track and is a great return to the upbeat side of the album. I like the rapping in this song, which made it dynamic and appealing. I also really like the defined percussion when it came to the pre-chorus, Definitely hyped up the song for me. (9/10)
12. HELLO (Nayeon, Momo, Chaeyoung) – Nayeon, Momo and Chaeyoung delves into hip-hop roots, which is a definite change in direction from the group’s usual work. While I am a strong advocate for changing up sounds once in a while, I am not entire sure of what to think about HELLO. The last two things that should go together is TWICE and hip-hop. I just feel like they are two extremes that so far apart. However, HELLO is decent track. It is also rap heavy, as you would expect with most hip-hop centric songs, but this one isn’t as good as compared to the previous song. (7/10)
13. 1,3,2 (Jeongyeon, Mina, Tzuyu) – The final unit track on the album is 1,3,2, which comes courtesy of Jeongyeon, Mina and Tzuyu. The song is a dance track with reggae influences and I feel this is a really good sound for not just the unit but possibly the rest of the group! Overall, 1,3,2 comes off a mature track, with strong and catchy melodies, neat vocals and very intriguing rapping. I think 1,3,2 is probably the strongest and most innovative unit track on this album. (9/10)
14. CANDY – CANDY is the final new offering from TWICE on this album (the songs that follow are songs we have previously heard from the group). It is a dreamy ballad, with a melody that felt very sweet, like the title of the song suggests. It also reminds me of the 90s R&B. The vocals are nice and I like the high falsettos/harmonies that CANDY had. It made everything sweeter! (8.5/10)
15/16. The Feels – I previously reviewed The Feels as part of the International Song Review segment. This album features a Korean version (only on the physical version) and the original version. Click here for my review for The Feels.(9/10)
17. Scientist (R3hab Remix) – Refer to my review for Scientist above.
Kai is nominated for Best New Male Soloist and Mmmh is nominated for Best Male Choreography – Solo in the 2021 KPOPREVIEWED Awards. His group, EXO, and some of his fellow members are also nominated in a number of categories. Support Kai and EXO by clicking here to vote today!
Next up on the album review front is Kai’s latest mini-album, Peaches, which was released on November 30, exactly a year from his solo debut with Mmmh and Kai (the debut mini-album). The new mini-album is lead by the title track Peaches, and also features another five new tracks from Kai. You might notice that this is a newer release, compared to the albums in which I have recently reviewed (which were released a few months back). I have decided to fast track a few newer albums this month, so that I am not pushing too many of the ‘current’ albums out many months later, which might be the case due to the Christmas break. So without further ado, here is my album review for Peaches. (PS. Don’t worry, I am still writing up reviews for albums released a while back that I haven’t been able to review just yet!).
2. Vanilla – Vanilla is a very aesthetic song. Its minimalistic nature was very intriguing and you might pass the song off as a bare song. But I recommend you give Vanilla a detailed listen as it is a very charming song. I found the song to be quite peaceful and sensual at the same time. The latter obviously being something that is right up Kai’s wheelhouse. Peaceful doesn’t seem to be something I associate with Kai, and so Vanilla comes off as a pleasant surprise for me. Delving into the song’s elements, Vanilla is quite interesting, given that the atmospheric instrumentation was actually percussion. But it was extremely subtle, but brought enough texture to the song to prevent it going into the ‘boring’ pile. The same can be said with the autotuned vocals, which was quite soft and so you barely noticed a disruption of Vanilla’s flow. The rest of his vocals follow the same softness, but also showcased some of Kai’s skills, and Vanilla’s simply repetitive hook was quite catchy. (8/10)
3. Domino – Prepare for a change in direction when you check out Domino. The peacefulness is out and is replaced with heavy bass and beat that would fit easily into a club setting. This is the style that I would associate more with Kai. I really like his deep tone during the chorus, and it proves to be a very memorable element of Domino. However, I do think Domino is very consistent throughout, and I wished the song changed it up a bit towards the end or introduced something to the song to cut the consistency. I can see myself getting tired of the song if it is played on a loop or I replay it too many times. (7.5/10)
4. Come In – Come In kicks up the album a notch in terms of its volume. Everything in Come In is a lot louder and vibrant, compared to the song that preceded it. I like the pulsing beat, the bass and the textural synths used in this song. It all comes together to create quite a dynamic background. The chorus, in particular, definitely captures that dynamism really well. While Kai’s vocals were more typical in this song, I still found its pairing with Come In’s instrumentation to be captivating and a worthwhile listen. (8/10)
5. To Be Honest – The album’s most upbeat track comes in the form of To Be Honest. It instantly became a highlight for me as it made me dance along (in my chair) the first time I heard it. And while such feelings tend to rub off over time, that urge to dance has remained during subsequent listens. To Be Honest is a pretty straight forward song, with nothing special in the pop instrumentation or Kai’s vocals. But being straight forward isn’t necessarily a bad thing al the time, and I feel that To Be Honest proves that this time around. (9/10)
6. Blue – The album tones it back down for its final song. Blue is a R&B song, and once again, is pretty straight forward. I really like his vocals in this track, simply because it was extremely satisfying to hear him with such melodies and ad-libs. The instrumentation was pretty much typical for a R&B song, but I did note that I liked its breezy exterior. Overall, a decent ender to the album that I think sums up the album well. (7/10)
WOODZ is nominated for Best Male Soloist and Rising Star in the 2021 KPOPREVIEWED Awards. Support WOODZ by clicking here to vote for WOODZ!
The next album on the reviewing block for today is WOODZ’s third mini-album, ONLY LOVERS LEFT, which was released in early October 2021. The album features two title tracks, WAITING and Kiss of Fire (which I have not reviewed yet as there is no music video for it). And in addition to those two tracks, there are another four tracks on this mini-album. As a quick summary of this album review, ONLY LOVERS LEFT is another high caliber album from WOODZ and definitely follows the likes of his previous album releases. Have a listen to the track below and see if you think the same!
ONLY LOVERS LEFT Album Cover
1. Multiply – Starting off ONLY LOVERS LEFT is a rather pleasant song in the form of Multiply. The instrumentation for this track is pretty typical with its lo-fi beats and acoustic guitar (which provided the song with a relatively brighter and summery feel) and this typicalness did drain my attention. However, the pre-chorus featured a brief addition of classical instrumentation, which helped enhance the background. But I didn’t think it was enough to totally compensate that typical energy. Overall, I would say Multiply is a nice starter to the mini-album. (7.5/10)
2. Thinkin Bout You– Thinkin Bout You is more vibrant and upbeat than the previous song, but continues that consistent pleasantness. Because of the enhanced vibrancy and upbeatness, I am more drawn to Thinkin Bout You, which finds it influences in both the pop and EDM genres. I like the punchy hooks, driving up the memorability of the song. I also really enjoyed his vocals throughout the song. In addition to his already strong vocals, he presents with a range of delivery methods including breathy vocals and falsettos that helps makes this song complete. (9/10)
3. Sour Candy – We enter retro territory with Sour Candy. While this isn’t anything new, I really like how WOODZ showcases himself in this song and how concentrated the 70s influences got in the song. You could tell from listening to Sour Candy that he was totally in the mindset of the retro influences, and that he was having a ball recording this song. That all translated to fun energy that made Sour Candy so much more appealing to listen to. We are also treated to some rapping from the soloist in this song, which came at the right time and added additional fun energy to the song. It was hard to turn away from this song, and so it is my pick as a hidden gem on this mini-album. (10/10)
4. Kiss of Fire(Title Track) – Kiss of Fire is a title track, but it never got the music video or promotional treatment like WAITING did. It did get a live clip, but that made it no different to Chaser, which was a side track. Anyhow, Kiss of Fire is another song that showcases WOODZ in a spectacular fashion and I can see why Kiss of Fire was selected as a title track. His vocals are on full display and the melodies/hooks of Kiss of Fire are quite memorable. The rapping was also a nice addition to the song. But what really sells me the song is the groovy touch of the instrumental, especially in the chorus, which makes this song so sleek. (9/10)
5. Chaser – Chaser was a blast to have on repeat! What I really liked about Chaser is how WOODZ went all out in the song. While this sounds like he went to the extreme with Chaser, this was not he case. He simply just put his all into the song. Chaser takes on a rock instrumental background, but there is a groovy touch within it that reminds me of some of the King of Pop’s (Michael Jackson) earlier hits. I don’t have much else to say about Chaser, but it was definitely a highlight on this album. (10/10)
Support your favourite artists, songs and performance in the 2021 KPOPREVIEWED Awards by clicking here to vote.
Another September album is up for review, almost three months after its release! The album in question is AB6IX’s MO’ COMPLETE, which is the group’s second studio-length album since debut. It was released on 27 September 2021, features the title track CHERRY along with nine other new songs, and wraps up the MO’ COMPLETE series from earlier this year. This is also the group’s third comeback of the year, following the release of Stay Young (featured on SALUTE: A New Hope) and CLOSE (featured on MO’ COMPLETE: HAVE A DREAM).
MO’ COMPLETE Album Cover
1. SHOWDOWN – Opening the album and SHOWDOWN is a crowd, something that I feel is sorely missed over the past two years. Continuing that high was the abrasive and heavy electronic synths and beats in the instrumental, which definitely packs a punch. And that translates into intense energy from both the instrumentation and the members, who definitely do an amazing job of creating hype energy. SHOWDOWN definitely is a strong start to the album. (8/10)
2. LEVEL UP – Funkiness is the backbone to LEVEL UP, which is another fantastic song with great energy and a fun appeal. The chorus to LEVEL UP was definitely the highlight of the song, concentrating all the energy into a one stop shop moment for the song. It was also very catchy. I can’t help but dance to this song. Woojin’s section in the second verse also caught my ears. It was extremely vibrant and different to what I am used to. My only gripe about the song is that pedestrian light sound that you get in the verse. I did not like its presence and found it annoying. But overall, LEVEL UP is a recommended track! (9/10)
4. DOWN FOR YOU – DOWN FOR YOU jumps onto the Latin-pop trend. For the most part, the Latin-pop trend as pretty much died down with the occasion release. DOWN FOR YOU definitely brought on a mature feel and vibe for the group, as evident by the energy exuded from the song, sultry instrumentation and the heavier nature of the vocals and raps. While I found the instrumentation to be quite bold and ‘loud’, I liked that the members stood out above it. Balance is key, and I think AB6IX nailed it in this song. I also liked the buildup during the bridge of the song. It was definitely satisfying. Another strong number from the group. (9/10)
5. DO YOU REMEMBER (그해 여름) – DO YOU REMEMBER tones down the energy a bit and heads in a R&B direction with the combination of piano and tropical instrumentation. The instrumentation gives off a traditional style, but it also brought a lot of nostalgia to me. The melodies of DO YOU REMEMBER also adds to the nostalgia. Elsewhere, the aesthetics that come off the track is so stunning, and the vocals had so much emotion behind them, and I loved the contrast between the whispery style of the first half of the chorus vs. the bolder and louder exclamation of the second half of the chorus. The rapping was also well executed and added the right amount of heft to DO YOU REMEMBER. Overall, DO YOU REMEMBER comes off as one of the best tracks on this album. (10/10)
6. STAY WITH ME (사라지지 마) – STAY WITH ME was a vibe and an experience. I really enjoyed the atmospheric tone of the instrumentation in the verses, while the chorus had a very pleasant groove to it (which compliments the rest of the instrumentation). The rapping and vocals were so well done. I really liked the delicate tone they had opted for the vocals, and the slower speed at which the raps were delivered, which all contributed to a heartfelt sound that was so inviting and appealing. Also adding to the appeal of the song was the harmonization between vocalist and rapper during the chorus, which I found to be very unique. Overall, another standout track on this album. (10/10)
7. BELIEVE(믿어) – BELIEVE brings the group back to their house roots. I was reminded of their debut track when I heard the intro to BELIEVE. But as the song progresses, a lot more is packed into the instrumentation creating a very hefty instrumental piece for the chorus. But this seems to be the star attraction of the song, with the melodies and hooks not being as strong as per the other tracks. They are still good, but not great. I wished there was stronger focus on these aspects to make BELIEVE better, as there was some potential behind the trajectory of the instrumental. (7/10)
8. OFF THE RECORD – The playfulness of OFF THE RECORD stands out. It feels like a neat follow up to the title track, with a similar playfulness shared between the two. I did like the melodies and the harmonization with the backing vocals in the chorus. But for me, the overall style isn’t my cup of tea. It is a bit sweeter than how I like it, and so I found a hard time getting into OFF THE RECORD. (6/10)
9. SIMPLE LOVER – SIMPLE LOVER tackles deep house, and further brings the group back to their house roots. I liked how substantial the track felt, and dynamic it turned out to be, even though it seemed to also be a bit typical at certain points. I like the vocals in this song, especially the ad-libs we get at the start. The chorus also had a nice grooviness to it, which I liked. Woojin’s rap sequence in the second verse seemed to be infiltrated with pings and glitches, which I thought was pretty interesting. (8/10)
10. 3’’ – 3’’ ends the album with some good vocal work and rapping. But I thought the instrumental was pretty boring. There is a positivity tone to it, which was nice. But the instrumental didn’t offer anything new or interesting for me to dwell on. And so, the album ends on a disappointing note, which is quite unfortunate. (5/10)
It has taken me over two months to get around to reviewing this album release, but it is finally here. WONHO made his solo comeback mid-September with BLUE (the title track) and BLUE LETTER (this mini-album which I reviewed today). This is his second mini-album since his solo debut, with the mini-albums Love Synonym Part 1: Right For Me and Love Synonym Part 2: Right For Us forming his first and debut mini-album. I will correct that point in the respective title of the second album review that I wrote up earlier in the year. Anyhow, regarding BLUE LETTER, it was a nice album release that really showcases WONHO vocals very well. It is something that I consistently commenting in this album review, so keep your eyes out for those comments when you read my thoughts on the individual songs below.
BLUE LETTER Album Cover
1. Intro: Seasons and Patterns (Intro: 시간과 잡화점의 무늬) – Kickstarting BLUE LETTER is an instrumental intro track, titled Seasons and Patterns. A mixture of soft synths and piano come together to create such a beautiful and stunning piece. It also feels light and airy, warm and inviting, and soothing and calming – all rolled into one.
3. No Text or Call – Following the title track is No Text or Call, an all-English R&B track. I quite enjoyed the mix of acoustic guitar, synths and bass in this song. The two come together to form a track that would definitely fit in well with Western music industry. No Text or Call has a rather simple melody to it, but it is effective and it definitely caught my attention. It also definitely brings out Wonho’s vocals in a warm and likeable manner, even though the song dives into the more delicate topic of a breakup. (9/10)
4. Come Over Tonight – Keeping the acoustic guitars, adding a more profound amount of synths and diving deeper into the R&B genre is Come Over Together. And that was all present in the opening sequence of the song, which in turn was a great start. I really like the swaying effect that the melody brings to this song, but I will admit that the melody was a touch on the generic side and doesn’t offer anything special in addition to that. As for Wonho’s vocals in this song, I find them quite enjoyable. There is also a slightest touch of autotune added at certain parts of the song, which did a fantastic job of blending his already fitting vocals further into the song. (7.5/10)
5. 24/7 – 24/7 is an aesthetic pop track that really draws me into the song. This is thanks to the buzzing and pulsing synth that forms part of the song’s hook. While I do think the instrumental for 24/7 is a big positive to the song, I am not a fan of the bleeping-like synth that follows up the commended synth hook that I just mentioned. It just stuck out and didn’t fit the aesthetics of 24/7. Wonho’s vocals, both autotuned and in falsetto mode, sounded so great throughout the track, complimenting those aesthetics I mentioned, but also sounding so drifty and airy. (9/10)
6. Stranger – The final song on the album is Stranger, which is the album’s mandatory ballad. While this ballad doesn’t necessary bring forth that swaying effect that I tend to notice in ballads, Stranger has other strengths that make it such a great song nonetheless. The acoustic guitar instrumental returns a one-track omission, but without synths and hence is the dominant element within the instrumentation. It was so nice and soothing, while Wonho’s vocals really bundled the emotions behind the lyrics up so well. The melodies were very beautiful, particularly the very typical but well executed ‘La La La’ in this song. (9/10)
SEVENTEEN is nominated for Best Male Group, while their tracks – Not Alone, Bittersweet and Rock With You – are nominated for various song awards in the 2021 KPOPREVIEWED Awards. Support SEVENTEEN and the listed songs, along with your other favourite artists, songs and performances by clicking here to vote!
SEVENTEEN returned made their comeback on 22 October 2021 with Rock With You and their ninth mini-album, Attacca. A little over a month since their comeback, I am finally reviewing the album! Overall, Attacca delivers the group’s next great album, though it isn’t my vote for their best. In addition to the already mentioned title track, the album consist of two additional full group songs, 3 unit tracks and a bonus all-English track from members Joshua and Vernon. Keep on reading for my thoughts on the individual songs!
Attacca Album Cover
1. To You (소용돌이) – Before the album went to the title track, RockWith You, we were treated to an synth pop track, To You, which merged the airiness of synths with a bit of pop rock together into a simple sounding track. It was an ideal track to start off with. It wasn’t too light or too heavy, but retaining the benefits of both. It was also quite atmospheric. I liked its consistency and enjoyed it until the end. Their vocals approach was extremely nice and soothing, though I wished the group employed a bit of rapping in To You to add a bit more flair to the song. (8/10)
3. Crush – Crush lands very impactful and ‘in-your-face’ start, setting the song apart from the rest of the album. This definitely ticks the boldness box that I consistently mention on the blog. The chorus was definitely Crush’s most standout section for the exact same reason. The use of falsettos and textured rapping was very nice, and gave the song a lot more to appeal with. It is a bit repetitive, but I honestly look past this flaw thanks to the other elements. (9/10)
4. Pang! (Performance Unit) – Despite the album’s promotions lacking both Jun and The8 due to their schedules in China, they participated in all the full group songs on this album and the Performance Unit song, Pang!. Pang! was a fun number without a loaded instrumentation. Actually, the more accurate way to describe the instrumental in Pang! is underloaded, which brought on a whole different aesthetic than what we are used to. The chorus was very catchy and alluring, with the spoken ‘Don’t Come’ feeling quite punchy. Dino’s rapping in this song is top notch and very unique sounding. Definitely a standout for me. (10/10)
5. Imperfect Love (매일 그대라서 행복하다) (Vocal Unit) – As expected, the vocal unit’s song enters ballad territory. But Imperfect Love features a soft pop rock vibe, which is a nice change up to the usual classical instrumental we get when it comes to ballads. The harmonies are really nice and help fill up the song’s instrumentation. The electric guitars came in at the right time, and helped added a bit more colour and flair than if they were omitted. Interestingly, I didn’t find their solo parts to stand out as much, with everything else overtaking their individual moments. Not entirely sure about this, but Imperfect Love manages to work just fine anyway. (7/10)
6. I Can’t Run Away (그리워하는 것까지) (Hip Hop Unit) – The most surprising track from the units is I Can’t Run Away. While the song does include raps, I was taken aback by the delicate and ballad approach the quartet has gone with. To me, this is unexplored territory for the four, but one I would gladly be happy to revisit in the future. The raps were very nice, and I liked how it emphasises the members husky and raspy tones. But what shocks me even more was how good the vocals were. They definitely made the song standout. Also, both vocals and balladry instrumentation gave added an emotional and fragile touch to I Can’t Run Away, which works well with the lyrics of the song. (8/10)
7. 2 Minus 1 (Joshua and Vernon) – 2 Minus 1 is a song I highly recommend to have on blast. It is an extremely satisfying way to enjoy the song. It is a bit slow to begin with, but the energy that ultimately comes through during the chorus in this all-English punk-pop song is just so good. Both Joshua and Vernon have a hand in this as well with their awesome vocal pairing! But their solo parts are equally as good. Joshua shows off his vocal potential (which isn’t usually highlighted), while Vernon’s raspy tone is also well showcased in this song. I wished the energy was a bit more consistent and we didn’t have slow downs or moments where the instrumentals were stripped back, but overall a great bonus track for fans. (8/10)
Key is nominated for Best Male Choreography (Solo), while BAD LOVE is nominated for Best Electronic Song and Best Album in the 2021 KPOPREVIEWED Awards. SHINee and fellow member Taemin are also nominated for other categories, as well. Support Key, Taemin and SHINee in their respective categories by clicking here and voting for your favourite acts of this year.
On September 27 of this year, Key made his solo comeback with the amazing BAD LOVE. On the same day, he also dropped his first mini-album of the same name. BAD LOVE not only features the title track BAD LOVE, but also the pre-release single titled Hate That which also featured Taeyeon from SNSD. Originally, I had planned to review the pre-release single separately before the album review. But after putting it off for so many weeks, I have decided to just push forward with the album review without the separate review for Hate That. Otherwise, this album review will not see the light of day. Regarding the album (spoiler alert), I highly recommend to anyone who just want to discover something new. It is so good that BAD LOVE has managed to score a Best Album nomination in the 2021 KPOPREVIEWED Awards and is also my pick for Best Album of the year! Though not all songs scored a 10/10, there is not a bad song on this album whatsoever, so I am sure you will find something that you like. But that’s the whole overview of the album, let’s dive into each of the songs.
2. Yellow Tape – Continuing on from BAD LOVE with the electronic instrumentation is Yellow Tape. I really like how hard-hitting Yellow Tape was from start to end. It is the type of consistency that I quite like, with a refreshing tone also coming through at the same time. The bolstered beat and electronic textures in Yellow Tape makes this a knockout song. I also enjoyed the hype and satisfying energy that Key himself brings through his vocals. They were powerful and well-defined over the instrumentation. The breathy ‘breathe in, breathe out’ whispers were catchy and iconic, increasing the memorability of the song. A solid follow-up track to BAD LOVE. (9/10)
3. Hate That… (ft. Taeyeon (SNSD)) – As mentioned previously, Hate That… is the pre-release single of the album, and was released a month in advanced to the rest of BAD LOVE. It is a R&B track that brings out the best of both Key and Taeyeon. It is pretty much an outlier in the album, but it also gives us a bit of reprieve from all of the electronic influences. The pair really dug deep for this song, with each of them bringing a lot of emotion. To me, I find the instrumentation to be quite stilling for the most part, aside from the somewhat pulsing beat that adds depth to the song. This really compliments the emotional and R&B roots of the song. Their harmonies took the song to a new level, while the melodies for the main hook in the choruses were definitely memorable ring to it that just stayed in my head even after the song had wrapped up. Apologies for not reviewing this song earlier. (9/10)
4. Helium (헬륨) – Helium brings funky vibes to the album and also uses this opportunity to incorporate an all-English track. While the funky instrumentation was great, I wished it was bolder and had more gratifying bass, all of which would have taken the song to the next level. But that being said, my suggestions don’t mean that Helium is a bad song. I really enjoyed Key’s falsetto vocals and his rap-speak delivery during some parts of the song really helped make this one a memorable track. Not exactly my favourite off the album, but definitely still ana amazing track. (8.5/10)
5. Saturday Night – Saturday Night is blissful and atmospheric during the verses, before ultimately unveiling its true nature as another funky and groovy track when it came to the chorus. This one is a laid back and chill in terms of its energy, but effective and impactful at the same time. Key’s falsetto vocals return in this song to compliment the funky notes of the instrumentation. I really enjoyed this song and was definitely grooving along to it when I heard it the first time. (10/10)
6. Eighteen (End of My World) – The final song on the mini-album is Eighteen and is a nice ribbon to tie the entire album together, in my opinion. To me, Eighteen felt like a concentration of everything that came before it and definitely showcases Key’s abilities. It started off as an emotional sounding track, similar to a ballad. The twist here would be the instrumentation, as it still emerges with that electronic influence that is throughout most of the album. When the chorus kicks in, the song brings forth a slow rock vibe, which in conjunction with the electronic created a very impactful and powerful instrumental. Key’s vocals were consistently powerful during the entirety of the song, emotionally charged and wholesome all at the same time. (10/10)
As teased in my latest song review, the next album review on this blog would be for ITZY’s first studio-length album, Crazy In Love, which is headlined by the title track LOCO and the follow-up single, SWIPE. The album dropped on 24 September of this year. In addition to the two already mentioned songs, Crazy In Love also features 7 other new songs from the group, an English version of the title track, and instrumentals for LOCO and all their past title tracks (from DALLA DALLA to M.A.F.I.A (In The Morning). I thought the addition of all the instrumentals were interesting. To sum up my thoughts on the entire album before we delve into each song, Crazy In Love is a pretty good album with some awesome songs on there. It definitely reiterates a lot of characteristics of the group, including their youthfulness, vibrancy and edginess. Anyhow, on with the rest of the album review!
3. Sooo Lucky – Bubbly and fun is how I would describe Sooo LUCKY. I really enjoyed this song, especially following the likes of both the title and follow-up promotion track. It delves into a pop territory that freshens up the group’s tracklist, features a prominent guitar presence in its instrumentation that adds to the fresh energy, and features a catchy chorus (both hook and melody wise) that has me hooked. The song is suitable for Summer and showcases a fun side of the group that I would like to hear more in the future. (9/10)
4. #Twenty – Returning to the hip-hop transmission of this album is #Twenty. I liked the clashing percussion throughout the song, reminding me of the 90s. The rapping was very cool, with the rappers showcasing their skills with rapid delivery of their lines. Here is where I think the song might break for some. The pre-chorus was sugary and pretty random. I personally enjoyed it and felt like it fit in with the theme behind the song. This is followed by a chorus that really concentrates the hip-hop genre into a dynamic and powerful centerpiece. Though I can understand if someone was to say it feels empty and soulless. The bridge upticks the energy with a sparkly and thumping background. Overall, a fun song for me. (9/10)
5. B [OO] M-BOXX – When B [OO] M-BOXX kicked off, I was reminded of some of ITZY’s past instrumental. This is definitely exciting, as I think B [OO] M-BOXX could have been a title track for the group. It is a dynamic pop track and features a fun and catchy chorus, with the booming bass fitting for the song titled B [OO] M-BOXX. The vocals and rapping in this song highlight the skills of the group and they add a depth of appeal that makes this song more than just flair and noise. Definitely one of my favourites of this album. (10/10)
6. Gas Me Up – Gas Me Up, once again, returns the group to the hip-hop genre, with a rap centric song. Personally, I wasn’t much of a fan of this song. I found the rapping to be on the lazy side of the spectrum, and I didn’t like the drawn-out vocals to match the rapping style. Gas Me Up also had a plain instrumental that I didn’t remember much of. Sadly, a skippable song in my mind. (6/10)
7. Love Is– Love Is a good song, but it isn’t the best. I liked the song’s pop direction and the energy explosion we get as part of the chorus. Vocals and rapping-wise, the group nailed it in Love Is. I just wish the song was a bit less predictable and more innovative. That would have made the song more memorable for me. (7/10)
8. Chillin’ Chillin’ – Another pop track greets us on this album. Chillin’ Chillin’ is another step up compared to the songs directly preceding it. It is a bit standard, but I still enjoyed the energy that comes from the chorus of Chillin’ Chillin’. I also enjoyed the members’ vocals in this song, especially since they sounded very sweet throughout this song. The rapping was also quite nice and didn’t feel overly heavy for a song about unwinding. The melodies and hooks were pleasant and enjoyable. (8/10)
9. Mirror – The final new song on the album is a ballad. No surprises, to be honest. This is after all where most albums place their singular ballad. I liked the pop instrumentation of Mirror and enjoyed the vocals, but I wouldn’t go to the length in saying it is their best. Mirror also has a nice melody that closes out the album on a soft and soothing note, especially after all the energetic and fun songs that preceded it. (8/10)
It felt like it has been a while since I posted an album review. When in reality I wrote one last weekend (for another SM Entertainment group). Today, I am focusing on the newest addition to the company. Almost a year after their debut with Black Mamba, and months after their Forever and Next Level comebacks earlier this year, aespa has returned with their first mini-album, Savage, which is also the title of the lead track off the mini-album. The mini-album features an additional five tracks in addition to the title track, all of which will be reviewed below.
Savage Album Cover
1. Aenergy– Aenergy highlights the group’s vocals potential, showcasing the group in a bold and powerful manner. Winter’s high note and NingNing’s ad-libs at the end of the track were epic and floored me. The chanty anthem style chorus for this track was very catchy. The song also throws in a bit of paced rapping into the mix (which intrigued me and pulled me into the song). Interestingly the instrumental was rather consistent, diverting away from the mashup styled background we hear in the title tracks, but I quite liked the depth and bass it had. The only thing I would change within Aenergy are the cheesy lyrics and the nonsense English we got at the mid-point of the song. (8/10)
3. I’ll Make You Cry– I’ll Make You Cry is another strong song. It too is heavy on the synths, but stays consistent throughout the song with no crazy changes or mismatched styles attempting to follow up each segment. I quite liked this, as it isn’t overwhelming and allows the focus to be diverted to other elements within the song without the overarching wariness that the instrumental would change and sound completely different within the next few seconds. Again, the vocals are awesome throughout and the rapping was very edgy. I particularly liked the flip-flop set-up between vocals and rapping in the chorus. It felt dynamic and kept me on the edge of my seat for the majority of the song. (9/10)
4. YEPPI YEPPI – YEPPI YEPPI is a welcome change from the group’s edgy sound, with the song leaning into a fun and bright pop sound. It is definitely a song that standouts on this album. However, there are some similarities with the rest of the album. YEPPI YEPPI does seem to go back to that mishmash style within its electronic instrumentation. So, there is a lot going on, but it still comes off cohesive and is tied together nicely by the energy that is exuded from the chorus. I did enjoy all the textures which kept the song interesting. The weakest point of the song was the slowdown in the bridge. To me, it felt like a big gaping hole in the song. (8/10)
5. Iconic – Iconic is within the same realm of YEPPI YEPPI, with a pop sound infused into the chorus. Though the pop influence is charmful and unlike the name suggests, Iconic is not as iconic as it could be. It is a bit plain and didn’t really pull me, unlike some of the other sidetracks. The metallic percussion that made up the instrumental for Iconic felt clunky and clanky, and such descriptors can be applied to the rest of the song. Even the vocals and rapping felt plain in this song. (6/10)
6. Lucid Dream (자각몽) – Lucid Dream shows a different side of the group. While everything thus far has been heavily synth-based, Lucid Dream is a further indication that aespa can do more. R&B felt more prominent compared to the synths, hence my observation. That being said, the EDM we did get in this song felt pretty elegant, aesthetic and gave off a mature feel that is fitting for the R&B genre. Their husky and raspy vocals, especially in the chorus, was very good and also well-fitting for the song. A nice ender to the album. (8/10)
As mentioned earlier this week, I would be fast-tracking the album review for Sticker and Favorite this weekend. Sticker (both album and title track of the same name) was released mid-September, while Favorite (the repackaged version) and Favorite (Vampire) (the title track from the repackaged album) was released at the end of October/a week ago. In total, 14 songs were released on these two albums. As a bit of a spoiler, NCT 127 shows many different sides of themselves on this album. I am sure there is something for everyone out there, even if you despise Sticker (the title track). I found some hidden gems on here myself, so no doubt you will as well.
3. Love On The Floor – Love On The Floor is one of my favourite sidetracks from both the original and repackaged album, and I highly recommend it. This hip-hop synth track is so sleek and feels quite stylish. The beat and particular synths used in this song have this ‘don’t mess around’ type of attitude to it, similar to the demeanour of a model on a runway. With this in mind, I feel that Love On The Floor is a background piece to a fashion show of some kind every time I listen to the song, with the models being NCT 127. That would be a cool concept, and I am sure NCT 127 would nail the visual component and the choreography component as well. Vocally, I think there are some amazing vocals and harmonisation in this song, while the rapping adds edge and intensity to the song that would make this a song not to miss, especially if you are after something with a lot of styles. (10/10)
4. Lemonade – Lemonade is an interesting song and is a bit complicated to explain. In earlier drafts, I have attempted to break down the song in layman’s terms, but it was a bit too much and I don’t think I did Lemonade justice. The best way I can think of to describe the song is that it is a bit of a rollercoaster. The trap hip-hop track has some slow points, and then more intense and explosive sequences that seemingly come out of nowhere. But despite it being a wild ride, the song sounds more cohesive and fleshed out compared to Sticker. Extra points are given the rapping, which added to the already dynamic nature of the song. The vocals also stood out, with the harmonisation added definition to the repetitive one-hook, ‘Taste like lemonade’, making it more memorable for me. (8/10)
5. Breakfast – Breakfast diverts away from EDM and hip-hop for a funkier tune. The instrumentation to this song is very cool and has a fair bit of energy jammed into it. It doesn’t explode, but instead is exuded when the drop in the chorus comes into play and as instrumental literally bounces it out. Vocally, it is a strong song with smooth vocals throughout. I wished the rapping had a bit more to it and wasn’t held back, as I think this would have boosted the song up. (8/10)
6. Pilot – Pilot features another bouncy synth instrumentation, but it feels a bit more refined. It might be because Pilot is steered towards more of an R&B nature. It is still a fun and bright song, highlighting their vocals. Once again, harmonisation is used in this song, and I quite liked its presence in this song. It makes the song appear tighter and cohesive, overall. The rapping takes a bit of a backseat for this song, with it being there but not as memorable as the vocals were. Personally, I don’t feel much listening to the song. But breaking it down for this review, Pilot seems decent. (7/10)
7. Focus (같은 시선) – To me, Focus and Pilot are quite similar. The major difference with Focus is that the smoothed-out instrumentation and overall delivery from the members are more mature and sultry, whereas Pilot has an upbeat nature to it. Once again, the vocals are very impressive throughout Focus, with the element doing a fantastic job of captivating and charming me. The rapping at the end was also quite good. Unfortunately, the rapping in the bridge was the song’s weakest element. It just didn’t sit right with me and I don’t think it went with the rest of the song. (8/10)
8. The Rainy Night (내일의 나에게) – The Rainy Night is an amazing ballad. Firstly, it activates the swaying effect that I mention comes from good ballads. Secondly, the vocals are stunning throughout The Rainy Night. I hate to be a broken record, but the harmonisation in this song makes it dreamy and captivating. Thirdly, the piano instrumentation is rather delicate and stood out from underneath the vocal work we got from the members. It added a more beautiful touch to the song, on top of the vocals that we got. (9/10)
9. Far – Far returns the album to the very more familiar EDM territory that NCT is known for. It isn’t as intense as their more well-known tracks, and Far is a bit slower than those tracks as well. But Far is definitely intriguing. It sounds adventurous and unfamiliar, but dynamic and strong as one would expect from an NCT 127 dance track. The rapping has oomph to it, with the abrasiveness of the rapping standing out. The vocal ad-libs in this song are amazing and show-stopping. (9/10)
10. Bring The Noize – As cringy as the spelling of ‘Noize’ is, it was quite obvious what direction this track would go in. It is powerful, intense and definitely a song that would naturally come from NCT 127. The members sound fantastic in this song, with both the rapping and vocal delivery really selling the song for me. Jaehyun is the standout member in this song, with both his solo parts sounding very cool. His second sequence, in particular, was definitely something on the next level! The shouty style of the song’s main parts and the bass in this song are also icing on the cake for me. (10/10)
11. Magic Carpet Ride – It is amazing that seconds before this track, NCT 127 was in very ‘noisy’ territory as some might say and within seconds of this track, they are in very different territory. The first word that I thought of when I heard Magic Carpet Ride was dreamy. And that word has remained as an accurate description of the song with every listen I have given it. I really liked the softer instrumentations and the overall vocal package in this song. A highly recommended song on this album! (10/10)
12. Road Trip – Road Trip has nice mellow instrumentation and brings out a youthful sound from the group. It is nicely upbeat and has this cute tone that feels wholesome. It isn’t a standout track, but it definitely is charming. If you want really want a break from the intensity that NCT 127 usually brings to the table, then Road Trip will be a pretty decent way to cut that tension and energy. (8/10)
13. Dreamer – A similar comment as the final sentence in Road Trip’s paragraph can be applied to Dreamer. But I think Dreamer nudges ahead by a point for various reasons. I liked the slightly funkier vibes that Dreamer exudes, especially during the verses. The instrumentation is memorable and fun. The sing-song nature of the song makes Dreamer super easy to get into. I also feel like they did a good job of showing off vocals. The rapping was also a solid element to the song, adding to the fun and upbeat dynamics of the song. (9/10)
14. Promise You (다시 만나는 날) – Promise You is a very atmospheric synth-pop retro track that is a beautiful ender to the album. I liked the beat of this song and the dreamy/soothing nature of the vocals. The fast and continuous motion within the instrumentation keeps the song going. Johnny’s rap-speak sequence is unique but has its own merits to be in this song. The other members sound hopeful and warm throughout the song. As I said, a beautiful ender. (10/10)
As you may have seen, I was busy in the latter half of the week reviewing some the sides tracks off their second studio album. And now it is time for the album review! Stray Kids released their second studio album, NOEASY, back in August of this year. It is lead by the title track Thunderous, and is accompanied by an extensive promotional campaign. Both The View and Domino were also promoted alongside Thunderous, while a bunch of music videos were released for a handful of other tracks (some of which covered earlier this week). The album also consist of WOLFGANG, the group’s original release as part of Kingdom: Legendary War, and the single Mixtape: OH. And there are still a few more tracks on the album that I have yet to mention. To get my thoughts on those tracks and more, continue reading below!
3. Domino – I was very disappointed to find out that there wasn’t a full music video for Domino. I had high hopes for one, especially after the cool choreography we saw in their follow-up promotions. But anyhow, Domino is a super dynamic track. It is catchy and fun, but also quite serious and heavy with its electronic instrumentation. I particularly liked the domino synth they had going on in the chorus, and the vocalist’s sequence in the pre-chorus. Relevant and refreshing! The rapping slayed and definitely added a lot of power behind each sequence. The dance break was also freaking cool and added a trendy change to the song. (10/10)
4. Ssick (씩) – Four songs in and it seems like Stray Kids is not shying away from this element, nor noise, throughout this album. Ssick had some of the strongest moments of intensity and noise on this album. While this could really be a powerful tool to get reel listeners in, I find it not to be as cohesive as some of the other tracks of a similar nature. And as a result, it was the most forgettable for me (of all the intense electronic tracks on this album). I don’t know why, but the song just didn’t stick with me. I wished the group stuck with the playful nature that we got at the start of the song as I feel that would have been a unique take. But I feel the intensity and ‘noise’ takes hold of Ssick and overdoes it. It isn’t a terrible song, but it sounds more like flair than anything else. (7/10)
6. Sorry I Love You (좋아해서 미안) – The first ballad of this album. This one takes a hip-hop approach, which was an interesting combo. The instrumentation is quite a bore for me, and I wished there was something within the background that drew me into the song. I like the intensity that the rappers bring to the song, with their parts being the most memorable. The vocals were nice and the melodies caught on, but I don’t think they were the most impressive element of Sorry I Love You (the rappers take that honour). It was an okay song, as a whole. But it isn’t the best track on the album. (6.5/10)
7. Silent Cry – Silent Cry is an interesting track. It starts off with a haunting intro, before electronic music emerges from the darkness. And from there, the instrumental gets abstract at times and ultimately intense as the song progresses. This all results in a very cool track that pushes you to the edge of your seat. What really stood out for me over the cool instrumentation was the vocals and the subsequent melodies that they brought to life. They were super loud and very clear despite the different and relentless nature of the electronic. Similar things can be said about the rapping. I would really like to see a performance for this song, as I think there can be many creative paths taken for a song like this. (9/10)
8. Secret Secret (말할 수 없는 비밀) – Secret Secret is a decent balladry track from the entire group. But it was pretty typical and didn’t really attract my attention as much. The vocal work was quite nice, but I felt like the typical instrumentation held back the vocals from their full potential. I did like how the rappers kept true to their skills and worked their rapping into the song using a lower tone and slower delivery. Usually, I am not a fan of rapping in ballads, but I think it was well done here. (6.5/10)
9. Star Lost – Star Lost combines the likes of pop melodies and electronic music to create an awesome track. As a whole, I quite enjoyed this song. Most of the elements felt just right and extremely pleasant in Star Lost, aside from the instrumentation. I do think they could have toned down the electronic side in the instrumentation at certain times of the song, like the EDM drop that we got. It wasn’t necessarily off-putting and I liked the idea behind it. I just felt to was a bit over the top for the song. But apart from that, great song. (8/10)
The next album to be reviewed is Part 1 of CRAVITY’s first studio-length album, The Awakening: Written In The Stars, which officially dropped mid-August. It features the title track Gas Pedal and the follow-up promotion track VENI VIDI VICI, both of which I have reviewed separately (their reviews will be linked below). As this is a Starship Entertainment album release, I am not surprised that this studio album comes in two parts. As this is only Part 1 of their album, we can expect Part 2 some time in the future. And with Starship really pushing CRAVITY since their debut with back to back comebacks, I don’t think we will be waiting around for a long time.
The Awakening: Written In The Stars (Part 1) Album Cover
1. Intro: New Horizon – New Horizon starts off with a whistle that beckons you into the album, before we are met with an abrasive EDM piece that no doubt aligns with CRAVITY’s works thus far. I can imagine a powerful and impressive dance routine associated with this intro track. The whistle towards the end pulls us further into the album, taking us to the album’s title track, Gas Pedal.
4. CHINGA-LINGA – CHINGA-LINGA is one of those rare EDM tracks that I personally find overwhelming. It felt like there was a lot going on in CHINGA-LINGA thanks to the EDM centric instrumental backing, which falls more so on the trap territory of the EDM spectrum. There isn’t anything wrong with that, but combined with the constant changes in momentum, tempo and effects, the song comes off a bit much. Balancing out the instrumentation are the rapping and vocals, which I thought were well-handled by the group and I appreciated that they stood out over the loud ‘noisy’ instrumentation. If only said instrumentation was toned slightly to be a little more enjoyable. (7/10)
5. Celebrate – Celebrate still sits in that same EDM territory, with their song also taking on board a hip-hop influence. While hip-hop influences aren’t my personal cup of tea, I find that Celebrate strikes a balance between all its elements, especially with the fun melodies, which makes the song more palatable and approachable. It does come at a cost (i.e. less dynamic vocals), though I don’t think it was a huge sacrifice as I quite liked the song as a result. The rapping was my favourite part of this song. The rappers were much slower with their delivery, but they still delivered their lines with bite and impact that a usual rap sequence would have. (8.5/10)
6. Grand Prix – I like the impact and the groovy nature of Grand Prix. The impact comes in via the chorus, which features a very quick warp of energy to kick things off in this segment of the song. It caught my attention and made me fall for the song. The groovy nature comes via the bigger picture (i.e. instrumentation), which falls into the electro-pop territory. The hooks in this song were short and snappy, but also memorable at the same time. (9/10)
7. Divin’ – I like the refreshing nature of Divin’. The pop nature of the song was definitely a nice change up in sound for the group, despite the song still being heavy handed on the synths. I particularly enjoyed the pre-choruses and choruses of the song. The pre-choruses had a very likeable ramp up in energy that I am vibing to every time the song plays. For the choruses, they felt like they need to be played while late night drives around in the city. It felt breezy and was also quite light natured, which I thoroughly enjoyed. (9/10)
8. GO GO – CRAVITY’s final song on the album slows and tones down the energy. GO GO is still upbeat in its own way, but they trade heavy handed synths for guitar riffs and feature a heavy reliance on vocals. The song overall felt easy to get into, especially with such catchy hooks and nice harmonization between the members. After a very dynamic and powerful album, it was nice to end with something a lot more soothing and calming. (8.5/10)
Overall Album Rating – 8.3/10
The Awakening: Written In The Stars (Part 1) Teaser Image
As mentioned earlier today (and throughout the past week), I would be posting the album review for Golden Child’s second studio album and its repackaged version today. GAME CHANGER (released at the start of August this year) is the group’s second studio album and features the title track Ra Pam Pam. Earlier this week, the group returned with the repackaged version, retitled DDARA, and features the title track of the same name. In total, there are 13 tracks on the album which I will be reviewing today. This album release was a banger – a small hint of what I thought about the albums overall.
GAME CHANGER Album Cover
DDARA Album Cover
1. Game Changer – The album kicks off with the eerie intro track Game Changer. The eeriness is only around at the start though, with the intro track opting for suspenseful classical vibe. This too is quite brief, as EDM kicks in right after to bump this up into very dynamic territory. I feel like this track would be awesome for a movie trailer, hinting towards twist and turns. For this album, it leads right into the likes of Ra Pam Pam.
4. OASIS – The other new track added to the repackaged version is OASIS. To me, the track is an impressive display of vocals from the group. Those successive high notes we get at the end sound so good. It felt almost like the members were in a ballad mindset for this song. But OASIS is no ballad. The instrumentation falls into the EDM side of music. It definitely made OASIS impactful and dynamic enough for me to give the song a 10/10. The rapping also reiterates the fact that this is no ballad, going with a powerful approach, which fitted in really well. (10/10)
5. Bottom of the Ocean – Bottom of the Ocean is a full English track that brings me back to the ‘00s thanks to its pop rock sound. The track feels just right for the summer season, with its vibrancy and energy fitting right into the hallmarks of a summery song. Golden Child handles the song exceptionally well, which is worth a mention, as this is their first English track. The harmonies were a really nice touch. (9/10)
6. Fanfare (빵빠레) – Fanfare is my pick for favourite side track for this album. It was hard to pick one, but I settled on this one!. It is a dance track with a really great retro and funky instrumentation. The brass elements in this song really give it so much colour, while rest of the funky and retro instrumentation is so vibrant and lively. The bass adds extra groove as well! The members bring solid vocals and rapping in this song, with the standout award going to the main vocalists for their high note and ad-libs. Overall, a home run with this track. (10/10)
9. Spell (주문을 걸어) – The album breaks away from the unit/solo track with a bit of an interlude in the form of Spell. It is similar to Fanfare in the sense that it has a funky and groovy energy oozing from it. But it is different in a way that it is more reliant on synths and EDM to get this energy across. Not that it matters, as Spell is an equally good track and the EDM makes it a dynamic number. I really like the idea of the delayed drop in this song, especially since I feel the delay allows Golden Child an opportunity to showcase a mature vibe in the chorus. The hooks in Spell are also quite dynamic and really appealed to me. (10/10)
13. I Know (난 알아요) – The album ends with a ballad. Common sense tells me that their vocals would be on full display, and that is the case with I Know. But what makes their vocals even better (and so the ballad as a whole) is the instrumentation. Not only does the thumping in the instrumentation makes the ballad more upbeat, it adds impact to the song and a breathtaking element to the song. The rest of the instrumental falls into the same motif as well. Ending off the album with a song like I Know felt just like the perfect ender. (10/10)
After more ATEEZ? Well, you have come to the right place. As promised in my Eternal Summer review, here is my album review for ATEEZ’s latest mini-album, Zero: Fever Part 3. This mini-album features the title track Deja Vu and its contender, Eternal Sunshine, along with four other new songs. This mini-album is a strong one, especially its second half (spoiler: I dish out three 10/10 songs). It is not their strongest one, however. That title belongs to the album release before this one, Zero: Fever Part 2, which featured Firework (I’m The One) as it is title track.
2. Feeling Like I Do – Following from the bright and energetic nature of Eternal Summer, Feeling Like I Do continues that vibe with a decent track. I liked the upbeat nature of this track, with the synths bringing an enjoyable intensity to the song. The popping effect was a neat addition to the song, matching the vibrancy but also giving Feeling Like I Do some extra and unique energy. The drumming ties everything together. I also like the liveliness of the vocals and rapping. I do wish Feeling Like I Do had a more pronounced climax. It was the only aspect within the song that was missing for me. (8/10)
4. ROCKY – Drawn from the films that share the same title of this song, ROCKY is a bombastic and fierce song that talks about determination and succeeding as the underdog. Personally, I think ROCKY is better placed to be the title track, in place of Deja Vu, just because the energy in ROCKY is so impactful and memorable. The rock styled hip-hop influenced instrumental is very bold, and I love the swinging melody in the chorus. I think ROCKY could have worked with a boxing concept (pretty unique in KPOP) and lays the ground work for a pretty powerful choreography that will definitely scream of ATEEZ. (10/10)
5. All About You – All About You tones down the energy of the album with a more calming and soothing track. It is more of a contemporary track, not really falling into any of the standard sounds for a calming and soothing track. All About You has an synth heavy that literally simmers in the background for majority of the song. The vocals and harmonies adds both smoothness and textures, while the rapping gives the song additional momentum. Jongho’s high note is exceptional and the repetitive hooks make this song very catchy. I find it hard to fault this song and thoroughly enjoyed it. (10/10)
6. Not Too Late (밤하늘) – Not Too Late continues with the energy downtrend with a R&B track. Everything in song is quite dreamy, from the vocals to the R&B synth dominant instrumentation accented by piano and guitars. The rapping also follows the same mindset and the hooks are quite easy on the ears, easing us into the song and off the album. Another strong song and ender to this album. (10/10)
