Per the posting schedule, it is time for another album review. This time it is the latest mini-album from Golden Child, YES. This mini-album was unveiled at the end of January 2021. Burn It was the title track from the album and the group has since wrapped up promotions for. As of this week, Golden Child has started follow up promotions with Breathe, another track from the mini-album. Alongside these two songs, the album also features three other tracks and an introductory instrumental track (which per usual, I have not included in this album review. Continue reading to see whether the mini-album will earn a big YES from me.
3. Cool Cool – Cool Cool is what I would call a well-rounded song. I felt like I enjoyed every aspect of the song. The instrumental was quite cool (pun unintended). From the xylophones, to the striped back percussion of the first half of the chorus, to the brass that dominated the second half of the chorus. It all worked really cohesively together to form the song. I would have liked the song to be a little heftier, as that would really have made the song mind-blowing for me. Cool Cool also shines thanks to the vocals and rapping. The vocals really pushed the song from being ordinary to being quite dynamic through the high notes and their overall delivery. The rappers brought a really nice sense of edgy and punchiness to the song, making the song even more dynamic. (9/10)
4. Round n Round (기다리고 있어) – If you know me, you will probably know that I am attracted to songs with a bit of upbeat and lively energy. Round n Round seems to be the that track on this album. The electronic centric instrumentation gives the song a lot of texture. It also makes the song feel fulfilling and adds some interesting detailing to the background. I also like the bounce to the instrumentation, which really appeals to my affinity for this type of song. I really like the pop route they took with the chorus, which practically sold me the song within the first listen. The rappers also give the song a classy effect, while the vocalists do their usual thing with their great vocals. To me, Round n Round is this album’s hidden gem. (10/10)
5. Milky Way– Milky Way is no ballad, thanks to its instrumentation. But it feels like the album’s mandatory ballad thanks to its more downtempo approach. The song also leans more to the pop genre (maybe even pop rock to a certain extent). Once again, I like the synths used in the instrumental and how it was underlaid with some nice guitar work, which helps bring a bit of acoustic to the song. For the members, I enjoyed their vocals, especially those who sang the ‘Nothing without you’ line from the chorus. I also like the autotuned deep vocals that end the chorus. It all really makes Milky Way captivating and worth listening to. (9/10)
The 2020 KPOPREVIEWED Award winners have been announced. Click here top find out who won in each of the categories that you voted for!
Hopefully starting with this post, I can be a little more consistent with writing and publishing album reviews. I am usually quite good with the segment, releasing two or three album reviews per week. But lately, that number has dropped quite a bit. For example, I have only posted a total of two album reviews this month (which VICTON’s album review post being the third). As just mentioned, this restart of the album review segment begins with VICTON’s first studio album, Voice: The Future Is Now, which is headlined with the title track What I Said. The album features an additional 12 songs, four of which are solo tracks from selected members. If this album has shown me anything, it is how much I shouldn’t overlook VICTON. This album has a few amazing songs that I am definitely coming back to kick back to in the future (if I haven’t done yet). Find out which songs I am referring to below!
Voice: The Future is Now Album Cover
1. Into The Mirror – Into The Mirror starts off the album in epic proportions. I practically enjoyed all elements of the song. The EDM was powerful and the vocal work and the rapping were very strong. In the Mirror really pulls you into the album. My favourite section has to be the short rap-speak sequence before the choruses, which added suspense to the song. I would give it a 10/10 rating, but I can see some people making the argument that this song can be overwhelming for them based on its powerfulness. (9.5/10)
3. Circle– Circle stands out for a number of reasons. The first is the unique synth that sounds pretty much like a table tennis ball bouncing. It is peculiar and random, all at the same time. But there is a charm to it. The second is the rock infusion when it came to the chorus. I liked how it brought intensity to the song and it boosted the pop sound to a new level. The third has to be the song more melodic approach, which was brought to life through the vocals of the members (who all sounded pretty good). The rapping, especially Byungchan’s ending sequence, added appeal and complimented the intensity brought by the rock infusion. (10/10)
4. Chess – The electronic profile of the instrumental of Chess feels quite unique. I really like the retro game-like sample they use repetitively during the verses. It too has its charm and gave the verse something more to focus on. I also enjoyed the stripped back style of the chorus. It is quite atmospheric and it was also a great blank canvas for the members to showcase their vocals, which they do. I also really like how the song allows for the members to drive it forward with the song’s melodies. The stand out member for me is Hanse, whose rap sequence really captivated me. (9/10)
5. Up To You –Up To You feels like a typical pop track. It pretty much showcases a sound that we have heard from the rest of the industry. While plainness is sometimes enjoyed by me, Up To You should have continued the streak of great songs by bringing something new to the table. What is good about the song is the intensity that forms when the instrumentation is paired with the vocals. It helps amplify the song, making it more appealing as it progresses. Unfortunately, when compared to the song before and after it, Up To You just felt standard. (6.5/10)
6. All Day – All Day brings something new to the album, an acoustic and mellow sound. It also brings out a different side of the group to what we have heard so far from them on this album. Delicate vocals and a softer tone. The instrumental itself also brings forth that swayable effect on me, which I think is a strong indication of how nice and soothing the song sounds. It is also reminiscent of their softer pop title tracks such as Nostalgic Night, which I fairly enjoyed. (8/10)
7. Carry On (Kang Seungsik Solo) – The first solo track on the album belongs to Seungsik. His addition to the album is a ballad. It also serves as the album’s mandatory ballad. As mentioned in the past, this is expected for the main vocalist of the group, as their solo work as usually defaulted to a ballad of some kind. Carry On really shines the light on Seungsik’s vocals, which are very soft, delicate and touching. The softer tone in the instrumentation was also quite soothing. Together, I found the entirety of Carry On to be dreamy and perfect as a song to fade out on. (8/10)
8. Eyes On You (Heo Chan Solo) –While I was listening to the album to vet it for the purpose of writing an album review, Eyes On You caught my attention. It has such a sleek profile during the verses. The soft approach that Chan adopts in the verses stole my attention from whatever I was doing at the time. The chorus was quite unexpecting (for me, at least). At first, I thought it was a bit heavy handed as a drop (relative to the verses). But I have grown to like it as it is. It now comes off as a held back drop to me and that idea of it being heavy handed has long gone. Eyes On You was previously revealed at VICTON’s concert and the drop facilitates an awesome choreography and stage presence. (10/10)
9. Utopia (Lim Sejun Solo) – Sejun’s solo track is titled Utopia. It is a decent pop track, but lacking in some departments. The instrumental has a nice bounce to it, but it falls into a very typical EDM hole. The energy that comes off the song is promising. But I wished there was more of an exciting climb and a satisfying peak to the song. It just felt flat. I did like the vocal work but Sejun seemed to have been held back for whatever reason. As a whole track, Utopia is pretty plain. (6/10)
10. Where Is Love? (Do Hanse Solo) – The final solo song is Where Is Love?. I have very high expectations as Hanse is one of the members in VICTON’s that stands out to me. His texturally loaded voice is just made for the rapping and he sounds very cool in majority of VICTON’s every track out there. Interestingly, Where Is Love? is predominately a slow R&B song. It builds as its progresses along, peaking at the end with its most upbeat dance sequence. Hanse showcases his rapping ability in a more refined matter as a result of the song’s slow pace. Personally, I would have liked it if he let loose, but Where Is Love? is still quite appreciable. (7/10)
11. Unpredictable– After a string of varying solo tracks, VICTON returns as a full group with Unpredictable. And it is a smashing song. The instrumental for this song fits into the groovy trend that has taken over KPOP. But it is cleverly mashed up into an intense dance track. The initial moments are quite misleading by starting slow. But Unpredictable develops into a really cool and funky dance track. The vocal work is great, while Hanse delivers with his rap sequence. As a result, Unpredictable is my pick for the album’s hidden gem. (10/10)
12. Flip A Coin– The star attraction to Flip A Coin is Hanse’s fast paced rap sequence. It is the reason to why I come back to the song so often. The rest of the song falls into the trap of being a typical intense male group release, which is quite unfortunate. The other positive aspect of the song happens to be the repetition of ‘Flip A Coin’ as part of the chorus. It seems that the repetition and Hanse’s execution of his part is enough to convince me to return often to the song. But it isn’t enough to convince me otherwise about the rest of the song. (7/10)
13. We Stay– The song at the end of studio albums seems to usually fall into the category of being a fan-pleaser. VICTON’s final song is no exception, with We Stay containing a very bright pop background. It is quite easy to get into, with simple melodies and fun hooks. It is also quite lighthearted, miles away from the rest of the album. Per usual, VICTON showcases great vocals and rapping in the song. It ends the album on a very positive and happy note. (8/10)
It has felt like it has been a while since I actually sat down to write an album review. The last one for AB6IX was two weeks ago. The artist I was going to review after fast-tracking AB6IX’s repackaged release was (G)I-DLE’s I Burn, which serves as the female group’s fourth mini-album release. The mini-album was released almost a month ago on the 11th day of the first month of 2021. Since the release of the mini-album and its title track, Hwaa, the group has taken out multiple weekly music show trophies. Even a triple crown on MCoundDown! (G)I-DLE also topped my Weekly KPOP Charts with Hwaa for the 2nd Week of January 2021. But enough awards talk. It is time to have a closer listen to their mini-album.
I Burn Album Cover
1..Hann (Alone In Winter) (한(寒)) – You may recognize the title of the song through their previous title track, Hann (Alone). The songs are lyrically connected, with the earlier song being about wanting for forget an ex-lover. This new song is about being unable to forget the ex-lover. This connection further adds context to the lyrics of Hwaa, which is all about recovering from that valley of emotions. This connection is quite clever and really adds some heft to the members singing. Their singing itself is already quite powerful and definitely captivating. What makes Hann (Alone In Winter) better is that it features a really beautiful instrumentation, feeling quite fantastical and dramatic. (10/10)
3. Moon – Moon is a very interesting track, but in a good way. It is an aesthetic pop track, brought to life with really nice guitar work, captivating percussion and a bit of an electronic touch to the song. I really like the ending sequence, which is a perfect blend of these elements. It also makes for a really great start to the final moments of the song. In the body, all of these instrumental elements come together to create a solid background for the members voices. There is a lot of vocal techniques employed throughout the song. The chorus is my favourite part, with the start of the chorus being the most memorable thanks to Minnie’s vocals. (9/10)
4. Where Is Love – If Moon was a little slow for your taste, you will probably enjoy the more amped up pop energy in Where Is Love. The song tacks into the electronic side, making it a really fitting side-track for KPOP. It does have what it takes to be a title track, but I think the song tethers more on the plain side. But surely this song can be revamped into some edgier and more exciting. Nonetheless, Where Is Love is fulfilling as it is with its straightforward approach and its simplicity when it comes to employing that electronic side. The repetition of the song’s title is really catchy and I like the touch of autotune added to their voices (not much, thankfully). (9/10)
5. Lost – (G)I-DLE slows down the energy a bit with Lost. This isn’t a complaint, but rather an observation. Lost features consistent guitar work throughout the background of the song. They add other instrumentation to give it a more pop flair. But while that was enjoyable, I do feel like the song is stuck in a neutral gear. Soyeon’s rap does briefly cut the neutral nature of the song, which I appreciated. But I wanted more. (7/10)
6. Dahila – While it does sound like I have been looking down on the slower songs of the album, Dahlia is proof that a relatively slower song has the ability to impress me. While the instrumental of the song didn’t feel as special as the other songs, Dahlia’s driving force is the vocals. All the members were really good and stole to the show in the album’s final track. Soyeon’s raps give the song that little bit more of an edge, which I enjoyed. The song ends with Soojin and Minnie in an encore-type manner. I found it so haunting and riveting, making the song more appealing to me. (8/10)
The next album review that I want to cover is MCND’s latest comeback. It is the first time I am sitting down to write an album review for the group, who made their debut back in 2020 with Ice Age. Their mini-albums have been on the shortlist for review before, but they ended up being cut due to time constraints. But not this time, as their side tracks on this mini-album deserve from praise. MCND’s new release comes in the form of their third mini-album and is titled MCND Age. The album was released alongside their title track, Crush, on the 8th of January 2021.
3. LOUDER – Contrary to the name of the song, LOUDER isn’t actually louder than the title track in terms of volume. If anything, I felt like the two songs were on par with one another. But maybe the LOUDER title was based on the boldness of the song. This isn’t the case, however, as the song opts for a pop sound and just doesn’t have definition. But because of the pop direction, LOUDER is somewhat refreshing for MCND, who tend to go for heavier instrumentation and down the hip-hop hole. I find the song to be catchy and the drum work is definitely a highlight. (9/10)
4. KO, OK! – The boxing ring sound effects in KO, OK! aligns a little better with the song’s title. The song is also a lot bolder compared to the previous side track. It kicks off the song with some hype energy through the rap anthem. I liked that the song continuously returned to this hype sequence, driving even more energy into the song. This alone leaves a strong impression on me. The members do a really good job in the song, with both the rapping and vocal work coming off in a memorable manner. The synthesizer was definitely well utilized in this song and brought great texture to the song. It also made the song more addictive and interesting to listen to. (9/10)
5. PLAYER – We slip more into that hip-hop style of music that MCND has associated with themselves by listening to PLAYER. But while hip-hop tends to allow the rappers to shine the most, I find the vocal sections of the pre-chorus to be the most impressive showcase of MCND’s skills set. I find that to be quite interesting. But that doesn’t mean the rappers will let you down because they really help push the energy and intensity of the song. Essentially, if you enjoy abrasiveness effects, relentless energy and a pounding beat, then PLAYER is the song for you. (8/10)
6. Outro (ㅁㅊㄴㄷ) – Personally, I am not sure if this track serves as the outro of the album, or whether the song is simply titled as Outro. With the tracks that have fallen into the hip-hop genre thus far from this album, they have showed some uniqueness that I find quite interesting and different from the competition. Outro, as a whole, seems to step back into that generic side of hip-hop in KPOP. It is still a good song, nonetheless, as the other elements really made me overlook the generism. The piano introduction and the piano during the bridge showcased a nice style of different. I appreciate that the dance side of the song as it potentially could rival other groups whose music style is quite similar to Outro (i.e. ATEEZ). (7.5/10)
7. Not Over (아직 끝난거 아이다) – Not Over seems to be a mix of styles in one song. Luckily, it comes together to be one cohesive track. It quite easily could have been disjointed and lacked harmony. But Not Over remains as one whole. I find the song quite nice, with a playful tone in one section, followed up intense vibe in the next. But it all balances out. Once again, the dance sections of the song provides high hopes for a really bombastic and dynamic performance. The rapping and vocal work also shows some level of skill. Overall, MCND ends the album with an all-rounder. (8/10)
Jeong Sewoon is back with the second part of his 24 studio album. For those who don’t know or remember, the soloist made an announcement last year for his first studio length album. In July 2020, he made his solo comeback with the first half of his solo studio album, 24, and the title track Say Yes. Since wrapping promotions, Jeong Sewoon remained fairly quiet up until December, when it was confirmed that he would return on Janaury 6 with the second part of 24 and the title track In The Dark. Per usual, Jeong Sewoon has really shown off his music ability with another amazing release. Also, this album review is also the first album review for a 2021 release.
24 Part 2 Album Cover
1. :m (Mind) – Opening the album is :m (Mind), which is a nice acoustic pop track. But there is a bit more to this track, with Jeong Sewoon’s vocals dominating the track and there is a really nice synth touch that transforms :m into something unique. The melody of this track is very simple, yet so moving all at the same time. The swaying criteria can be applied to this song and it definitely helps :m earns the tick of approval. (8/10)
3. Fine – The upbeat nature of the song and its groovy instrumentation is what attracts my attention at first. And it the same elements that keeps me coming back for more. I really like the guitar work in the chorus and how husky Jeong Sewoon’s voice was during the chorus. It just all made Fine be a standout song. His high note pierces through at the end, but in a very good and satisfying manner. It was also a catchy number that I thoroughly enjoyed. (10/10)
4. DoDoDo – Bringing you back to the olden times is DoDoDo. It is a jazzy number that is quite soothing and mellow-sounding. Paired with the way his voice is filtered through the autotune, DoDoDo sounds like it could be part of a soundtrack of an old movie (when sound was first introduced). I don’t say that in a bad way through, as DoDoDo is quite captivating and a pleasure to listen to. (9/10)
5. Find You (숨은 그림 찾기) – Within seconds of listening to Find You, I just knew it was another perfect song. Jeong Sewoon brings back some of that acoustic guitar and groovy instrumentation in this song. The best part of the instrumentation is when they bring in that more defined guitar work part way through the verses. It felt very refreshing and very blissful. I als like how that energy carries through into the chorus. Find You sounds like a very sweet song and that feeling definitely comes through the lyrics, as well. (10/10)
6. Be A Fool – Ending off the album is Be A Fool, another song that got me swaying along from the very start. There is a hint of a jazz in the instrumental, but Be A Fool can be passed off as a ballad. The instrumental for Be A Fool is quite simple. But simplicity here is definitely a positive, as we get to hear Jeong Sewoon’s vocals in a very clear manner. It felt clean, pure and concentrated all the same time. (9/10)
It is time to return to the album reviews. Apologies for not posting any over the weekend, when they should have been released per the posting schedule. Today’s focus is Kim Sung Kyu’s INSIDE ME, which is the soloists’ third mini-album since his solo debut in 2012. The title track, I’m Cold, was released alongside the mini-album in December 2020. Kim Sung Kyu’s solo comeback in December came at no better time as I had a massive craving for Infinite in some form. Kim Sung Kyu’s solo releases are enough to suffice this for now. I am hoping for a group release once all the members return from the military. We last heard from Kim Sung Kyu in 2018 through his 10 Stories comeback and the title track, True Love, another aweome comeback from the solo act.
INSIDE ME Album Cover
1. INSIDE ME – While INSIDE ME will not be included in the final rating score, I just want to take a moment to draw attention to this introductory track. I really like the suspenseful vibes of the song. I also like how it felt like a teaser of what is to come, as it literally used some of the instrumentation from the title track. It also felt like music that Infinite would have released back in the day, with the combination of synths and instruments.
3. Fade (안녕) – Fade continues on with the R&B vibes that featured in I’m Cold. The major difference is that Fade is a lot airer in its instrumentation and slower overall. It kicks off with a somewhat distorted like filter over a music box and Kim Sung Kyu’s utterance of ‘Goodbye’, before proceeding with the familiar R&B vibes I just mentioned. I really like how the electric guitars sound almost like electronic synths, which reminds me of some of his earlier works such as his last solo comeback. His vocals flourish in this song, with the falsettos he opts for being a star attraction. I just wish Fade had a more memorable melody. (8/10)
4. Room – Room diverts away from the R&B that we all know Kim Sung Kyu for. Instead, he opts for a genre that I am sure that everyone is certain the soloist will nail, ballad. I am happy to report that his ballad had me sway along to the music, which we all know is my way of determining the quality of a ballad. But honestly, the buildup of Room was stunning. It starts off like any slow ballad. But as you progress along, the instrumental grows by incorporating more instruments and it develops into an epic backing for the ballad. Kim Sung Kyu’s vocals climb to compliment this buildup and he sounds beautiful and powerful. It is most emotional number on this album and probably his discography as far as I can remember. (10/10)
5. DIVIN’ – Moving away from the heartbreak that has dominated the album thus far, Kim Sung Kyu goes DIVIN’ into a new relationship and sound. The song falls back into the R&B realm of music, but there is more to it. It sounds like there was is a bit of jazz mixed into the instrumentation, which comes together to become a groovy mix, which makes it suitable for a high-end bar. Once again, Kim Sung Kyu’s vocals are quite good. I appreciate that his vocals sound a lot livelier, complimenting groovy instrumentation. Multiple R&B and ballad tracks after one another can be draining in some cases, so it is nice for a change up. (8/10)
6. Climax – Climax is a little unexpected with its upbeat nature. But it is an amazing end to the album. Firstly, Climax is a personal track. It is a song about performing, a passion of Kim Sung Kyu (if you cannot tell). He sings about pushing forward with his career and his motivation is simply his fans. A message like that will have fans swooning over him. Secondly, the instrumentation is very unique and colourful. I really like the electronic nature of the instrumental, which was full of textures (which you know I enjoy). I also enjoyed the choppiness, which was an interesting route in general. The pre-chorus has a very unique vibe by embracing a choppy delivery of the lyrics, which helped made the song so much more alluring. His vocals are superb, once again in this song. TGhere was some questionable uses of autotune in the song though, which doesn’t really capitalise on his vocals as much as the song should have. (9/10)
Album reviews for 2021 will continue per the usual schedule next month. In the meanwhile, album reviews will be coming out spontaneously as I complete them. I want to wrap all the album reviews for 2020 this month, whilst also publish the album reviews for January 2021 releases, so I don’t fall behind on them like I did so at the end of 2020. This will also allow me to focus on some of the other posts in January such as the end of year charts and the announcement of the 2020 KPOPREVIEWED Award winners. But more on that in the future. This post focuses on IZ*ONE’s fourth mini-album, One-reeler Act IV, which was released at the start of December 2020. It features the title track Panorama and five other songs on the mini-album, so let’s check them out. Let me know what you think of them down in the comments section below.
One-reeler Act IV Album Cover
1. Mise-en-scène – Mise-en-scène follows the same music formula as the rest of their other title tracks. The song starts off in the pop realm and slowly develops into a dance track with a very abrasive drop in the chorus. What Mise-en-scène manages to do well to differentiate itself from the rest of their previous works is the more electronic profile and detailing in the song. This adds so much different texture and helps makes the song standout. (9/10)
3. Island – Island is surprisingly what I had expected. It is a cute number confirmed by their vocals and the twinkling effect at the start. But the group manages to put an IZ*ONE spin, bringing that abrasive instrumental I mentioned earlier into the song. That being said, Island is not just noise and it turns out to be a very strong song altogether. I really like the different directions the song does go in, which helps elevate the song’s appeal and prevents it just sounding like an amped up cutesy track. (8/10)
4. Sequence – IZ*ONE tones back the energy of the instrumental ever so slightly in Sequence. The funky and retro instrumental isn’t as rough as the previous tracks. But the song does still have that heightened texture to it, though I would describe it as more sleek in comparison to their other songs. I really like what they did with the chorus, adding more to it as it progressed along. I felt this really made their vocals pop during the chorus, which helped made the song more enjoyable. (9/10)
5. O Sole Mio– At just a glance, I thought it was just another house dance track. Literally, if you blink (whatever the equivalent for hearing is), you would miss the Latin flair hidden behind the house influence. I personally like this ‘touch of Latin’, as the Latin trend has become overused in my books now and I am slowly getting tired of it (though, I do keep my mind open to other clever uses of the trend). Just the house influence does make O Sole Mio sound typical and cliché. The song also sounds like it opted for a ‘touch of matureness’, which I attribute to some of the vocals. The rapping was also a nice addition. (8/10)
6. Slow Journey– Slow Journey is group’s most held back sound on the album, opting for a pop ballad sound. It is very nice, though I wished they removed some of the percussion and disc scratching. It distracted me from the sweet vocals and really bright acoustic guitar work. Otherwise, I reckon the song would have been more delicate and sweeter sounding. (7/10)
I know I promised the restart of reviews yesterday, but I decided to delay that to focus on some other stuff for the blog. I will restart the reviews tomorrow when the first 2021 release officially drops and I will then return to writing some other 2020 reviews. In the meantime, I hope the next album review suffice. The artist at the focus of the album review is ENHYPEN, who made their debut at the very end of November with Given-Taken. The song was featured on the group’s first mini-album, Border: Day One, which has sold over 300,000 copies since its release. Given-Taken faired pretty well, so let’s see what I thought about the rest of the mini-album.
Border: Day One Album Cover
1. Intro: Walk The Line – There are some vocals in the Intro track, which lands itself on the reviewing block. Honestly, I don’t have much else to say aside from that Walk The Line sets the tone for this mini-album. The music itself is quite atmospheric. It, as a whole piece, pretty much felt like a marching band was following them as they embark on their journey as artists. The members also sing ‘Walk The Line’ in Italian, which isn’t a language we see at all in KPOP. Definitely a good start to the mini-album. (9/10)
3. Let Me In (20 Cube) – Let Me In a lot less serious compared the title track. It actually taps into a more vibrant sound, which I find appropriate for the youthfulness the group brings to the industry. To me, the song is a solid dance track that features a hint of a reggae beat. The vocals are nice, though I felt that they could have reduced the autotune that filtered their vocals. Just a personal preference of mine. I also did think the song needed a more substantial rap sequence. Ni-Ki teased us with his really deep voice, but I wanted more of that in the song. (8/10)
4. 10 Months– 10 Months continues the upbeat and vibrancy from the previous track. It is a fun number with a bouncy instrumentation. To me, it wasn’t a really interesting track. It was a nice listen and I did enjoy the energy that came from it. But I wanted more from the group in this song in terms of vocals and rapping. I also wanted more robustness and dynamism from the producers. The only interesting moment(s) worth mentioning was the unique (and possibly fancy) way the members sang ‘Love’, which sounded like ‘La-Uve’ (6.5/10)
5. Flicker– Flicker was a song previously performed on the I-LAND. Though this version is at a higher pitch and felt a bit faster than what was performed on the show. The instrumental was definitely texturally interesting, with its use of guitars and other synths. The members also sound more promising in Flicker than the other side track, though the excessive autotune could have been reduced. Listening to this song (and taking in account my thoughts from the songs above), the group aligns better with a mature and serious tone. It just seems to click better and felt more nature for me. (8/10)
6. Outro: Cross the Line– The outro track doesn’t feature any vocals per say, so I won’t include it in final album rating score I usually give. But I have to make a few comments about it. It is so creepy. The voices of the kids in the background were chilling. The European (possibly French? roots) instrumental influences were very haunting. And this was all followed by rock version of the Phantom of the Opera’s most iconic tune. Hopefully, this outro is teasing us with what is to come. I would totally be game for this.
Welcome to my first post of 2021! The first few posts come in the form of album reviews that I was meant to schedule over my break, but ultimately forgot to do. I have just returned from my break (back to work as of tomorrow with song reviews coming your way) and have decided to quickly post these album reviews as soon as possible, as I don’t want to really be holding onto these album reviews which would delay the 2021 album reviews (which I would like to avoid). First up is Mamamoo’s Travel, the group’s 10th mini-album since their debut almost seven years ago! The mini-album features the pre-release track Dingga (which performed better than the title track) and the title track, AYA. The mini-album also contains other songs which is why we are here today. Let’s check out these other songs as well.
Travel Album Cover
1. Travel – Travel opens up the mini-album with an extremely pleasant pop track, one that I will gladly listen to whilst on a road trip/holiday (whenever we can next do that). In addition to making me dream about a holiday, the song has this layer of nostalgia, which I find to be very soothing and likeable. I really like how the members vocals compliment the pleasantry nature of the song. Usually, I prefer Mamamoo with their power vocals. But it was a good call to leave that approach behind for this song. Moonbyul does bring a bit of a kick through her rapping lines at the end of the choruses, which helps change up the song slightly without causing major disruption to the song. (9/10)
4. Chuck (척) – When I first saw the title Chuck, all I could think of was Seventeen’s Chuck. Seventeen’s Chuck was definitely very memorable and impactful. However, I was confident that Mamamoo wouldn’t pull a Seventeen styled Chuck, so I was intrigued with the song. What Mamamoo ended giving us was a pretty robust track. I really liked the striking nature of the instrumental, from the repetitive beat in the chorus to the wooden xylophone-like tapping in the post-chorus. The intro gave me Blurred Lines vibes, just a lot more classy. Mamamoo’s vocals were amazing in this song. I love the tease of the powerhouse vocals during the opening moments of the chorus and the energy they bring to the chorus. I also enjoyed the alternating Chuck that they simply speak during the post-chorus hook. (10/10)
5. Diamond – Diamond was an unexpected track on this album and for the group. It takes on a sensual vibe that is quite alluring to listen to. It is also quite refreshing, given that this isn’t Mamamoo’s style of music. However, they nail it. I really liked the elongation of some of their words, dragging it out as if they are teasing us with their vocals. And the way they vocally spell out the word Diamond was quite interesting. Both Hwasa and Wheein really flourished, given their vocals fitted this style. Moonbyul’s signature rapping is brought back in this song and she blends in perfectly into this song. My only issue with this song is that it just didn’t go anywhere. (8/10)
6. Good Night (잘자) – It doesn’t help that I am writing this review past midnight. The first section (and ending of Good Night) is putting me asleep. Not because it is boring. But rather, these sections of Good Night appears to sound like a ballad and features piano that felt almost like a sleepy tune on Spotify. The song then suddenly changes into a café style music by incorporating some percussion and energy, and it slowly builds from there. I am unsure why though this was necessary. As the song builds, we get more and more (and it ends with a high note from Solar). Definitely no longer a sleep tune. But that complaint aside, the song definitely sounded good and everything was well executed. (8/10)
GFriend is nominated for Best Female Group, Best Female Group Performance (for Apple), Best Outfit (for Apple) and Best Concept (for their Temptation Concept for Apple) in the 2020 KPOPREVIEWED Awards. Click here to support GFriend and your other favourite artists of the year.
GFriend returned with their impressively catchy MAGO at the start of November, which was released as part of their third studio album, 回:Walpurgis Night. There are a few major points about this studio album that are very important to note before we crack on with the review of the album tracks. The new album marks the end of the group’s 回trilogy and also features their last two comeback tracks, Crossroads (released back in February of this year) and Apple (released in July of this year). Labyrinth, which was a side track that attracted a lot of attention this year was also included in the studio album, alongside seven other new tracks. And without anything further, let’s move onto the review!
2. Love Spell – Love Spell opts for a pop rock vibe. I adore the guitars in this song, which give the song a grungy edge and a 90s persona. The members themselves make the song sound a lot sweeter. I also find it a nice balance between pop rock and GFriend (though part of me would have loved to see them go full on rock or even punk rock, which Love Spell hinted towards). (9/10)
3. Three of Cups – Staying within the pop realm, Three of Cups opts for a city pop vibe or a 70s disco vibe. This style really gives the opportunity for the group to do something light, which their airy vocals reflected quite well. There were also some catchy moments in the song that made Three of Cups appealing. (9/10)
4. GRWM – Based on what I can gather, GRWM stands for ‘Get Ready With Me’, a term used to describe vlogs that shows the morning activities as you get ready for the day. What I like about this pop song is GRWM’s instrumental felt grounded and tighter than the previous tracks. I did feel their vocals could have followed that same feeling, but instead they felt overly light for such a heavy instrumentation. As a result, it felt slightly mismatched. Only slightly, but noticeable still. (8/10)
5. Secret Diary – Secret Diary is the first the three unit tracks on this album. This was brought to you by SinB and Yerin. It was nice track to listen, with good vocals and a likeable instrumental. Pleasant at best, as I have recently been saying. It just didn’t really feel memorable as it could have been with catchier hooks. (7/10)
6. Better Me – Better Me features Umji and Sowon, an interesting pair. Vocally, I wasn’t sure how the song would turn out, given that these two members aren’t exactly known for their vocals. But I think Better Me was more than a pleasant listen. The song has this subtle Latin vibe to it and they both sounded quite clear. I also liked how they pushed themselves for this song, which ultimately paid off. I find Better Me as the better of the three unit tracks. (8.5/10)
7. Night Drive – I expected a bit more from Eunha and Yuju, if I was being honest. They are both known for their vocals, so I expected something exciting for them. But instead, the pair went down the cliché route by opting for really soft R&B track that comes off like a ballad to me. That being said, the two did show off some vocal flair by effortlessly going into falsetto mode for some of the song. I also find their vocals compliments the song’s soft approach, which helps give off a slightly polished feel. (7.5/10)
11. Wheel of the Year(앞면의 뒷면의 뒷면) – The final song on the album, following the three songs the group has previously released, is Wheel of the Year. It opens up with a consistent piano tune. The song builds to incorporate other classical and band instrumentation to develop the song into a a really strong pop sound. Once again, the vocals are quite light, airy and smooth, but I felt they were fitting for this song. There was also some really nice melodies. The song also features a bunch of catchy moments, especially as the song starts to pick up momentum. It is definitely an excellent pop track to end both the album and trilogy. (10/10)
Next up on the album review list is WOODZ’s Woops, which features his latest title track Bump Bump. WOODZ restarted his solo career earlier this year with an awesome title track and mini-album. With such praise, it was a pity I didn’t pay attention to his earlier solo works. But I won’t make the mistake for his future releases, such as this one. For more about this mini-album and to see if he replicates the same level of impressiveness, continue reading below.
Woops Album Cover
1. Trigger – The country rock influence at the start of Trigger was a complete surprise. It will either reel you in (which was the case of me) or it will deter you from listening to the album. Sadly, there is no in between given its individualistic charm. Surprisingly, WOODZ fits the sound really well (though I will admit I hate the dragged out ‘Yee-Haw’ he does). As the song progresses, we get more of a rock influence coming into play, which really amped up the song for me and gave it more of an interesting note. I also love the energy that comes from the final moments of the song. (10/10)
3. On My Own – With both his title tracks in mind, On My Own is definitely quite a change up. Vocally, I really enjoyed On My Own. WOODZ really shows off his vocals here, with his voice portraying fragility and emotions extremely well, over an instrumental that primarily centers around acoustic guitars. He also manages to show both of these elements in his rapping. I just wished he didn’t sing in his usual tone, which felt ill-fitting for this song. But everything else he did was amazing. (8/10)
4. Thanks To – Thanks To opt for tropical influences for its instrumentation. It definitely enables Thanks To to go down two routes. The verses felt pretty chill, while the choruses a bit of an upbeat kick. Either route was fine and I liked how the song managed to find a balance between the two. I liked how he also didn’t sing in his usual tone for this song. The way he sang complimented the chilled and relaxing vibes of the song. (8/10)
5. Sweater (ft. Jamie) – Sweater warms up the listener up with this old school Winter vibes. The way the guitar sounds and that distant bell in the instrumentation helps bring those Winter vibes to life. WOODZ, once again, showcases his vocals in such a soothing manner. Jamie, who is already an established vocalist, joins in to help convey the warmth of the song. They also gives us some really beautiful harmonies that just makes the song better. (9/10)
6. Tide– Tide is a soothing ballad that captivates with a mix of classical and band instrumentation. The instrumentation is a nice mix and a really paced backdrop of this song. It also shows more of vocalist WOODZ, which he has already showcased throughout this mini-album. But Tide does more than just that. I mean, check out that stunning high note at the end of the song. It definitely felt like a signature on a contract. A final statement to prove to whoever doubted that he couldn’t sing. (10/10)
BTOB recently returned in the form of the subunit BTOB 4U, which consist of members who have left the military (i.e. Eunkwang, Minhyuk, Changsub) and Peniel who didn’t enlist as he is not a Korean citizen. The unit made their debut a little over a month ago on the 16th of November with the single Show Your Love and the mini-album, Inside. And while the military tends to be a period of uncertainty for many male idols, BTOB 4U showed that they still have the love of Melodies (their fanclub) by winning their first award on SBS The Show. Let’s see what BTOB 4U has to offer on Inside, aside from the title track that we all know of.
2. Tension – Tension showcases a whole new sound for BTOB, something that BTOB has never attempted before. It is so sleek and classy sounding, and I also detect some sensual vibes throughout the upbeat nature of the song. Tension starts off with some plucking of acoustic guitars, before moving to a funky instrumentation. I found the song to be catchy, both lyrically and the way the word ‘Tension’ just roll from their mouths. Peniel’s rap also brings a bit of a flair to the song that works really well with the rest. (10/10)
3. Bull’s Eye – I am standing while writing this album review and I just cannot help but dance to Bull’s Eye. The energy that comes from this song is quite infectious. Bull’s Eye takes on board an alternative rock sound that is filled with very catchy moments. I liked how each member shined in this song. The vocal delivery of the two vocalists in the pre-choruses and bridge left me stunned. The rappers each brought a unique edge to the song. I also like it how the song doesn’t stay in one lane, but strays in different directions to give it a bit of a chaotic, yet interesting vibe. (10/10)
4. Mirage– To me, Mirage brings us back to a version of BTOB that we are familiar with. But remember, this is a BTOB 4U song and there are some differences. Mirage is vocally centric and melodic. The vocal work is smooth, with both Minhyuk and Peniel joining the vocal lineup for the song on top of their duties as rappers. All of this is done over an upbeat but moody dance instrumental. The overall balance is definitely something to commend the song for. (9/10)
5. Alone – The way Changsub starts off the song with just a deep and husky voice was amazing. Once again, we amazing vocals from Changsub, Eunkwang (example: the start of the second verse) and Minhyuk (example: the end of the song). This indie ballad was beautiful to listen to and the way they harmonized was so soothing to listen to. Peniel joins in as a rapper per his usual position. He has a real knack of incorporating his raps into these songs. I thought a rap sequence wouldn’t work in this song, but Peniel proved me wrong in this instance. Overall, Alone was a beautifully conceptualized song to end the album with. (10/10)
GOT7 is nominated for Best Male Group and Jackson is nominated for Best International Song by a KPOP Artist (for both Pretty Please and 100 Ways). To support GOT7 and Jackson, please click here to vote!
Up next on the reviewing block is GOT7’s Breath of Love: Last Piece, the group’s fourth studio album (also fast tracked!). Like many fans, I am pretty disappointed in JYP for such a limited and lacking promotional run. I wished we got to see more of the group on stage with Last Piece, the title track of this album. But I understand that Youngjae has filming schedules and other members have solo work to focus on as well. Hopefully we get to see them all soon through their next album release in the new year! Also featured alongside Last Piece is Breath, the album’s pre-release track that was released a week prior to the actual album release. Both of these tracks I have already reviews for, but the album still contains eight other new tracks that I will be reviewing today. So let’s get going!
3. Born Ready– Born Ready is a very dynamic track, one that is well placed as one of the first tracks into the album. I particularly enjoyed the chorus, where the intensity is amped up thanks to the EDM instrumental. A few of the members stood out in this track. First of all, the song opens up with JB as a rapper, something we don’t really hear often when it comes to GOT7 releases (despite being the rapper half of JJ Project). Secondly, we have Youngjae’s rap-like vocal delivery in the second verse that was so punchy. Jackson’s lines in the bridge were also quite memorable. But the member that stands out the most is Mark, who produced this track. Definitely a recommended listen. (10/10)
4. Special – Special opts for an even more upbeat tempo and synth-heavy instrumental from the very first second. And from the very first second, I was digging the song. The chorus had this catchy and simple melody that was quite easy to get into. My only issue about the chorus (and the entire song) was imbalance between the vocals and instrumentation. I felt the music was overpowering, which lead to the vocalists needing to compete for attention. The rappers faired better and were my selection of standout members because they actually had the ability to stand out. (9/10)
5. Wave – Wave tones down a few elements, which helps make it feel so refined. And I feel that the song successfully shows their path to maturity, which I will admit that they already showed comebacks ago. What makes Wave so good is that it feels atmospheric, emotional and reflective – all bundled into one song. Waves is ideal to listen to as you walk in nature, reflecting upon life and your experiences. (10/10)
6. Waiting For You – Waiting For You shows refinement as well, in the form of a hip-hop styled song. Though, it comes off as similar to a ballad at certain times. The distortion of the instrumentation at the start enables the song to opt for an aesthetic tone and for the member’s vocals to have this echoy effect. And it is an interesting feeling, overall. Bam Bam (who composed and wrote the song) used a lot of autotune, but I feel that its usage was justified based on the aesthetic nature of the song. (9/10)
7. Thank You, Sorry (이젠 내가 할게) – This song diverts the album down the R&B/jazzy fusion route, with an impressive display of vocals from all the members. Even the rappers emerge from Thank You, Sorry as full-fledged vocalists. The second verse is where the song’s main drawing point lies. The members involved goes in and out of this stunning falsetto technique, which felt perfect for the song’s instrumentation. It also gives some colour to the song, making it more interesting than a standard R&B/jazzy styled song. While Yugyeom was the creative mind behind this song, I felt that Jinyoung managed to outshine the rest of the members in this song with his vocals in the second verse alone. (10/10)
8. 1 + 1 – The R&B roots of the preceding track was just a temporary stop, as 1 + 1 brings back the hip-hop influence. It sounds trendy and there is this light tone to it, which I quite enjoyed. It also reminded me of Thursday (one of their previous tracks). Unfortunately, I don’t find 1 + 1 as catchy as their previous release. It is pleasant, but that is the best description I can give the song. (8/10)
9. I Mean It – I Mean It is an impressive song that I instantly enjoyed from the first listen. It is a pop track with such a happy tone (that even the vocals reinforce) and catchy lyrics that helped make the entire song so addictive. I just found the song so simple, yet so effective at making me enjoy the song. The bridge has no lyrics, instead opting for dramatic thumping that without a doubt (when we aren’t in a health pandemic) would make way for an amazing choreography on stage. (10/10)
10. We Are Young – We Are Young is a song for fans, without a doubt. The lyrics thanks for being there with them – even during their toughest moments (this year with no direct fan interaction probably was one of those tough moments). I really like how powerful the chorus was, simply by them amping their vocals and using striking repetition. Definitely a bold end for the album! (9/10)
Kai’s fellow EXO members, Chen and Baekhyun, are nominated for Best Male Soloist in the 2020 KPOPREVIEWED Awards. If you haven’t yet supported Baekhyun or Chen (or any of your other favourite artists that were active in 2020), click here immediately to vote for them! Remember, voting closes on 31st December.
It has been long time coming, but Kai officially made his solo debut with his first mini-album, Kai, on the 30th of November. EXO’s main dancer was one of the most anticipated members to make his own solo debut from the beginning. His solo debut comes in the form of the title track, Mmmh, and a six track mini-album. Today, obviously, I will be having a deeper look into his mini-album. I just want to quickly tease that Kai is everything I expected from Kai. Sensuality is a recurring theme in this mini album. And so are upbeat tempos to facilitate dance performances, which we already know that Kai can nail effortlessly. Interestingly, I have a preference for just one of these two styles, so continue reading to find out which one is my preference.
2. Nothing On Me – Nothing On Me starts off in a distorted manner, briefly warping the sensual vibes of the song that slowly become clearer as the song progresses. I am not entirely fond of it, but it has its charm. The song manages to compensate this by sweeping me off my feet with its chorus. It brings a very strong amount of bass to the mix and the resultant energy really oomph up the sensual vibes of Nothing On Me. Kai’s vocals throughout the song were really strong and surprising. He handles all his lines, even the ones at a higher pitch extremely well, as if he was a main vocalist in EXO all along. (9/10)
3. Amnesia (기억상실) – I really liked Amnesia’s flow from the very start of the song, which is what anyone wants from a sensual track. The appeal of the flow peaks during the chorus, help making the song quite memorable and quite hypnotic. Coming along with the memorable flow of the song are Kai’s vocals. All my comments in the preceding track regarding his vocals can be said about this song. What probably might make Amnesia a better piece is that it showcases more to Kai’s vocals, which I am sure fans are digging. (9/10)
4. Reason – Reason taps into the hip-hop scene with a more upbeat track. I think of Reason as if it is a fun change up to the tracklist thanks to that upbeat energy. Other than that, nothing in Reason stands out for me. It just feels like your typical Korean hip-hop meets pop mash that is often heard throughout the industry. (6/10)
5. Ride or Die – Ride or Die fairs slightly better than the preceding track. Only because I felt the instrumental was a bit more interesting, with the electric guitars in the first verse/final moments of the song and the really deep bubbling synth that is carried throughout the song. The second verse also gives it a bit of a retro flair, which really helps make the song more appealing. I personally didn’t like the centric point of the song (i.e. the chorus). It just didn’t feel as interesting as the rest of the song. And I do prefer his vocals in the verses than the chorus. He just sounds meh during what was meant to be the catchiest moments of the song. (7/10)
6. Hello Stranger – Hello Stranger brings back more of the R&B style that started off the album, whilst remaining upbeat like the second half of the album. It was a nice middle ground between the albums two styles, which is accompanied by a trap centric instrumental piece that is accented using electric guitars and piano. I do feel that the R&B nature of the song manages to make the song shine more than the upbeat tempo. And because of that, Kai’s vocals are quite solid. There were also some catchy moments. (8/10)
Next up on the reviewing chopping block is Ha Sung Woon’s latest mini-album, Mirage. This release was dropped (alongside the title track Forbidden Island) on November 9th, which makes this mini-album overdue by a month. Better late than never, as I always say. This is his fourth mini-album since his solo debut back in February 2019 with Bird. This is was also his second comeback of the year, following the release of Get Ready and Twilight Zone in June of this year. Okay, enough of the rundown of Ha Sung Woon’s solo music history, let’s move onto the album review.
2. Candle Light (촛불) – Candle Light is a nice pop track. The pop instrumentation, which is made up of a a mixture of piano/thumping beats and soft EDM, is quite breezy and extremely pleasant. The melodies are quite flowy and enjoyable, helping to strength the appeal of this song. What Candle Light also does well is showcase Ha Sung Woon’s vocals. He sounds quite hearty in this song and I can detect a level of sweetness which helps with the melodic appeal of the song. (9/10)
3. 2000 Miles – How awesome does 2000 Miles sound? The EDM chorus feels well suited for a Summer road trip or as the theme song for when you are exploring something new for the first time. I like the addition of the acoustic guitars. It adds that fresh Summery feeling on top of the bouncy EDM instrumentation. For Ha Sung Woon’s vocals, he does a spectacular job in this song. From the added vocal effects to his falsetto, I genuine enjoyed every aspect of this song. (10/10)
4. Without You (행성) – Without You is another song that combines EDM with the acoustic guitar. But Without You is less energetic and is much softer. Instead, Without You comes off as a pop ballad. Ha Sung Woon is killing it on this album with the sweet nature behind his voice. It is so appealing. The atmospheric vibes of the song makes it even better and well suited for my palette. Overall, Without You is another great song to relax to! (10/10)
5. Talk To Me (말해줘요) – Once again, Ha Sung Woon goes does the pop ballad route for Talk To Me. There is a bit of a slow rock vibe to it, which differentiates it from the rest of the mini-album, which I think it is fantastic change (give that the song all practically stem from the pop genre). While I would love to give this mini-album its third 10/10, I am not going to as I am not sold on the vocals. They were good, but they didn’t feel as grounded as the other vocals we had in this album. I did love the electric guitar solo, which felt like icing on a cake for me. (9/10)
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Park Ji Hoon’s first studio album, Message, is next up on the album review chopping block. I wanted to review this, as I felt his recent promotions didn’t get much attention. I really liked the title track, GOTCHA, which is accompanied by nine other songs on this album. And I have been reviewing all of this albums since his solo debut last year, so it will be odd to miss out on the chance to review his first studio album. Overall, the album was definitely a good one. For my more detailed thoughts, keep on reading below!
Message Album Cover
1. Waterfalls (Intro Track) – Usually I don’t review intro tracks. But Waterfalls is an exception as it contains lyrics and vocals. So, I will be including it as part of the album review. Waterfalls channels hip-hop in a subtle manner within its instrumental and repetitively reminds us to ‘Listen to [his] message’. Aside from that, we are also treated to a bit of rapping, which I am sure will get fans/listeners excited especially if that is the way you were introduced to Park Ji Hoon (which was the case for me). (8/10)
3. Hit It Off (ft. PENOMECO) – Hit It Off brings back the hip-hop sound in a trap style that ends up being a really pleasant song. I do admit that the instrumental does sound very standard and typical in writing, But I thought otherwise, as the song’s paced approach really helped make the song feel more refined and classy. Adding to that is the successful blend of Park Ji Hoon’s vocals and the out-sourced rapping by PENOMECO. The paced nature of the instrumentation really helps draws out the melodies and helped made both the vocals and rapping shine more. (9/10)
4. Rolling – Rolling opts for the R&B genre, with a jazzy touch to really help bring some additional oomph to the song. I wouldn’t mind listening to this song in a classy wine bar, so other place that has that fancy type of vibe. Rolling manages to showcase more of Park Ji Hoon’s vocals really well. Everything was quite melodic and flowy. I really liked that he managed to incorporate some rapping in the song, and how his rapping was well tweaked for this classy style of music. (8/10)
5. 50-50 (ft. EB) – I didn’t register this until today (oh, how reviewing songs makes me put on a more analytical mindset), but I really liked how Park Ji Hoon used a deeper tone in this song. This was offset by EB’s higher pitched rapping tone, which really brought a nice balance to the song. I also really liked the chorus, where they sing together. While I liked the tropical approach in the instrumentation, I do have my hesitations about this aspect as well. Personally, I wished the producers had went with a more dynamic route to give the tropical some more flair. That would have made 50-50 so much better and given it a bit more energy. (8/10)
6. DRESS CODE (ft. punchnello) – DRESS CODE delivers some additional energy to the album, which I felt was needed. It isn’t really dynamic form of energy, but DRESS CODE has this neat upbeat tempo to it which I will take gladly. But unfortunately, that is the only aspect of the song that really grabs my attention. Everything else didn’t fit well with me or was just forgotten. I pretty much forgot about Park Ji Hoon’s vocals once the song ended (though punchnello fared slightly better). In addition to that, I personally do not like the elongated and autotuned ‘DRESS CODE’ in the chorus. The elongation made it feel childish and the autotune just dulled it for me. Similarly, the rest of the song followed suit for me. (5/10)
7. Whisper(귓속말) – Whisper is one of my picks for Park Ji Hoon’s strongest side track on this album. While it did start off a bit slow-ish, the song does pick up during the second verse (which really helped boost its appeal). I enjoyed everything else about this song. His vocals are heavenly and very appealing to listen to. I also really liked the moments where he diverted for deeper vocals, contrasting for his higher pitch approach during other parts. The instrumental was very light, and I enjoyed the use of synthesizer. (9/10)
8. Tomorrow – If you wanted a substantial upbeat piece on this album, then Tomorrow is the track for you. There is a bit of heft to this song, which I felt has been absent from the album thus far. This ‘heft’ is due to the guitars that is strummed away on top of the usual beat. I also like the bit of bass that they manage to infuse into the song during the chorus via the thumping beat. Park Ji Hoon’s vocals were really good here. I like how he goes in and out of his raspy vocals for this song, giving the song some texture. It also felt like multiple people were singing this song, which gives the song a very inclusive feel. (10/10)
9. Scenario (시나리오)(ft. Sweden Laundry) – Scenario is a sweet song that shows us a more loving side to Park Ji Hoon (miles away from his villainous concept for his GOTCHA music video). His vocals work wonderfully in this song, complimenting Sweden Laundry’s sweet vocals. Like his collaboration with EB in track 5, Park Ji Hoon’s use of his deeper tone (in the form of rapping) was actually quite appreciable and gave the song some balance. The layering was also quite nice. The acoustic nature of the instrumental was also quite enjoyable. (8.5/10)
10. MayDay – From the opening instrumentation, MayDay is a playful track. I like this change up, though I think MayDay would have been better suited for a more upbeat album. It is definitely an colourful outlier that feels slightly out of place on this more mature release. That being said, however, MayDay was enjoyable and had a nice ring to it. (7/10)
KPOPREVIEWED 