SF9 returned with a special album last month to celebrate their fourth year in the industry. The special album, titled SPECIAL HISTORY BOOK, is the focus of this album review and features Shine Together as the lead title track, along with two other new songs which I have reviewed below. This release also follows SF9’s 2020 comebacks, Good Guy and Summer Breeze.
2. Forever(오래 오래) – Forever is a mixture of genres that comes off quite refined and polished. It is an interesting piece, given that you don’t think the extremities (EDM and ballad) would blend well together yet they work surprisingly well with one another. To be fair, it isn’t an extreme form of either genres, which probably helps make the combination work. The EDM comes through the instrumental. There is your usual beat drop and the synthetic nature in the song. However, it is quite breezy and airy, which compliments the ballad style. The vocals and melodies bring the balladry elements to Forever and they felt similar to Shine Together’s vocals/melodies. Soothing and light are the words I would use to describe their delivery, which again, compliments the EDM style for this song. (8/10)
3. Love No. 5 – Love No. 5 needs a stage performance as soon as possible. The beat drop in the chorus is definitely a highlight and drawing point to the song. It is intense and on par with SF9’s more powerful releases like RPM. The vocal part of the chorus that precedes the drop is quite consistent and I am digging how it just keeps coming at you. The vocals added a certain smoothness to the song, while the rapping added some additional edge and had nice delivery, both of which I really enjoyed. I would have liked the final chorus to be amped up a little more to help drive a more epic closure to the song. On a side note, I would like to know what Love No. 5 actually means as the concept sounds rather intriguing. (9/10)
It is time for another album review. And it is also time for a new artist in this segment. For the very first time, I am reviewing an album for Weki Meki. Their albums thus far haven’t really caught my attention and hence I have been passing on the opportunity to review their albums. This time around, Weki Meki caught my attention with their latest title track, COOL, and I was very intrigued to see what the group had prepared for us in New Rules. While it was everything I did not expect from the group, Weki Meki still manages to show off some of their skills throughout the album so I just had to put on the reviewing list. The album features 3 other new tracks, not including the title track and the English version of the same track (which I have not included in this review).
2. Sweet Dreams– There are a few elements within Sweet Dreams that draws my attention. First of all, the innocent and playful vibe that the song brings feels quite nice and unique. The instrumental almost feels like a music box without incorporating any music box style samples. At other times, Sweet Dreams seems fitting for a fantastical concept. One thing that I observed/noted throughout the song was each part seemed to differ slightly from one another. But yet, the song cohesively comes together (apart from that vocal bit in the second verse which started off with the ‘Hush little baby’ – that was probably the most ill-fitting sequence in the entire song). It is interesting concept musically and works really well. I also liked the lightness that the vocals and rapping ended up bringing. (9/10)
3. D-DAY – D-DAY is a surprising song. Based on the title of the song, I would have expected something bombastic and intense, potentially bringing more of COOL’s vibe to the album or possibly even returning the group’s girl crush sound that they visited in Crush. But D-DAY ends up being a light pop track. It showcases a good amount of the group’s vocals and I also liked the lightness that the song brings. However, the song is quite ‘overly consistent’ and doesn’t deviate much from its guitar centric instrumentation. If they somehow changed up the song whilst maintaining the lightness, D-DAY would not be as boring by the time it reached its 2:49 mark. (7.5/10)
4. Just Us – Just Us is the final ‘new’ song on the album (quotation marks around the word ‘new’ because the next track is the English Version of COOL – but I already reviewed the Korean version above). Just Us is the album’s mandatory ballad. Once again, the song showcases their vocals really nicely and sweetly. I did like the song’s brighter tone and I felt the melodies were a bit more captivating than D-DAY’s. I really liked the high note during the bridge and that echo following it was also a nice touch. What makes this song even better than the preceding was the ‘La La La’ part that followed the final chorus, which adds something slightly different to the song but maintains the song’s sweet atmosphere without changing the dynamics of the song. (8/10)
There was no review yesterday as I took a day off for my birthday (and in true style, I spent the night off napping). And I started writing this review pretty late on Friday, hence why this is posted in the wee-hours (my local time) on Saturday. But I make my review comeback after that short break with an album review. Pentagon impressed their fans and other listeners with their early October comeback, Daisy. The title track is featured on the group’s tenth (!) mini-album, We:th. It follows their first studio album (Universe: The Black Hall), their participation on Road To Kingdom and Jinho’s military enlistment (and as a gift, he left fans with a song on the physical version of the album – something I do not have access to to review). We:th and Daisy also serves as Hui’s last comeback with the group for the next two years, as he enlists into the military as well in early December.
2. Beautiful Goodbye – The next song on the album resettles on the pop genre, however I detect a bit of infusion from the rock influence we got in Daisy. There were some really good moments in Beautiful Goodbye that really draws my attention to the song time and time again. The first has to be the pre-chorus. The Shiwon/Yanan and Shinwon/Yuto pairings passing each word to one another was a really cool effect. Wooseok’s growl-like shouting in the second verse and Yuto’s deep voice were super exciting felt so appropriate for the slight rock influence we get in the song. The chorus was super easy to get into and had a really nice melody. I also like the story that the song tells, where the guys were happy to have their partner leave them without saying a beautiful goodbye. But at the end, their feelings change and expressed that they want one last kiss as that beautiful goodbye. (9/10)
3. Nostalgia (그해 그달 그날) – Wooseok dominates in this song with both vocals and rapping, which is fair given that he composed this song. It is a chirpy number that is full of energy. Yet, the lyrics of Nostalgia tell a slightly different story – they reminisce over a time in which they were happy about being in a relationship (the past) and compare to the time when they were not (the present). Aside from that, I don’t really get much of the song. Since the song is Wooseok-centric, the other members have quite limited opportunities to show off their skills. And the pop-based instrumental was good, but not exciting enough to be a standout song. (7/10)
4. You Like – While the opening and closing sequence to You Like oozes with Hui’s vocals and smooth piano instrumentation, don’t let it mislead you. The song changes up within seconds to an intense hip-hop dance style. It expresses frustration over people’s changing opinion and poses the question ‘What would you like?’ over and over again in a somewhat aggressive manner. I feel like the effects the song opted for were slightly overwhelming for my liking. So it wasn’t my cup of tea. But the vocal and rapping elements in the song were very good and well-polished. The most iconic moment, aside from the very abrasive instrumental, has to be dragged out ‘raw’ that follows the choruses. Not really the most impressive part of the song, but there is something about that expression that just manages to stick. (7.5/10)
5. Paradise (This Night Where Stars Shine) (Paradise (별이 빛나는 이 밤)) – The final song on the album is Paradise. It features a EDM and club-beat mashed up instrumental that feels very KPOP from early to mid-last decade. It was definitely a consistently great listen to tune into. The rapping opts for a trap instrumental. While this is pretty cliché, I appreciate that the trap sequence keeps song’s momentum going, opting for a piece that is a little more abrasiveness and almost like dubstep, that suits the song’s overall club beat energy and tempo. The vocal work was pretty nice in the song, dedicated to their fans. The bridge was exceptional, but it doesn’t stop the nostalgia that the chorus brings. (9/10)
Once upon a time, I used to album reviews on Tuesdays. Usually, the album reviews published on Tuesday are reserved for a bit of a throwback. I cover ‘past’ albums for the year prior to the year we are in. Because of my poor sleeping patterns, I haven’t been able to do that. And now that I am overloaded with albums to review from October (and most likely November and December), I have decided to cancel the ‘past album review’ segment for now (it will be back next year) and use Tuesdays to help recover on the album review front of the blog. Today’s focus is on Golden Child’s second single album and title track, Pump It Up, which was released over a month ago. The song has become an instant favourite of mine and it has gone on to top my Weekly KPOP Charts.
2. That Guy – That Guy is more a pop ballad. My first impression of the song is that is almost on par with LADY, one of the group’s most memorable side tracks for me. The instrumental is made up of atmospheric strings and pop percussion. It is actually quite beautiful, to the point where I wouldn’t mind listening to it alone without the vocals. Oh and the vocals. There are equally as stunning. Joochan and Y’s lines in the chorus are the song’s highlight without the doubt. I wished that That Guy had stronger melodic power (like LADY) and that pretty much would have brought it up to the same level as the mentioned song. But we almost got there. I also liked how they delayed the ad-libs so it was more to the end. I felt that was a missing element at the start of the final chorus, but they delivered it down the track. And the rapping was also quite nice, tweaked well to fit the softer nature of the song. (9/10)
3. Lean On Me (너의 뒤에서) – Lean On Me is an upbeat electronic pop dance track. It too almost rivals a song, in particular the title track of this single album. It didn’t surpass Pump It Up because it lacked a bit of vibrancy. It is really the one thing that really set the two tracks apart for me. I feel that if the producers made the song pop out more, it could pretty much have been the title track. Once again, the vocals are quite nice in this song. They were very consistency throughout, which isn’t always a bad thing. I really liked that the rapping follows the chorus. It is applied to the same instrumental as the chorus, so it feels like an extension of the chorus – prolonging the song’s catchiest sequence. (9/10)
SuperM’s Super One is another September album that I really wanted to review. But I haven’t been able to get around to it until today, mainly due to its fifteen track length. Amongst the fifteen tracks, we have One (Monster & Infinity) as the title track and the pre-release tracks – Tiger Inside and 100. These three tracks I have reviewed before (links are below). SuperM surprised me with their vocals on this album – completely unexpected given their focus on dance-heavy tracks as their main promotional tracks thus far. Enough chatter though. We have 12 other songs to get through for this album review, so it is going to be a lengthy post.
2. Infinity – If you haven’t caught on just yet, one half of the title track One is Infinity. Most notably, Infinity’s chorus and Mark’s punchy rap sequence just before the final chorus were carried over to One, amongst other sections. Standalone, Infinity was an epic track. The instrumental is pretty choppy during the verses, but that just gave the song amazing texture. It might sound like just like messy noise to some, but I really enjoyed the song. Aside from taking the best parts of Infinity, Baekhyun’s ad-lib introduction was the next best part of the song. The only part that held me back from giving the song a strong 10/10 was the vocal bridge. I just didn’t like how it was presented nor how unimaginative the sequence was (in comparison to the rest of the song). (9/10)
3. Monster– The other half of the title track was courtesy of Monster. The verses of Monster mainly carried over. And once again, I felt whoever joined the songs together took the best part of Monster. The chorus here felt like a letdown, unable to channel the energy and momentum that the verses were building up and towards. It is more vocally centric, which I didn’t expect. I was more under the impression that Monster would be a song that is ‘more in your face’, but I didn’t think we got that in the final product. Overall, if I had to select one of the two songs – Infinity was superior by a long way. (6.5/10)
4. Wish You Were Here – Wish You Were Here has this mellow reggae instrumental, which feels quite unique from the get go. This song is the first of many on this album that blows me away with the vocals. The harmonies made this song ooze out whilst listening to it. The catchy ‘ba ba ba-ra…’ hook was smooth and addicting. However, these positives just wasn’t enough to outweigh the negatives. There was this one-dimensional nature behind the rapping and the song felt quite repetitive by the time we reached the end. (7.5/10)
5. Big Chance – I definitely like it when a song impresses me within the first few seconds. Big Chance does just that with its catchy opening hook. It definitely shows off their vocals chops, with blissful harmonies and an easy-going melody. Both of these aspects allow the hook/chorus to speak volumes by itself, opting for minimal instrumentation. Other parts of the song opt for the same concept, while others incorporated this laid back tropical background to help fill out the song. What I liked the most about the song is the rapping, which is a ‘return to form’ after the previous track. (9/10)
8. Better Days – Better Days is one of the songs that caught my attention when I was vetting the album. It is a ballad, something I didn’t actually expect from SuperM at all. Better Days starts off with a simple piano and finger clicks instrumental combination at the start. It slowly builds by adding a slight organ synth during the first chorus, before adding even more percussion once we enter into the second verse and guitars in the bridge. Once again, amazing vocals and harmonies headline this track and the rapping fits effortlessly into the ballad without feeling ill-fitting or one-dimensional. I really enjoyed away the way they sing the title in the song, especially during the final chorus. So perfect. (10/10)
9. Together At Home – Together At Home is another song that impresses from the start and drew me in during the vetting process. The main drawing point to me with this song is the ‘Dala, da, da la…’ hook that makes up the chorus and features at the start. It is simple vocal hook, but one that is pretty effective. I also like the groovy 90s electronic bass instrumentation of Together At Home and how it repeats the catchy melody in instrument form. The vocals and rapping are superb in this song, both working together harmoniously to make this another strong song. (10/10)
10. DRIP – DRIP features another simple hook in its chorus (i.e. constant repetition of the title of the song). I really like it, even though it sounds like a persistent leaking tap (which I find to be quite annoying – especially as you are falling asleep). The rappers take the edge in this particular song, giving the song some much needed oomph. I liked the instrumental for its uniqueness, sounding almost like someone groaning but in an instrumental form. It sets the song’s serious tone, but it felt repetitive. (8/10)
11. Line ‘Em Up – Line ‘Em Up is SuperM’s take on the Middle Eastern (and based on the comments that I am reading on YouTube, South Asian – which might be a first in KPOP) flair trend that has been around for some time. This flair helps keeps the song distinctive. However, the song lacks that explosive feel or that wow factor. I believe that if Line ‘Em Up had that impact or explosive energy, the song would have been more dynamic and appealing to me. (7/10)
12. Dangerous Women – Blending R&B and EDM for SuperM produces Dangerous Women. Aside from the acapella moment at the start of the song and the vocals as a whole package throughout the song, Dangerous Women didn’t really cross any boundaries in music and felt relatively safe. I felt that the song could have benefited from something edgy, like a more abrasive EDM touch or even some edgier sounding raps. Otherwise, Dangerous Women literally sounds like many other tracks out there. (7.5/10)
13. Step Up– Step Up is predominately a R&B song. However, instead of remaining safe and in a neutral R&B gear for majority of the song (which would have been a mistake for me – as the R&B side of the track is quite boring), Step Up literally steps up its game by giving the chorus a kick in the upbeat and energy departments. This changes up the song, giving it a refreshing appeal. Baekhyun and Ten’s ad-libs were definitely helped make the song even more alluring. (8.5/10)
14. So Long – An example of a R&B song staying in that neutral gear and thus remaining relatively safe is So Long. For So Long, I don’t think this is a relatively bad thing. There is this sensual energy coming from the song that calls for body rolls left, right and centre. Aside from the sensual atmosphere (which obviously is a superior form of R&B), one other thing So Long manages to do right are the vocal harmonies that features in the chorus. (8/10)
15. With You – Closing the album (phew, we are finally at the end of the album) is With You. And like most albums. SuperM keeps the best song for last. Given its placement at the very end of the album, I am knighting With You as Super One’s hidden gem. The subtle and held-back funkiness of the instrumental is so damn good. The vocal work, particularly Taemin, Kai and Baekhyun’s vocals, are so good. It is also the only song on the album that made me want to dance whilst listening to it, which would have been awkward at work. Hahaha… (10/10)
The next album that I am going to be doing a deeper listen for is BDC’s first mini-album, The Intersection: Belief. This particular mini-album was released at the end of September (another really late album review) and follows the trio’s debut single, Remember Me, which was released in December 2019. Featured on the mini-album is SHOOT THE MOON as the title track and four other tracks. One of the four songs features Lee Eun Sang, who recently made his solo debut. If you haven’t checked out the album yet, keep on scroll to see what I thought and have a listen to each song to see if you agree! Then, check out SHOOT THE MOON!
The Intersection: Belief Album Cover
1. DUMP– First up on the album is DUMP. What really draws me into the song are two things. The first has to be their vocals. All three members sounds very really good throughout the song. The chorus was probably their best showing, as their vocals compliment the striking nature of the chorus extremely well. The instrumental was the second aspect that drew me into the song. I am digging the heft the bass brings to the song. The rest of the background of the song felt, admittedly, a little plain. But it worked extremely well with their vocals and had a nice consistency that makes the song appealing. (8/10)
3. DROWNING – DROWNING is another great song. The verses opt for a smooth R&B texture, while the chorus has more of an upbeat kick to it, courtesy to the bouncy synths we get. There is a very satisfying level of energy that comes off the song that I really enjoy. To me, the best part of the song is when they bring some falsetto to the chorus. The rapping sequence in the second verse comes a close second, with a groovy electronic backing that sets it a part from other KPOP releases. It is another song that I felt is more aligned with Summer, but it works on this album. (9/10)
4. I’ll BE A STAR (별이 될게) – The next song on the album is a pop ballad, featuring band instrumentation and an electric guitar solo during the bridge. It is soothing and calming number to listen to. It also shows off their vocals, which have already been highlighted earlier on in the album. But I am not going to complain that there is another ‘great vocals’ song on the album because more is merrier in this instance. It is a pleasant listen, but it isn’t really a song that pulls me in. Usually I’LL BE A STAR is my style, but I feel that BDC’s forte is more with dance tracks such as the preceding track or their title track. (8/10)
5. GO GET HER (ft. Lee Eun Sang) – Looking at the tracklist, GO GET HER is the most anticipated track, as it features Lee Eun Sang. The way I wrote the first bit sounds like I have never heard the song, which is the case. But fans of both the group or soloist may recognize the song as their ‘audition’ song for Produce X 101. It is cheerful, bright and pop. What I really like the most about GO GET HER is that the song brings me back to what KPOP felt like initially. Even the melodies and rap segment have a nostalgic ring. (9/10)
Overall Album Rating – 8.6/10
SHOOT THE MOON / The Intersection: Belief Teaser Image
The album review that I intended to post on the Friday that we just passed was The Boyz’s CHASER mini-album. The album was released back in September and (like the state of this segment) the album review comes after the group had wrapped up promotions for the title track, The Stealer. The group is currently in follow up promotions with Whiplash, though I suspect that might have ended. Also featured on the mini-album are four new tracks and CHECKMATE, the group’s final song on Road To Kingdom. This also helped the group win their one-way ticket to Kingdom, which has recently been confirmed to begin shooting in January 2021. While I am sure that many people are super excited for this, we just need to wait a little longer. In the meanwhile, here is my album review for CHASER.
CHASER Album Cover
1. Shine Shine – If you are judging the song by the title (like I did) and are expecting something with sunshine and flowers (similar to The Boyz’s Bloom Bloom), then you need to look elsewhere. Shine Shine kicks off CHASE with a much darker tone and heavier sounds. It features a very sleek dance instrumentation that will make the members look good on stage without a doubt. The vocals, rapping and hooks were all quite smooth to compliment the instrumental. I also liked the subtle intensity that comes from the song. Overall, a strong starter to this new side of The Boyz. (9/10)
3. Insanity – Insanity begins with a sequence that felt like a mix of Taemin’s Danger (which the group covered on Road To Kingdom) and something of their style. And it is a very intriguing start. What comes after that introductory sequence does not disappoint as well. Their vocals are definitely what I am referring to, especially Sunwoo’s lines throughout the song. He was so smooth, alluring and the standout member in this song. That being said, the rest of the members do an amazing job as well. It is interesting to note that the song relied purely on vocals to delivery the song’s polished melody. I liked this stylistic choice, allowing the vocals to be emphasized throughout the track in a matter that wouldn’t have been achieved if there were some strong rap sequences incorporated into the song. (9/10)
4. Whiplash– Whiplash inserts some lighthearted and cheerfulness to the album. And I felt this break from the seriousness of CHASE thus far really makes the song standout. To the point where I think it edges ahead of the rest of the album. The song actually reminds me of Super Junior’s Devil. I didn’t like that particular song when I reviewed it, but it is another song that grew on me over time. I love the pop rock instrumentation in Whiplash and the guitar riffs throughout the song. It enables the cool melodies that makes Whiplash so appealing to me. Once again, their vocal work is superb, and they felt quite classy throughout this pop track. The rapping gave the song some punch and complimented the higher tone the vocalists sing at. The song itself was quite catchy and it had me humming along for days. (10/10)
5. Make or Break – Make or Break continues the upbeat energy from the preceding track. It brings me back to The Boyz’s chirpier and energetic tracks that they used to promote. Come to the think of it, Make or Break would have been an excellent sidetrack for Bloom Bloom, if it wasn’t just a digital single. It features great instrumentals that also reminds me of 90s hip-hop, to a degree. It is a solid track. While I think the singing was great in the song, I wanted more from the rapping. They could have gone harder with the rapping, which would have suited the 90s style really well. What we got was pretty decent, but it would have been nice to hear them go that extra bit further. (8/10)
Today’s album review is EVERGLOW’s -77.82x-78.29. Probably the most intensive name to remember and say aloud if someone asks you for the mini-album’s title. I did a brief Google search and I couldn’t find out what this title actually means. And I can’t remember if the group has done an interview with a media outlet to explain the album. So if anyone knows the meaning behind the title, then let me/the rest of us know! The album is a really strong release from the group, outdoing Reminiscence (their first mini-album). At the forefront of -77.82X-78.29 is LA DI DA, a strong indication of the quality of this mini-album. Don’t believe me? Check out the other tracks on the mini-album below!
2. UNTOUCHABLE– Continuing the groovy vibes from the title track is UNTOUCHABLE. The synth/disco combination that forms the instrumental is the first thing that really grabs at you. And it leaves a very strong impression on you, as while LA DI DA was very upfront with its retro touch, UNTOUCHABLE’s retro influence took more of a backseat approach. This ‘backseat approach’ pairs extremely well with the group’s light vocals. Like many successful retro tracks out there, the song features a number of catchy hooks and melodies that really strengthens the appeal of the song. One could underestimate the song’s appeal for its lighter instrumentation (in comparison to the heftier LA DI DA), but the hooks and melodies definitely add an extra layer that is hard to argue against. (10/10)
3. GxxD BOY– When I listen to GxxD Boy, I can’t help but think about how successful the song could have been if it was released in the Western music industry by some of the top names at the moment. And if a song has that type of impression, you can definitely tell it is going to be a good one. I pretty much enjoyed all aspects of the song. From the whispering introduction to the rapping verses, to the vocals in the pre-chorus, to the rap-whispering delivery of the chorus, the delivery of the song was spot on! The instrumental feels quite indulgent, oozing confidence and sexy vibes whilst successfully relaying edgy vibes to the song. It is dynamic and very exciting. (10/10)
4. NO GOOD REASON – I really liked how refreshing and relaxing NO GOOD REASON sounded on this album. It is another song that could easily be successful in the Western music industry. I do feel that the song is their blandest on this album, but it is still a nice listen. It is a vocally centric song, though I did feel that it was missing a rap sequence. That could have provided it with that extra oomph to potentially be another 10/10 song. But as I said before, it is still a nice listen. It is also well placed at the very end of the album, relieving us from the three intense songs (in their own right) that preceded it. (9/10)
Another album review written over a month after its release. ASTRO’s Moonbin and Sanha formed this subunit mid-September through the release of their first mini-album, IN-OUT. Featured on this mini-album is the title track, Bad Idea, that the pair have wrapped up promotions for. The entire album, aside from the title track, is doused heavily with R&B. Whether I enjoyed this heavy dose of the R&B genre, continue reading to find out.
In-Out Album Cover
1. Eyez On You – Eyez On You has two major letdowns that really drags the track down for me. The first letdown is the really generic R&B sound that the verses opt for. It bored me, nor did it excite me. The second element is the overwhelming ‘noise’ that forms the basis of Eyez On You’s chorus. It is very jarring and the multiple layers of instrumentals feels very obnoxious. Some might find it a charm, as I have said in the past with some song’s and their respective noise. But Eyez On You’s take on this felt too much and prevented me from liking the opening track. And these two elements overpower the pair’s vocals, leaving them forgotten. All of this is quite a pity, as the pre-chorus managed to successfully change the song’s gears and allude to something fun, upbeat and vibrant. (5/10)
3. Alone (섬) – Alone returns to that R&B genre that unsuccessfully opened the song. While Alone does take on more of that generic R&B sound, the song instantly sounds better and more refreshing. It is because Eyez On You really left an impression. Anything generic yet is executed well enough would be on many levels higher than the opening track. I did like that Alone had a bit of a spring in its instrumentation. The piano was also a nice consistent touch to the song. What really makes this song even more pleasant and palatable are the vocals, particularly Sanha’s. The way he sings ‘I am so lonely’ in the song was very memorable. The song’s melodies also gives off strong promise. (8/10)
4.All I Wanna Do – To me, All I Wanna Do is their best side track on the album. I really like the instrumentation when it came to the chorus. The bass add definition and dynamism to the strings. And the strings add prominence and a striking element to the chorus. The rest of the song goes down the R&B hold once again. For this song, this isn’t really a problem as the chorus compensates for that flaw. Once again, the song features the stunning nature of Moonbin and Sanha’s vocals. They sound very silky and sweet. I felt that both members were well utilized throughout All I Wanna Do and made the song more appealing. (9/10)
5. Dream Catcher – Dream Catcher is more of a ballad, though it encroaches into the R&B realm. The song is very calming and soothing, feeling almost like an acoustic-centric track. I say ‘almost’, as the main instrument is an electric guitar that is played softly. The rest of the instruments come in to help lift the song up ever so slightly without disrupting the soft acoustic-vibe of the electric guitar. Their vocals shine in Dream Catcher, adding to that soothing nature of the song. Their harmonies were well used to give the ballad some definition and feel more warming for fans. (9/10)
Given the long awaited wait for BLACKPINK’s first studio album and its success so far, I decided to fast track the album review for THE ALBUM. Otherwise, I think we are looking at a end of October or possibly even November publish date for the album review! THE ALBUM features of BLACKPINK’s 2020 releases including How You Like That and Ice Cream (with Selena Gomez). It also features the current track that the quartet is promoting, Lovesick Girls, as the title track. In addition to these three songs, THE ALBUM five side-tracks, all of which will be reviewed below. But before we proceed with this album review, can I take a moment to comment on the really plain and boring name of the album? Anything other than THE ALBUM would have been more exciting and appealing. Mini rant over. On with the reviews!
3. Pretty Savage– Pretty Savage is a pretty bland song. I feel like this is will be an unpopular opinion as I know many people enjoyed Pretty Savage. The song just underwhelmed. With a title like Pretty Savage, I would have expected something a little more hard-hitting and impactful energy. Instead, we got something that felt like hip-hop in neutral gear and the energy that the song started off with dwindled down as the song progresses along. Aside from the song’s roots in hip-hop, which the song nails perfectly (and hence I found that the song had a lot of potential – if only the producers ended up going with a little more impression rather than flair), there isn’t much to the song. None of the member’s lines or the chorus was memorable. Overall, a skippable track. (6/10)
4. Bet You Wanna (ft. Cardi B) – Like Pretty Savage, Bet You Wanna underwhelms once again. Unlike Pretty Savage, however, this song is much better that in comparison to the former track. The energy in this song doesn’t dwindle. Rather, it stays pretty much consistent throughout (more on this in a bit). The song’s lyrics and chorus could potentially become catchy and memorable if I am willing to continually press replay. The harmonies were pretty strong. However, I am not too inclined to replay the song because of the consistent energy. It felt repetitive by the time we got to the end of the song and it felt like the members were stuck, preventing the song to cultivate to anything climatic. And as much I am enjoying many of these international collaborations, Cardi B’s featuring in Bet You Wanna doesn’t amount to much. (7/10)
6. Crazy Over You – I personally felt that Crazy Over You would have better placed before Lovesick Girls. To me, Crazy Over You lies on the halfway point of just right (i.e. Lovesick Girls) and underwhelming (i.e. Bet You Wanna). The instrumental is definitely livelier and energetic thanks to the use of sound effects such as the squeaky scratching. The deep thumping and flute in the instrumental also add to the aesthetic of the song. When it came to the chorus, I expected a beat with a little more heft and energy. Something like what the end of Crazy Over You ended up becoming. As for the members, they all sounded good, though still on the underwhelming side of that spectrum. (7.5/10)
7. Love To Hate Me – Love To Hate Me has a very beautiful instrumental. I found the start of the song to have this subtle intensity and the synths created a pulsing sensation which I totally found captivating. The bridge featured a bit of piano. Different to the rest of the song, but it works extremely well. I enjoyed the pre-chorus buildup, leading us to expect an epic drop for the chorus of the song. But Love To Hate Me’s producers throw us a curveball and pushes for an unexpecting and stripped minimalist beat that really made Lisa’s lines more impactful. It was only a brief turn though, before the song returns us with something a little more ‘pop traditional’ and a bit more melodically catchy to further drive the song into us. The members don’t really flourish in this song, but they do sound great! Definitely one of the better side tracks on this album. (9/10)
8. You Never Know – You Never Know is a pop ballad that I thought did a pretty good job of showing off the members’ vocal. I also sense a bit of emotion to their voices in this song, which is always a good sign in the ballad world. The song was pretty easy to follow, with simple melodies being one of the driving forces in this song. I liked that the instrumental for this song was more classical (piano, strings etc.) and there has less reliance on the synths (though it was still a thing). This makes the song a little more epic and theatrical sounding, which I really enjoyed. Personally, these elements all come together to create my favourite (and what I believe to be a standout) track on this album. (10/10)
Stray Kids kicked off their domestic promotions this year with the release of God’s Menu and GO生 (Go Live) in June. After three months, the group returned with the repackaged version of GO生, now titled IN生(In Life) and headlining the new album is Back Door. The group has since spent the last month promoting Back Door on the weekly music shows, earning two trophies along the way. On top of that, the group also managed to top my personal Weekly KPOP Charts three weeks in a row. Big feats, if you ask me. And per my usual horrible timing, as Stray Kids is about to wrap up their Back Door promotions, I slide in with an album review for IN生. I have a lot to say about each song, so without any further delays, here are my thoughts on IN生.
IN生 (In Life) Album Cover
1. The Tortoise and The Hare (토끼와 거북이) – The repackaged album starts with an extended version (or full-length version) of the Go Live intro track from the original album. In that version, however, there was no references to The Tortoise and The Hare fable. In this version, the entire song is extended to feature that fable and this makes the track so much more fun. Following the lyrics and having that context really made the song a lot more captivating. I am unsure if that was the intention of the inclusion of the well-known story, but that is what I got from it. This bumps up the song’s appeal slightly, so I am willing to increase the song’s rating. However, majority of my comments from the Go Live review still stands. Click here to have a read of that review.(8/10)
2. Back Door (Title Track) – Given how much the song has grown on me throughout the one and half months since its release, I do feel that the 8/10 rating that I gave Back Door originally is not representative of my current thoughts about the song. I will bump it up to a 9.5/10 and update the review in an upcoming segment (sometime next year). Click here to read the full review for Back Door.(9.5/10)
3. B Me – The group tones down the energy with B Me. However, the group maintains the heaviness of the song preceding it so far thanks to the electronic instrumental. While that might be a good thing (as Stray Kids has definitely shown us that they can be versatile with heavy sounds), the instrumental for B Me lacks excitement for the majority of the song and this unfortunately drags down the song for me. It is without a doubt that the song’s instrumental was toned down to low excitement levels for the sake of the vocals and raps, which were posed with this emotive hip-hop style. Personally, I don’t mind the vocals and raps. The issue remains with the instrumental. For some odd reason, the song picks up suddenly infusing the ending with all this energy that could have been distributed throughout the earlier sections of the song. The energy and excitement rises exponentially out of nowhere and it is wasted as it has nowhere to go to. (6/10)
4. Any(아니) – As a person who doesn’t like autotune as much as others, you might expect me to dislike Any. But I don’t. The autotune in Any is quite appealing and one of the song’s strongest selling points. Take Bangchan and Felix’s ‘Blurred lines yeah yeah yeah, So many so many any anything ani aniyaya’ for example. It is the one line that is really keyed into my memory (and I am sure it is also keyed into your memories as well). Without the autotune, that one line (and the song in general) would be completely different and potentially not as dynamic or memorable as it was with the autotune. Similarly, the same can be said about the chorus. Unfortunately, the other parts of the song (verses and bridge) aren’t as memorable and were largely forgettable. (8/10)
5. Ex(미친 놈) – From the top of my head, Ex is probably their most emotional pop ballad release so far. The lyrics and the impression that Ex leaves on the listener definitely feels that way. I will say that this was probably my favourite side track on the repackaged album as the instrumentals feels quite soothing and calming. That is an odd description for a song about remembering one’s Ex and the slight angst that you do hear in some parts of the song (i.e. Changbin’s ‘yok yok yokhae’ post chorus). But that was what the instrumental felt like to me. The song also puts forward the group’s vocals, with all members singing or rap-singing. It definitely highlights the fact that Stray Kids is also a group full of vocalists which they have shown previously in the last. Sure, they are strongest with their heavy and more loaded dance tracks. But Stray Kids do have potential in the ballad realm of music. (10/10)
6. We Go (Bangchan, Changbin, Han) – I am sure that many fans are excited for a 3RACHA song. And boy, do they go in a very different direction to what they produce for Stray Kids themselves. We Go goes for a hip-hop vibe. It feels dark and very intense from the get-go. Jisung and Changbin’s rapping during the verses were both breathtaking (and I am sure it also took their breath away as well!). Chan brings some vocals to the mix, going with the more classical autotuned effect to fit in with the song. And his parts provide us with some opportunities for relief, so that we can recover from the slayage the other two members’ rap sequences dealt to us. (9/10)
7. Wow (Lee Know, Hyunjin, Felix) – To me, Lee Know, Hyunjin and Felix were the subunit that I had no expectations for. Mainly because I don’t know what to expect from these three members. This track had no input from the 3RACHA members, which left me more in the dark about what to expect. What Wow ended up being was another intense dance track that feels like it could easily been passed off as a Stray Kids track. There is nothing wrong about this, as the trio do end up infusing some of their own personality into the song that is all about developing feelings for someone they have known for a while. Felix’s ultra-deep and rough voice adds an additional depth layer to the song that really grabs your attention. The contrast between the impact that Hyunjin’s raps and the smoothness of his vocals was very cool. Lee Know’s promotion to main vocalist for this track is also a blessing! My favourite bit has to be when the three members sing the line ‘Just wanna be with you’ just prior to the final chorus. (9/10)
8. My Universe (Seungmin & I.N ft. Changbin) – It was expected that Seungmin and I.N’s unit track would be something vocally centric. It would have been quite a surprise if they went for something else. The vocals were quite vibrant and taps into their youthfulness. It radiates positivity energy, even though I couldn’t understand the lyrics upon first listen. The pop ballad and synth mixed instrumental isn’t anything that special. But I am glad that there is still room for relief from the harshness and intensity that the previous two songs brought to the album. My Universe also features Changbin, who brings some rapping to the song. It was a nice touch and adds something extra to an admittedly one-dimensional track. But it is still a great listen. (8/10)
The next album on the reviewing list for this weekend is Taemin’s latest and third Korean studio album release, Never Gonna Dance Again: Act 1. The album was also released a month ago and Taemin has since ended promotions for the new album, which include the release and promotion of Criminal as the title track, and 2 KIDS as the pre-release single. Taemin has also been quite busy with promotions as part of SuperM, as the group has just released their first studio album as well. Some have said that SuperM’s album release cut short promotions for Never Gonna Dance Again: Act 1, but that isn’t something we are here to discuss. Rather, we are going to have a deep dive into the side tracks on the album.
2. Black Rose (일식) (ft. Kid Milli) – Black Rose isn’t as intense as Criminal, but it has this subtle epic factor to the song that makes it very worth listening to. The subtle epicness of the song comes from both the main artists of the song (Taemin) and the featuring artist (Kid Milli). Kid Milli adds what I like to think as ‘hype’ to the song, similar to what we used to hear in R&B and rap songs from the Western industry back in the 00s. It isn’t an energetic sequence, but he keeps it rather subtle. You can feel that it is there and that it was the intended direction of Kid Milli’s featuring. Taemin adds a velvety smoothness to the song that makes Black Rose that more captivating to listen to. And pulling the two parts together is this dark, theatrical and almost gothic sounding instrumental, which is stunning to listen to. Criminal may have started off the album strong, but Black Rose following the title track makes the album’s start even better! (10/10)
3. Strangers – Taemin does aesthetics like no other artist. Strangers is testament to that. Strangers is another captivating song. The instrumental for this track is just on another level. Haunting, clever and engrossing are three different terms to describe one item, but three very suitable terms for this song. The simplicity makes it haunting. The use of footsteps to match with the lyrics is clever. And everything comes together to engross you. I really like how the song builds up. It never reaches a climax, but its this lack of climax that makes the song’s momentum to be aesthetic. Taemin once again is smooth with his vocals and the melodies are super catchy. (10/10)
4. Waiting For(해몽) – Not only is Taemin known for aesthetics, but his solo releases always have a flair to them that makes it hard for any other artist or group to pull off. For Waiting For, the instrumental has tango-influenced instrumentation. It is a unique flair, sexy and just another captivating drawing point to another song on the album. And this is a song that I would love to see a live performance for. It is perfectly crafted to remind us that this is a KPOP song once we get to the chorus, but still has the ability to pull us back to the tango instrumentation. Unfortunately, the song lacks strong hooks to really make that KPOP-aligned chorus memorable and catchy. But that is the only flaw of Waiting For. (9/10)
6. Clockwork– Clockwork is the type of song that takes you places when you close your eyes whilst listening to the song. It is a ballad that really shows off Taemin’s vocals (those high notes at the end were unbelievable). And like any good ballad, you can hear Taemin’s emotions as he sings about missing someone all the time. The instrumental is haunting, but it isn’t posed as dark like the previous songs on the album, which makes it stands out. The use of the ticking clock as part of the instrumental was, once again, clever. And so were those barely noticeable synths used to bring the song to its climatic point. (9/10)
7. Just Me And You – Just Me And You opens the album to an upbeat final chapter. Aside from changing the album up, Just Me And You attempts to be impactful with its slow paced thumping and pop sound overall. Unfortunately, I don’t think the song hit that mark perfectly. It gets to that level, but the slowness causes any momentum created to fizzle out. The song’s pop genre alignment is also nothing that special, it makes the song more typical. The trap elements make the song slightly messy, stealing the attention away from Taemin’s vocals. And top it off, the song lacks any strong hooks to really help bolden the song. I feel that Just Me And You is the weakest song on the album. One that I would frankly skip over. (6/10)
8. Nemo (네모)– Nemo features the R&B genre. Taemin has done R&B before but has done so in a fashionable manner. Nemo comes off more as more of your typical R&B release from any other artist. There are a number of elements in this song that bump it ahead of Just Me And You. The first has to be Taemin’s vocals, who sounds effortlessly amazing. I feel that there was some smoothness to his voice that wins me over. The 90s vibe of the instrumental was also quite nice. I also really like the start to the choruses in Nemo, which adds a bit of excitement to the song and feels like an end-goal that I would definitely sit through the song for. (7.5/10)
Sorry for the absence from the blog for the past few days. I have been a bit tired and had some personal stuff to deal with. But I am hoping to get back on track with one album review, one Weekly KPOP Chart post and one review tomorrow. In the meanwhile, here is an album review which I should have written one month ago when it was first released. I am talking about YooA’s debut mini-album, Bon Voyage. The album features the title track of the same name, which has wowed me for its uniqueness and refreshness. And while the feeling still remains for her title track, the rest of the songs on the album are as promising as the title track. So, without any further ado (and before I fall asleep again), here is my deep dive into Bon Voyage (the album).
2. Far – Far instantly stands out for me for YooA’s crisp vocals. And that is a very strong selling point. Far features a bouncy tropical EDM instrumental. For me, I find it relatively nice and light for an EDM track. There is some intensity when it comes to the chorus, which I really liked (though I wouldn’t be surprised if some people mistook it for just plain old simple ‘noise’). I like the inclusion of the metallic xylophone in the verses, helping pose the song (with the tropical EDM) as refreshing and suitable as a Summer heat (and also to follow Bon Voyage). To me, it isn’t the strongest song on the album, but it isn’t too far from that title. (8/10)
3. Diver – YooA adds both funky pop and some attitude to the album through Diver. It might not be an intended infusion of attitude, but her vocal style in Diver comes off like so and this is more of the YooA that I am used to when it comes to performances. I really like the energy that comes from the song, instantly picking up from the more subdued energy from the previous two songs. The chorus stands out for its catchiness and the instrumental is quite colourful in its own way. Overall, Diver is a fun and strong song for YooA and her album. (9/10)
4. Abracadabra – You will be kidding yourself if you don’t agree that Abracadabra’s chorus is its main drawing point (or the weakest point in the song, depending on how you perceive the song). YooA literally is the driving force in the chorus, with the instrumental more so just a background piece and doesn’t amplify the melody (which isn’t present in the first half of the chorus – as the song’s main hook is more spoken than sung). It is definitely an intriguing yet risky style that draws me in and ends up working out perfectly. The second half of the chorus is more vocally driven, with a melody brought in to ensure that the song is balanced. We also get a bit of YooA as a rapper in this song, which pushes her boundaries effortlessly. (10/10)
5. End of Story – Ahh… the mandatory ballad on any KPOP album. For YooA, it comes in the form of a beautiful piano piece. Her vocals are husky and very innocent sounding. I would say it is almost child-like. I really like her harmonies with the backing vocals, which adds an extra level of depth to the song. I do feel like her vocals in End of Story might be overpowering, covering up the beautiful piano which I think should have had more moments to stand out. But still, a very nice song to end the album with. (8/10)
As per the Sunday schedule, it is time for another album review. And the focus on today’s album review is Love Synonym #1: Right For Me a.k.a. Wonho’s debut mini-album. Featured on this album are both the Korean and English versions of the title track, Open Mind, and the pre-release single, Losing You. To avoid duplication, I will only be including the reviews of those respective songs once and only consider one version of them each for the overall album rating score that I give at the end of the album review. But for the other songs on the mini-album, continue reading onwards!
2. I Just – Blissful is how I would describe I Just. It is a very stunning song that demands your attention. It is a rather simple song, as the instrumental doesn’t go further than its pop ballad direction. Nor does the song incorporate any complex melodies or vocals, opting to repeat the same smooth sailing melody that is brought to your ear’s courtesy of Wonho’s oozing vocals. Its simplicity and repetitiveness shouldn’t be seen as a flaw though. It is still a wholesome track that I couldn’t stop replaying. I particularly loved the ‘Oh I’ hook, which made the song very memorable for me. (10/10)
3. Lost In Paradise – I found Lost In Paradise to be a generic track. I do admit that the preceding track did set the bar high and those expectations just wasn’t not met. There were some good moments, such as his solid vocals, catchy lyrics and falsetto approach leading into the chorus. But the instrumental really dragged down the track for me. It was one of those ‘heard before’ instrumental that didn’t excite me. For some uniqueness points, there was the repetitive high pitch squeaky synths that felt ‘one of a kind’. But they were an odd touch to the song. (6/10)
5. Interlude: Runaway – The interlude steers the album in a completely different direction. It is largely an instrumental piece, thus I won’t be including it in my final review score. Following three tracks, Runaway steps into a more intense and upbeat domain of music, similar to how Wonho set up the album with the title track and what I expected more of on the album. However, I question its purpose. There is only one new track following this one (the English version of the title track and Losing You features right). But it is a good introduction and segue way into the next track.
6. With You – With You steps back into the upbeat domain of music, as suggested by the preceding interlude. There were moments in With You that reminded me of the level of aesthetic usually reserved for Taemin. And these were really strong moments that I really enjoyed. However, the song manages to stray away from the Taemin mindset when the beat drops, opting for something a little harder than what I associate with Taemin and more so with Wonho. His vocals are extremely nice and follow the same pattern as suggested by the music. Unfortunately, it doesn’t come off as iconic as the title track or I Just. But it still a good song, nonetheless. (8/10)
The next album on the reviewing list is A.C.E’s third mini-album, HJZM: The Butterfly Phantasy, which was released early September (exactly one month ago, to be precise). It is also my first album review for the group, so I am excited to dive into A.C.E’s side tracks. Featured on this album is the title track, Goblin (Favorite Guy), and the pre-release track, Stand By You (which was released back in the middle of this year). Alongside those two tracks that I have previously reviewed, there are three additional tracks to dive into. Let’s get going!
HZJM The Butterfly Phantasy Album Cover
1. Golden Goose– Whilst Golden Goose sounds different to what A.C.E usually releases, Golden Goose aligns with the intensity that we know and love from A.C.E’s title tracks. However, the members manages to infuse a little more character into the song through the hip-hop delivery of their vocals and rapping, similar to how A.C.E’s latest title track differed from the usual highly intense EDM we get. Likewise, Golden Goose opts for strong trap beats and instrumentation. It was undeniably powerful, promising and kicks off the album with a highly energetic track. The track did remind me of SEVENTEEN’s Getting Closer (a song which I really enjoyed) at certain parts. And if it manages to encapsulate that song, then Golden Goose is doing something right. (9/10)
3. Baby Tonight (황홀경) – Baby Tonight opts for a R&B track. I really like their vocal direction, with raspy and husky vocals being employed by all members. Altogether the song comes off as wholesome and quite warming. It felt like a decent song for the Autumn season. The main chorus hook was catchy and helped make the song quite appealing. It doesn’t stand out as much as the other songs on the album given that it was a more typical sound that we hear often in KPOP. But it was a good showcase of the member’s talents away from the EDM genre of music. (8/10)
5. Clover – For the first 20 seconds, the opening instrumental was totally my style. It felt so calming with the acoustic guitar. It felt refreshing and very appropriate for the Summer season that Korea was coming out of. I liked how Clover‘s instrumental became mixed with modern EDM synths. Typical, but still worth listening to it. The pop ballad is enhanced when the members start singing. Their vocals are nicely displayed. Jun’s hoarse voice was just amazing. The rapping was nicely tweaked to fit into the pop ballad genre and didn’t stray away from the main backbone to be its own thing (which tends to be the case with some songs nowadays). The melodies were nice and catchy. Overall, Clover was just a nice to ride out on. (9/10)
Starting from this Past Album Review (PAR), I will be posting these PARs once a fortnight (as opposed to weekly) so that I can focus more on reviews and manage my time better 😊.
The next PAR that I wanted to do was an F(x) album. It took me three weeks to write it up, since there was so many songs! But after many delays, I have finally completed my album review for F(x)’s third studio album, Red Light, which features the title track of the same name. What was quite surprising was the realisation that this album was released 6 years ago in July 2014. Definitely a long time since 2014, but it is scary how quick time has flown by. It is also the last album to feature the late member Sulli, who left the group the year after its release.
Red Light Album Cover
1. Red Light (Title Track) – I do not have a breakdown of 8/10 rating I gave the entire Red Light comeback. Given how much I have enjoyed he song since its release and the original review, I have decided the song was worthy of a 10/10 rating. Click here to read the full review for Red Light.(10/10)
2. MILK – MILK is one of those odd tracks that F(x) is quite well known for. It definitely feels that way if you are listening to the song for the time, as it mixes a Bollywood sound with traditional pop. Personally, I dig this song due to the amount of times I have heard it (as this song was also promoted alongside Red Light). It is less heavy, allowing F(x) to show off some innocent and cutesy charms without the full commitment to the cutesy concept. I also enjoyed the vocals throughout MILK, being one of the song’s charms. (9/10)
3. Butterfly (나비) – To me, Butterfly’s instrumentation has a Britney Spears type of vibe to it. But as we progress away from the start of the song, Butterfly transform into a neat pop track. Typical pop at the very best and it is a whole lot lighter in tone and has less attitude (which is quite synonymous with Britney Spears). That is thanks to F(x)’s beautiful vocals, which brings that lighter tone to the song. As a whole, Butterfly is quite pleasant to listen to and frankly, underrated with the lack of attention it got. (9/10)
4. Rainbow (무지개) – Despite being released for 6 years now, Rainbow is one of the few tracks that I just cannot get used to. And I blame the very start of the song that overwhelmed me. It has been a while since I listened to the song and it actually surprised me (more like scared me as I had my volume on full blast) when I listened to the song to write this review. It attempts to infuse a hip-hop sound, which I personally don’t mind. But I don’t think it is a perfect fit with the pop direction that the vocals ended up opting for throughout the song (though the group does execute the hip-hop/pop sound later on in the album). (6/10)
5. All Night– There are two things that still amazes me even after all these years with the very retro All Night. The first is the pleasant melodies. They were so easy to get into and they just made the song so smooth to listen to. The members do the heavy lifting with the melodies and I commend them on that. The second thing has to be the 80s style instrumental. It is pretty straightforward for the most part, but I love how the synths accented a lot of the instrumentation, giving the song some depth. I also really liked Amber’s raps, which fitted in quite nicely. (10/10)
6. Vacance (바캉스) – Vacance is the group’s attempt of pop rock on this album. While I liked the instrumentation and their vocals separately in this song, I actually did not enjoy them together. It just felt oddly incompatible. The instrumental was slow and weighed down, but it was quite funky. The vocals leaned towards really high falsetto and her effortlessly smooth. However, the pairing of the two just doesn’t blend together as nicely as I had hoped. Maybe if the funky instrumental was a little faster, the vocals would have fitted a little more nicely. (6/10)
7. Spit It Out (뱉어내) – Spit It Out is no doubt one of the group’s wackier tracks. But it is tracks like this that gives F(x)’s discography and singles that unique spark. I can see why some people might not like Spit It Out. Its instrumental is quite obnoxiously chaotic and may overwhelm some listeners. But moving past the crazy and chaotic nature of the synths and instrumental, the intensity is very thick and I find this to be an appealing point of the song. I also enjoyed the feeling of having everything just coming towards you at once, which is how I would describe this song. Their vocal and rapping work was quite solid in Spit It Out. (8.5/10)
8. Boom Bang Boom – Once again, Boom Bang Boom may also overwhelm the listener with its energy, especially when it comes to the explosive chorus, which may be a bit much. But as you can tell from the preceding track, I quite enjoy this technique and it really draws me in. To me, Boom Bang Boom is a lot simpler in terms of instrumentals and hence I don’t find it to be as chaotic and crazy like above. The fast tempo vocals and rapping does seem like a blur, but they compensate with an undoubtedly powerful and memorable chorus. And as per Krystal’s commentary at the end of the track, I love this song. (9/10)
9. Dracula – Dracula is my pick for the hidden gem on the album. It is a cohesive track that I just cannot fault. There is a lot of elements to enjoy in Dracula, so I am going to pick my favourites. I really like the hip-hop vibes that come from the song and the eerie yet soothing vocals that precede the chorus. The chorus was super catchy and addictive. I don’t have much else to say about the song, but it definitely one you all should have a listen to if you want a taste of F(x). (10/10)
10. Summer Lover – I think coming off a number of energetic and upbeat tracks, the thumping beat in Summer Lover comes off rather slow. Maybe Summer Lover could have been more effective as a track if it was placed prior to some of the above tracks. Despite that, Summer Love is a decent pop track. It feels wholesome and a return to normality. I really like how they sing the chorus together and the bright energy that comes off the song, which makes it suitable for … you guessed it… Summer. (7/10)
11. Paper Heart (종이 심장) – F(x) ends the album with a mellow and light acoustic pop track. It is a nice track to end with. It is also one of my favourite side tracks, thanks to its simple melody and catchy chorus. It also features the beautiful vocals of each of the members. But Amber really stands out the most. It is actually the first track that drew my attention to Amber back then and the fact that she could sing. I know I missed out a lot prior this to revelation, but I am glad it did! (10/10)
KPOPREVIEWED 