The third album review for this weekend focuses on Dream Catcher’s latest comeback, BOCA, which is featured on the group’s fifth mini-album, Dystopia: Lose Myself. It is a short mini-album release, but it is one still worth checking out. All the song’s on this album is definitely of a high quality. Even the introductory track (which I didn’t review and hence include in this album review) is one of the best introductory tracks I have ever heard. Have a scroll down and check out each track whilst also having a browse of which songs I liked (hint – I liked all of them).
3. Break The Wall – Based on the title alone, Break The Wall felt like it be a full-on song. And Break The Wall lives up to that expectation, with the song’s energy and intensity is delivered by Dream Catcher’s classic rock influence. There were some great parts to this song that I would continually come back to. The rock influence during the chorus was extremely satisfying and checks my cravings for a rock song. Dami’s rapping takes the song a step further going with to a harsh but powerful level that really capitalizes on Dami’s voice and gives the song that needed climax. Finally, I really liked the ending, where we hear Siyeon put her vocals on full display with the prolonging and continuous ‘Woah’ that just keeps on coming at you. It was very bold and dramatic. I do find it interesting that the verses were muffled by autotune. In the live performances, the members hold up megaphones whilst singing their lines in the verses, which I thought was pretty unique. It fits in with the group’s message to rally up and give confidence to those who want to Break The Wall (that has held them back) with them. (10/10)
4. Can’t Get You Out Of My Mind – Can’t Get You Out Of My Mind delves into the EDM side, which isn’t something that I commonly associate with the group. To me, Can’t Get You Out Of Mind features a nostalgic for of EDM (can’t believe I just said that) that reminds me when EDM used to be just drops for the chorus. However, Dream Catcher doesn’t stop there with the chorus, following the drop with some vocals. And these vocals, along with the rest of the vocal work throughout Can’t Get You Out Of My Mind was very melodic and traditional for EDM. Sure, the song could have been more memorable. I think they could have given Dami a rap sequence to amp up the song’s intensity and provided additional depth. They could have also introduced some catchy hooks. But Can’t Get You Out Of My Mind does enough regardless these omissions. (9/10)
5. Dear – Dream Catcher wraps up the album release with the mandatory ballad that most KPOP albums must fulfill. While it is the outlier in terms of sound on this album, Dear is quite captivating. For the first two minutes, Dear is pretty much your standard piano-driven ballad. But after the two minute mark, everything sudden picks up and develops exponentially out of nowhere to become an beautiful orchestral piece. And I am glad it did so, as it made listening to the whole song worth it. In addition to be stunning music piece, the vocals are lovely throughout Dear, drawing me into it with its dreamy appeal. (9/10)
Oh, an album review on a Saturday? Isn’t this a surprise? Just catching up on the backlog of reviews!
Road To Kingdom was a blessing for ONF, earning them recognition of their performance skills. And after a brief break after the show wrapped, the group returned with their first release since the show. The release comes in the form of their fifth mini-album titled SPIN-OFF and features the title track Sukhumvit Swimming. Alongside the title track is a special version of New World, which I have previously reviewed and praised when it was first released as part of the suite of singles from the groups that made it to the Road To Kingdom finale. The mini-album also features five other tracks, so have a browse below to see if there are any songs you like (and see which ones I enjoyed).
2. Belle Epogue – ONF diverts from their usual dance-centric sound to an upbeat R&B vocal-centric track. We have heard this side of ONF before. But it always nice to revisit it, especially on this mini-album. The main draw point of Belle Epogue are the vocals. There are really good harmonies between the members and the backing vocals. Wyatt surprises me with his ability to go from a soft rap-sing approach to a more intense rap sequence that we expect from the rapper usually. Everything from the instrumental to the melodies in Belle Epogue is quite classy and pleasant to listen to, fitting with the idea that the world looks different after falling in love. (8/10)
3. Geppeto – The members express their desire to go out into the real world and to find out about themselves, bidding goodbye to Geppeto (who was the father of Pinocchio in the fairytale story). And they do so with a more upbeat and groovier number that fills like an appropriate follow-up track to Sukhumvit Swimming. I find everything in this song to be quite vibrant, catchy and fun. Their vocals and melodies feel quite wholesome, while the rapping adds flair to the song that fits ONF’s profile. But it is the instrumental that really grabs my attention with this song, providing likable energy. (9/10)
4. Good Good – Next up on this album is Good Good, which takes the vibrant nature of Geppeto and amps it up a few levels, which results with a playful tune fitting for Summer. I also find the song to be quite pleasant, as the members go with an easygoing vibe. That doesn’t compromise the catchiness of the song, as I find the melodies, energy and atmosphere of Good Good to be quite memorable. All the members surprise me in this track with their rapping ability (and vocals – but these weren’t the scene stealer for me). ETion managed to push ahead with his fast paced rap tempo, while MK’s autotuned rapping was an interesting addition. Hyojin’s rap sequence was extremely well done, while J-Us, Wyatt and U each had good rhythm and nailed their sections. Actually, let me rephrase that. ONF nailed this song. (10/10)
5. Cactus – Cactus is a mid-tempo ballad-like track that puts the focus on the vocals of all members. It is a sad song, as the members reflect upon a mutual breakup that they had just gone through. They mention that both parties need time and that hugging now would be similar to hugging a cactus. I liked how the vocals throughout the song reflect this mutual breakup. You can hear the emotions of the heartbreak in their voices, but they also give off the impression that they are smiling while relaying the lyrics to their former lover, to let them know that everything will be okay. Aside from the vocals, the song is also driven by beautiful and soothing acoustic guitars that adds a layer of delicacy to the song. (9/10)
6. Message – Message is a fan song for Fuse and was previously released in the form of a music video six months ago. I personally do not have much else to say about this song, but that isn’t a bad thing. Once again, it is quite pleasant to listen to. It starts off in a similar manner to a ballad, but it unexpectedly develops into a mid-tempo track (but still retaining that vocal focus that a ballad would have). Here, the vocals are the main focus again, with the members presenting their fans with really nice melodies and harmonies to bring a bit of warmth to the listener. (8/10)
Just under a month ago, Han Seung Woo made his solo debut with Sacrifice, which is the title track off his first solo mini-album, Fame. This mini-album is predominately R&B and each song is well crafted to show off the best of Han Seung Woo. In addition to this, the mini-album has won me over as a new fan and I cannot wait to hear more releases from him in the future. As you can tell, this is sounds like a very positive review. But do continue to read to see what I thought about each song!
Fame Album Cover
1. Fever – Fever starts off the album in a trendy fashion. It begins with a mellow introductory sequence, thanks to the acoustic guitars that opens the track. As the song progresses, we get more of a R&B dance track vibe. Traditional but still worth listening to. Personally, there is a strong sensual vibe in this dance track. On the instrumental front, there is a subtle level of grooviness that brings out the sensuality of the song. His vocals adds a sultry touch, as well. It is captivating to listen to (almost hypnotic in a way) and he knows when to add some vocal flair by amping his voice up for the chorus, yet maintaining that captivating vibe. An honestly great start. (8.5/10)
3. Reply(답장해) – After a few serious and mature few tracks comes a lighthearted and playful Reply. Despite the change up in tone, Reply still sits within the realm of R&B, though its playful tone can pass the track off as a pop song as well. While the instrumental is straightforward, I really liked how the bass was used to bolster the beat, especially in the chorus. Han Seungwoo’s voice is commendable in this song. His singing and rapping vocals breathes life into the song and melodies, some of which came off as pretty catchy. (9/10)
4. I Just Want Love(원해) – We stay within the R&B genre for this track as well. But I Just Want Love starts off with a much bolder approach within its contemporary instrumental, which I really liked. The instrumental has a kick to it that really separate this song from the rest of its R&B counterparts on the album. For the chorus, I enjoyed how the background smoothed out, complimenting Seungwoo’s raspy vocals. While on the topic of his vocals, I Just Want Love showcases his silky vocals, whilst also giving some limelight to his rapping potential. I liked the edginess that his rapping brings to the second verse. To me, I Just Want Love manages to show all of his best sides and pairs it with an extremely likable instrumental. That is why I am calling it this album’s hidden gem. (10/10)
5. forest– The first thing that pops right out at me with forest is Seungwoo’s vocals. It is definitely hard not to notice the centerpiece and main driving force of the song. He sounds effortlessly good in this song, going from falsettos one moment and into a low tone the next. I liked how minimal the instrumental was, giving his voice that opportunity to shine. I also liked the message of this song as well, where he is asking his lover to rely on him for support during hard times, similar to a tree in a forest. In terms of its ranking relative to the other songs on the album, forest really lands itself on the high end. (9/10)
6. Child(철부지) – Surprisingly, Child is not a R&B song. It is more indie ballad than anything else. Once again, there are great vocals from the soloist itself. The instrumental is predominately acoustic guitars and a simple and paced drum beat. However, the song has some interesting effects as it went along, including a heavy (though barely audible) drum strike, some vocal filtering localized around one particular second of the song and additional filtering of the backing vocals to finish off the song alongside his ‘Oooohs’. Overall, it is a strong song, though I would have preferred some pleasant hooks to make the song more memorable. (8/10)
As per the Tuesday schedule, it is time for the next Past Album Review (PAR). This week, the artist I have chosen to focus on is 2PM. It has been been a while since we heard from the legendary male group from JYP Entertainment. Their last official full-group comeback was back in 2016 with the album I had chosen to focus on today, Gentlemen’s Game, which features the title track Promise (I’ll Be). We will probably be hearing some good news about music releases from the group soon, as the members are slowly coming back from their military enlistment. In the meanwhile, here is an album review to revisit and satisfy any 2PM cravings you may have. If you are after mature and sensual songs, this album is for you!
Gentlemen’s Game Album Cover
1. Promise (I’ll Be) (Title Track) – The combined review score was 6.5/10. Upon looking at my records, I originally gave the song component a 8/10, which contributed to the combined review score. Click here for the full review of Promise (I’ll Be).(8/10)
2. Uneasy – I really like the brewing nature of the verses in Uneasy. You just know that great things in the song are coming your way when they are slowly building to it in the verses. In Uneasy’s case, we get an amped up chorus, continuing that momentum that the verses had begun and built upon. The instrumentals are quite similar between the two sections. While I would usually make a comment about the song being consistent in this case, Uneasy manages to change things up slightly to keep the sections different. There are three differences: the subtle blast of energy when the choruses begin; the change in vocal techniques, such as Nichkhun’s falsetto; and smooth melodies. The bass gives the song a metrosexual type of appeal and binds everything together in a satisfying manner. (10/10)
3. Give U Class – Give U Class is another slow burning track. It delves into the R&B genre, infusing trap into the instrumental. Typical at the time of the album’s release and typical even now. As a result, I don’t find this song to be much of a standout instrumentally. What Give U Class does extremely well is the focus on the vocals and raps. The members shined in this song. But I don’t think anyone topped Jun.K’s delivery of his lines. When he sings in the chorus, you can hear the yearning behind his voice. And he ends his chorus lines with a short rap sequence, which definitely is a highlight. Other members that surprised me (in a good way) include Taecyeon and Nichkhun’s vocals and Wooyoung’s rap sequence that he wrote for himself in this self-penned track. (7.5/10)
4. Make Love – Make Love doesn’t waste any time, with the lyrics going straight for what exactly the title alludes to. Paired with the lyrics is a funky 80s instrumental. But this is no energetic retro spin, which is what KPOP is quite well known for. The song still remains sensual and mature as the lyrics are. The most I can be see being done with this track are body rolls. Aside from the falsettos we get in the chorus, there isn’t much in the vocal department to comment about. It is essentially what I had expected. The rapping could have been less cringy (sorry Taecyeon), as the opening line to the rap seemed to be a little more childish than 2PM mature, if you catch my drift. (7/10)
5. Without Trying / All Night Long (시도때도없이) – I find Without Trying to be rather dimensionless. While I do acknowledge that there is sophisticated nature to the R&B instrumental, it just doesn’t offer anything new or exciting about 2PM. In more blunt terms, I find the song to be quite dry. All the members may sound nice in this song, but I don’t hear or remember any memorable moments from the song. I also don’t enjoy that squeaky baby voice that pops up every now and then in the song. Sadly, a skippable track in my opinion. (5/10)
6. Never – 2PM re-approaches R&B with a more successful stride in Never. The instrumental, once again, enters typical land for me, though I do like the electric guitar. The instrumental also feels a little more upbeat, which I find enables for a decent choreography to be performed on stage alongside this song. I find the members vocals to be a lot smoother in Never. The melodies are quite dreamy and appealing this way. It also gets me to sway along to the song, which you may know is something I look forward to in a good ballad. Never is no ballad, but that measure can be broadened to other types of songs. The rapping also gives the song a little punchiness, which would make it sound really amazing on stage. I particularly liked how low the rappers went with their tone in this song. (8/10)
7. Humming (콧노래) – We divert slightly away from the typical R&B instrumentals for something a little more jazzy. I am already liking this change up. The song starts off with some nice harmonies from the members. Both the jazzy nature of the background and the harmonies kick off Humming in a warm manner. I liked how the harmonies continued into the rest of the song, but I felt they could have held back a bit with the quantity of harmonies we had by the time the song wrapped up. It felt like it was overdone and something so nice should have been used sparingly, so we wouldn’t get tired of it. The most surprising moment of the song goes to Jun.K, who has a really smashing and bold rap sequence in the bridge of the song. He does it in a way that fits the jazzy nature of the song perfectly, so there is no mismatch of tempos or style. (7/10)
8. How Is It? (어때?) – How Is It? reenters the funky domain, cutting the string of R&B tracks we just came from. Like most funky tracks, I am enjoy the energy that comes from it. It just makes me want to dance. I just like how the chorus had a bit of everything when it comes to the instrumental, making everything quite enjoyable and appealing to listen to. The only part of the song that I am not keen on is the bridge. It attempts to fuse trap together with the funky retro and this doesn’t come off as well. But other than that, it is a fun track. (8/10)
9. Perfume (향수) – Perfume steps away from the funkiness of the last song, but still stays within the boundaries of the retro genre. The main draw point of the song has to be the drums in the instrumental. Usually, it is synths or guitars that are the main centerpiece of instrumental, so it nice to hear drums as the main star, for once. This makes Perfume unique and distinctive. Everything else is quite enjoyable. The vocals, rapping, melodies, hooks. The lot was extremely pleasant, contrasting with the slight harshness that the drums bring to the song. (9/10)
10. My Last – My Last tethers between ballad and R&B genre. At certain points, we could say the song conforms to balladry. At other parts, the instrumental gives off a R&B feel. But that is fine, as the song comes together really nicely. There is a lot of velvety vocal moments in the song, such as Junho’s beautiful falsetto during the bridge/final chorus, Taecyeon’s rap (it didn’t feel out of place and felt somewhat refined enough for this song) and Jun.K’s ad-libs at the end of the song. All very appealing and enjoyable. (8/10)
11. Can’t Stop The Feeling– The final song on the album is brings back that jazzy feel that we heard earlier on in the album. Can’t Stop The Feeling seems to bring it up the notch and make it the main style of the instrumental. The brass and the low strings that we are so good. And those piano and electric guitar solos we get just before the song fades out! Too good! The members sound good in this song, like in most of the album above. For me, Taecyeon’s rap steals the show. I find this interesting, as I don’t find the genre to be the best match for him. However, his section is deep and has an upbeat kick to it, which made him more captivating than the rest. I also liked it when they all harmonise together with Jun.K leading at the end. Based on its position, I am giving it a hidden gem title. (10/10)
Overall Album Rating – 8/10
Wooyoung Teaser Image for Gentlemen’s Game / Promise (I’ll Be)
Taecyeon Teaser Image for Gentlemen’s Game / Promise (I’ll Be)
Nichkhun Teaser Image for Gentlemen’s Game / Promise (I’ll Be)
Jun.K Teaser Image for Gentlemen’s Game / Promise (I’ll Be)
Junho Teaser Image for Gentlemen’s Game / Promise (I’ll Be)
Chansung Teaser Image for Gentlemen’s Game / Promise (I’ll Be)
Kang Daniel has been busy this year with his musical releases. Earlier in the year, he started off with the release of Cyan and 2U. And earlier this month, Kang Daniel returned with his third mini-album Magenta (the focus of this album review post) and the title track Who U Are. As part of this R&B centric comeback, Kang Daniel enlisted four additional artists to feature in the mini-album. Jamie and Simon Dominic featured in his pre-release single, Waves, while Yumdda and Dvwn feature in a song each elsewhere on the mini-album. Continue reading this album review to find out which songs those two artists featured on and my thoughts on Magenta!
Magenta Album Cover
1. Flash – Starting off the album is Flash. The stormy start and end of the song (complete with rain and thunder) really pulls me into the song. The actual R&B EDM trap-based instrumental of the song is layered on top of that sample and then comes into full display as the main centre piece. I particularly enjoyed the pre-chorus change, which to me adds a dynamic kick to the song prior to the melodic chorus. This keeps the song interesting and eventful. It also pairs extremely well with a subtle yet intense atmosphere that also keeps the song suspenseful without the use of any dramatic synths. I feel that Kang Daniel’s vocals and raps are well displayed in this song. I do think Flash lacks a memorable hook, which would have made the song that little more attractive. But nonetheless, Flash is a cool and appealing start to the mini-album. (8.5/10)
4. Runaway (ft. Yumdda) – Runaway seems to be the odd-ball on this album. Everything else seems to delve into R&B, however Runaway has a reggae hip-hop infused sound to it. This gives the song an interesting dynamic and makes it sound very interesting. I also enjoy the energy that comes from the song, as it feels a little more upbeat. I appreciate this change up, given that R&B can be a repetitive genre at times. And the main star of this track sounds fantastic. There is more of a kick to Kang Daniel’s vocals and rapping, which makes the song enjoyable. However, Yumdda’s featuring was the weakest moments of the song. His delivery feels more like mumbles and I couldn’t decipher what he was delivering, even as I was following the lyrics. This may be his way of doing things, but I would have preferred with a cleaner featuring. (8/10)
5. Movie (ft. Dvwn) – I am aware that there is a music video for Movie, which dropped earlier this week. At this stage, I have decided to hold back with a full review for Movie and will hold the music video for a future Missed Music Video Review post that I have been continually promising. Movie is a R&B EDM-trap based track that is quite catchy. It feels similar to the first song on the album. This one just has a little more typical atmosphere to it. But that doesn’t really become a flaw, as Movie’s chanting hook is what really catches on and gives the song that addictive nature. To me, the hook has a bounce to it that makes the song so much more appealing. The energy behind the song isn’t explicit. Rather it is subtle and this makes it much stronger. Both Kang Daniel and Dvwn (the featuring artist) sound fantastic in this song. (9/10)
6. Night (밤) – Ending the album is probably Kang Daniel’s best display of vocals on this mini-album. There is a dreamy vibe to Night that makes this song so palatable. Once again, he delves into R&B for this track. No surprises here though, as R&B seems to bring out the good side of his vocals (as seen in all the songs on this mini-album). Facilitating the display of great vocals, as well, are smooth melodies that are so appealing to listen to. It just makes the song ideal for a chill session or a ‘kick back and relax’ situation. The instrumentation is light, so it definitely helps in making this song track calming and soothing. I do detect a slow rock type of vibe in the instrumental at the start of the song and I liked how they retained it for the chorus, giving it a unique touch. (9/10)
Today’s album review is brought to you by Jeong Sewoon!!! A month ago in mid-July, Jeong Sewoon brought to us the first half of his first studio length album, 24. It features the title track Say Yes, which Jeong Sewoon has finished promoting, as far as I can tell. I have to start of by expressing how disappointed I feel that this album did not get much attention or fanfare. My initial listen to this album was one month ago (which is also when I decided that an album review for this particular album will be written up) and I have been left captivated since then! Even as writing this album review, I am still stunned and shocked at this album’s quality. To the point where I gave every song a rating higher than 9/10. I think that is a first and truly represents what I would call a ‘good darn album’. Well, have a listen to this ‘good darn album’ and see for yourself.
2. Don’t Know – Sometimes it is hard to articulate thoughts into words. for these album reviews. I find this to be the equivalent to being speechless. And depending on the situation, it can be either a good or bad thing. In Don’t Know’s case, me being speechless is definitely a compliment. I had to backspace my way through multiple sentences as I had no idea where to begin the review for this song. You have an amazing instrumental kicking the song off. All of the acoustic guitars, the drums, the electric guitar riffs and the tiny bits of saxophone that we get in the chorus makes this instrumental quite dynamic in its own way. Paired with Jeong Sewoon’s powerful vocals and beautiful melodies that make you sway along to the song, Don’t Know ends up being a standout soft pop rock ballad that steals my attention. (10/10)
3. Horizon – Horizon is a very smooth yet chill track that is very easy on the ears. The song highlights the velvety nature of the soloist’s voice, which just makes this song so captivating to listen to. The pairing of Jeong Sewoon’s with the backing vocals helps create a smooth tone that glides the song forward so effortlessly. As a result, the song’s atmosphere is just perfect for when you just need to escape from reality for just a brief, almost-three-minute period. I also liked the echoey effect that comes off his voice. It just makes the song feel more wholesome and aesthetic. (10/10)
4. Beeeee – We re-enter that upbeat territory that has been absent in the last two songs. Beeeee just has a feel-good vibe that just rubs off on you through the upbeat and slightly funky pop instrumental. In a sense, it is rather straightforward (yes, this is the best critical statement I can give this song). But it is still amazing, nonetheless. Great vocals, once again. Great beat. And great energy. (9.5/10)
5. O (동그라미) – O is a bluesy track with a nice acoustic guitar-based instrumental. It really like how the chorus ends with the harsh acoustic guitar strumming. It is a little different than what we usually get and I liked this uniqueness. Towards the end, electric guitars come into play. There is a whole solo devoted to its presence and I quite like that as well. As for his vocals, we have seen this side of Jeong Sewoon in the past, so there isn’t anything new on this front. Though, I do like this vocal route on this album. The inclusion of this song on the album does help fulfil a full rounded experience of Jeong Sewoon’s vocals, as the change of pace enables the spotlight to highlight a different side of Jeong Sewoon on this particular album. (9/10)
6. Hidden Star (새벽별) – The final song on the album covers the mandatory ballad that is featured on every single KPOP album. Hidden Star also continues the slow pace from the previous track and hence we are treated to a duo of songs to ease us off the first half of the album. The ballad is simply made up of two elements. The first being Jeong Sewoon’s vocals, which is amazing in this song. The second is a really beautiful standalone piano piece. I can see myself drifting to sleep with this song, knowing that I will have good dreams thanks to the riveting and stunning nature of Hidden Star. (9/10)
As it is another Tuesday (though it is less than half an hour left until Wednesday where I am), it is time for another Past Album Review. Sorry for missing out last week (as that is why I took my break). The artist I had intended to review last week was KARA, so I am going to pick up from there. Going through their discography, I wanted to review a personal favourite of mine. Given that Full Bloom (their fourth studio album) already features two of my favourite tracks (the pre-release Runaway and title track Damaged Lady), I thought this would be a good opportunity to dive into that album. Full Bloom also serves as the final album for Nicole and Jiyoung, who both left the group early on in the following year after their contracts expired.
Full Bloom Album Cover
1. Runaway (둘 중에 하나) (Pre-Release Track) – Runaway happens to be one of my favourite KARA side tracks ever. It is a little confusing to describe it in words. But I would say that it is a R&B-based acoustic guitar-centric instrumented track that has a feeling of a ballad, but it actually ends up being more of a soft pop track. It doesn’t develop into a full-on dance track. But it does pick up slightly and in such an elegant manner. Take the rap sequence we get in the bridge of the song. The rap sequence (brought to you by Nicole and Jiyoung) has quite a bit of heft and momentum to it, which would only work if a soft song had picked up to a degree. And while the song did do that, KARA managed to make the rap sequence feel natural and fit right in with the rest of the song. The song’s melodies and the members’ vocals were very memorable. Overall, everything was executed beautifully and starts the album on an amazing note. (10/10)
2. Damaged Lady (숙녀가 못 돼) (Title Track) – I previously made some comments in my review for Damaged Lady in regards to things I didn’t like. All of these items have actually grown on me and this has become one of my favourite KARA title tracks. Hence, I have decided to bump the original 7.5/10 rating to a 9/10 rating. Click here to read the original review of the Damaged Lady.(9/10)
3. 1+1 – 1+1 adds a Summery vibe to the Full Bloom album with its bright and sugary sound. This is in direct contrast to the songs preceding it, given that KARA goes with a more innocent profile with this song. I would describe the instrumental to 1+1 as pretty, as that is what the twinkling effects and light wavy synth come together to create. I find the melodies in this song to be quite sweet, but not to the extent where it would be overly saturated with sweetness and become cringy. I also enjoyed the vocals of each of the members, particularly Seungyeon who flourished during the chorus. Hara and Jiyoung handled the raps this time and they were well executed for this song. The only flaw in this song was the terrible English in the song, which often did not make much sense (e.g. ‘You want me best one thing alright’). (8.5/10)
4. In The Game – To me, In The Game is another strong offering from the group. There is one thing I do dislike about it. But for the most part, I enjoyed it. First praise goes to the instrumental. I liked the upbeat jazzy and funky nature of the song. I enjoyed the brass, which reiterates the funky nature that I just mentioned. Second praise goes to the vocals and (part of the) rapping. I specifically mean the singing vocals. The chorus was stunning and Seungyeon really knows how to pack a punch. I also like the way they sing the title of the song together, which adds to the appeal of the song. Nicole’s rapping in the second verse also adds to the energy of the song, which was fantastic. With most of the praises out of the way, I must turn to the one thing I dislike. I am talking about the ‘G A M to the E R’. It was whiny, unnecessary and was the biggest disappoint of the song. Other than that, In The Game is an awesome track. (9/10)
5. Follow Me – Follow Me is what I would consider to be your typical side track. It doesn’t offer anything more than a pop sound. I must say that Follow Me is quite pleasant and this can go a long way, depending on the circumstances. Furthermore, I like the song’s consistency. It doesn’t dry out the song, given that the beat is nice. However, to me today, the song isn’t that exciting and pretty skippable. Their vocal work is warming, but not their most impressive display on this album. (6/10)
6. Smoothie – Pretty much the same thing can be said in Smoothie as in the previous song. I do find it a smooth track, but it doesn’t offer anything new or exciting. There is a jazzy vibe to the song, but it lies more on the R&B side of the spectrum. One positive aspect that I can pick up on is that their breathy vocals are quite nice and compliment the soothing nature of the song. But other than that, Smoothie is just another track on the album. (6/10)
7. 2Night – An upbeat number ends the Full Bloom era and it also serves as the final song we hear from Nicole and Jiyoung as part of the KARA lineup (Sorry for bringing it up!). It is a return to their more interesting and appealing side, as well. While 2Night doesn’t have any strong hooks to grab on to or memorable vocals draw me in, the song does have a easygoing funky 80s electropop instrumental that I enjoyed. Their light vocals work well with it. I do get a bit of a nostalgic vibe from the song, as this is a similar sound to a number of side tracks of KPOP artists that I used to enjoy (way back when I started this blog 9 years ago). (7/10)
Today’s album review focuses on EXO-SC’s latest album release, 1 Billion Views. It has been a while since I promised this album review for a reader of this blog. The long delay was mainly because I wanted to write reviews for each of their duo’s solo tracks that are featured on this album (as they had music videos). I just kept on running out of time to write them and ended up delaying them until earlier today. Please accept my apologies for the long wait! And before I delay it any further, here is my review for the 1 Billion Views album, which features the title track of the same name.
2. Say It (ft. Penomeco) – There are two main appealing elements in Say It. Unfortunately, neither of those two elements are actually EXO-SC. They are good in this melodic hip-hop track, but I just don’t have much to say about them. The first element that I enjoyed was the instrumental. It is quite laid back and has a lazy vibe to it (a compliment). Interestingly, it is also quite upbeat. Say It manages to find a well-balanced middle ground between having an active consistent beat and that lazy carefree vibe. The second element is actually Penomeco’s featuring. He comes into the track during the song’s chorus and helps smooth out the song quite nicely. I also like his voice and how it compliments that lazy vibe that I mentioned (also another compliment). But as this is an EXO-SC track, I am left wanting more from the main pair. (6/10)
3. Rodeo Station (로데오역) – Rodeo Station jumps right out at me with its guitar melody that kicks off the song. The rest of the instrumental builds on this, bringing in some brass and bass to give the song that oomph that I am always looking for in upbeat tracks. The song is more vocal centric, with both Chanyeol and Sehun focusing more on vocals for the most part in Rodeo Station. Both members sound pretty nice in this song. It also helps when the melodies is actually quite catchy and fun to listen to. There is a bit of rapping towards the end of the song and they do give the song a bit of a punch. Overall, I found the track to be quite likeable and each element in the song was appealing. (9/10)
5. Jet Lag (시차적응) – Jet Lag is a sentimental R&B track, which is all about wanting to return to their lover in their home country whilst they are overseas. The song is brought to life with pleasant acoustic guitar melodies, which I quite like. My only major complaint with this is that both Chanyeol and Sehun’s vocals seem to overpower the instrumentation at times and I would have preferred a finer balance between vocals and instrumental. However, the duo’s execution of vocals in this song is nice and enjoyable. Their harmonies throughout and the melodies are quite appealing in this song. It is a bit slow paced for my liking, but there is enough in this song to put it on the superior end of tracks. (9/10)
6. Fly Away (날개) (ft. Gaeko) – We get into even moodier territory with Fly Away. I really liked the instrumental for this song. It seems to delve into the R&B realm, featuring classical instrumental in addition to drums and R&B centric percussion. It is a stunning backing piece. Chanyeol and Sehun return to their status as EXO’s rappers by rapping throughout the song. It is a nice change up to their vocal-focus approach with their songs on the album thus far. Gaeko (one half of Dynamic Duo) actually does most of the singing in this song and his voice helps smooth out the intensity that the main pair add to the song. I quite like this contrast and this makes it a powerful track. Given its position, I would put this down as EXO-SC’s hidden gem. (10/10)
It is time for another album review. And today, I am going dive into a 2020 rookie’s album. I am talking about TOO’s second mini-album, Running TOOgether, which was released around a month ago. It features the title track Count 1, 2 and four additional title tracks. It is my first time reviewing an album from this group. Previously, I was going to review their debut mini-album (Reason For Being: Benevolence) earlier this year, but ended up dropping it from the list due to timing. I might return to that album some time in the future but that might be a while away. For now, here is my album review for TOO’s latest album release.
2. Step By Step – TOO continues the bright upbeat vibes with the groovy and retro Step By Step. The song is a lot more jam packed and intense, as a result. This is no complaint though, as I find this song to be ideal for a good ‘let loose’ session. The song seems to have various influences from the 70s through to the 90s, including synth drums, brass and disco elements. Everything comes together to be a lively and undeniably catchy track. The chorus is super catchy and memorable. And the energy of Step By Step just extends the song’s appeal even further. The vocals were amazing and the rapping was effortlessly merged into the song. Everything in this song just comes together so well. Even better that it leaves me with a gigantic smile once it wraps up. (10/10)
3. Better – Better is your typical slow pop ballad. It is a nice number to settle to after two awesome upbeat tracks. The instrumental isn’t that ground-breaking as it follows most pop ballads with a drum and piano prominent instrumental. The ending brings in some minute rock influences, but I wished them somehow brought some of this influence a little earlier to give the song some additional life. Vocally, Better really sounds good. The harmonies were the element that initially drew me into the song. TOO definitely boasts solid vocalists and rappers as evident in this track. I just wished their debut track did a better job of highlighting this. (8/10)
4. Taillight – Taillight kicks it up a notch, going for an R&B number. Unfortunately, I found most of the song to be plain. That would be the concise way to describe the song. It just felt like an extension of the preceding track. Other than that, I don’t want to blab on, given that I didn’t notice much in the song. However, I do want to make a short note regarding Taillight’s melody. It was good and soothing. (7/10)
5. Dancing In The Moonlight– Based on what I am reading, Dancing In The Moonlight is actually a remake of 1972’s Dancing In The Moonlight by King Harvest. TOO and the producers of the remake did a really good job of modernizing the song for 2020. I really like the addition of brass to give the song a prominent retro feel and how they all sing together for the chorus. It really bolsters up the song. The trap-based rap sequence in the second verse was probably the most unnecessary inclusion in this version. It just doesn’t tie in with the rest of the song. The rap sequence that featured during the bridge was much more fitting for the retro and brass elements of the song. (9/10)
Today’s album review will be a deep dive into GFriend’s ninth mini-album, 回:Song of the Sirens. This was released two weeks ago and features the group’s latest promotional track, Apple. This comeback is distinctively different to their previous comebacks (such as Crossroads on their eighth mini-album, 回:LABYRINTH, which was released earlier this year). This is another highly reccomended album release from the female group, with a lot of great side tracks. See what I thought about each of the songs below and check them out to see if you agree with me!
2. Eye of The Storm (눈의 시간) – The explosive start of Eye of The Storm really got me hooked to the song. It had Labyrinth (an awesome sidetrack from the group’s previous mini album) type of vibe to it. Unfortuately, the song does not keep to that type of vibe throughout. Such a bummer, as I would have loved a Labyrinth 2.0. Instead, Eye of The Storm opts for smoother pop melody that truly feels like the calm eye of the storm. It feels like an anime OST track, which is an appealing thought to have. I like how the song just keeps going with its fast tempo. It is quite dynamic this way. As for the vocals, I give them a big thumbs up. Their vocals are fluid, flowy and calming, which essentially compliments the title of the song. The melodies are also quite stunning. Overall, a really great start to the sidetracks on this mini album. (9/10)
3. Room of Mirrors (거울의 방) – This time, the start of Room of Mirrors reminds me of the early days of the modern era of KPOP. It actually has a bright and Summery start. As the song enters the first verse, you can feel that the song is a lot moodier than originally thought. The song is more in familiar territory for GFriend with the classical instrumentation. It alone is quite stunning. Paired with the melodies and you have a pretty alluring and beautiful song that is equally as dynamic as the preceding song, in its own way. We get a bit of an electric guitar solo during the bridge just to add to that GFriend familiarity, though the electric guitar does give off slightly different vibes. As like the last song, thumbs up to the vocals. It too is a stunning element of the song. But it is Sin.B’s rapping that really caught my attention and is what really solidified that idea of nostalgia in this song. (9/10)
4. Tarot Cards – One element of Tarot Cards that I like is it just doesn’t stop to take a breath. It might be an overwhelming song to some, as the song literally throws itself at you with its different routes and sounds. But I quite like it due to its exciting and thrilling nature. The start of the song starts off calm, before we are thrown into the fast-paced nature of the song with an opening that feels like the chorus (but it isn’t!). We are then taken on a rollercoaster ride of a choppy yet cohesive first verse that feels like it can be split into 3 distinct parts before being dropped into the actual chorus. And that is just the first verse. The rest of the song follows a similar set up. What makes everything quite cohesive that it collectively comes together to form another anime OST-like song. There was some really memorable parts in this song such as the ‘Shuffle haebwa’ just before the final chorus and the ‘la la la ta ta ta’ post-chorus hook. A definite strong song, in my opinion. (10/10)
5. Crème Brûlée – Crème Brûlée is the ‘odd ball’ song on this album. It doesn’t fit in any of the categories of anime OST or familiar GFriend territory. It is definitely has a playful tone and feels experimental. Good on GFriend for trying something a little different. The only issue is that I find the song to be quite boring. The song has this really dulled wooden xylophone start to it that is quite similar to other instrumentation that we have heard from other artists in the industry. The chorus infuses some trap into the song, but that is also something we have heard quite a bit. Their vocals are quite crisp in this song, so I would give the song that. I will also applaud Sin.B and Umji’s rapping in this song, which is another drawing factor in this song. I want to hear more of this rapping in the future, especially since Sin.B has established herself in a previous song. (7/10)
6. Stairs in The North (북쪽 계단) – We have finally reached the final song on the album and it is a beautiful song to end the album with. Stairs In The North is a classical rock ballad that ticks a lot of the boxes for a nice ballad. Firstly, the rock instrumental is quite refreshing and different to usual ballads. The instrumental break we get as part of the bridge where the electric guitar takes centre stage was a killer part! Secondly, the melody is makes me sway along to the song, which is always a sign for a good ballad. Thirdly, their vocals are stunning in this song. Fourthly, I love how the song felt like it was ending for a brief moment, but they instead got the song to fade out with an extensive instrumental break that I found quite captivating. So far, it is shaping to be a perfect song. However, I am not keen on one small detail. That is the sudden transition between the first chorus and second verse. But apart from that, this is such a pleasant and soothing song to finish up with. (9.5/10)
It is time for another album review. Today’s album in focus belongs to Red Velvet’s first unit, Irene & Seulgi. This duo debuted on earlier this month with Monster as the main promotional track. Two weeks later, the duo followed up with Naughty, which wowed fans (including myself) with its awesome sound and jaw-dropping dance. Both Irene and Seulgi also had solo videos, with Seulgi’s solo video also doubling up as a music video for her Uncover solo that is also on this mini-album. All the links to the songs I mentioned are below. And while listening to each song, why not read my deep dive into the album and the side-tracks.
3. Diamond – I really like the sensual vibes that we get from Diamond. It is that sleek style of R&B that reminds me of their rendition of Be Natural (previously released back in in 2014). In comparison to that song, Diamond has a bit of more energy to it, thanks to the beat in Diamond’s instrumental. While the instrumental is already quite weak, the song gets stripped at the bridge. Its placement really helped prevent the song from being too consistent, which is a common occurrence with R&B songs like this. The vocals from both members were quite nice throughout this song. They really do suit the R&B style as proven by this track. I also like the diva-vibes that come off the ‘Diamond in the rough’ repetition that opens and closes the song. (8/10)
4. Feel Good – Feel Good continues the R&B sound from the preceding track. This one has more of a kick to it when it comes to the chorus. While there is a consistent backbone that runs throughout most of the song, the chorus features a suitable but typical selection of synths. While the choice of style made sense and felt natural, it lacked uniqueness and memorability. And hence, it did come off as a bore to me. This is quite a pity, because I liked the direction in which the verses and pre-chorus was taking, especially the ramp up to the chorus. I just wanted a little more to the chorus. Not too much to throw the song off balance, however. The vocals were good. They sounded emotionless at times, but I felt that was appropriate when I went through the lyrics about feeling indifferent to their ex-lover and ruining their ex-lover’s life. (7/10)
5. Jelly– I expected Jelly to be a lot more upbeat regardless of their choice of genre. And that was delivered. In fact, I find the instrumental to be teasing us with its playful nature. It is subtle, but likeable. Once again, the vocals are quite good. I liked how they bolstered themselves up by singing together. It added a bit more energy to the song. I also enjoyed the use of brass in the song. It adds to that subtle playful nature that I mentioned. But it does so in a refined way that fits the R&B sound we get on this album. I would have enjoyed the song more if had stronger hooks and melodies. I felt the song lacked memorability due to the two lacking components. I did find the high pitched ‘What’ just before the chorus to have a bit of that memorable factor. But it wasn’t enough. (8/10)
6. Uncover (Seulgi Solo) – Uncover was the special track on the album and performed only by Seulgi. A music video was released for Uncover during the same week when we got the Naughty music video (I think was last week). As expected, Uncover takes on R&B. It is an aesthetic song, based on its abstract and choppy instrumental. I really like the small details in the instrumental, which adds to that aesthetic appeal and some textural components to the song. Her vocals are really nice in this song and adds a smooth flair to the song that the instrumental lacked due to those small details I just mentioned. It isn’t the most memorable song the album, but it definitely is a strong one nonetheless based on music and vocals alone. (8.5/10)
Last week when I realized that I hadn’t reviewed a particular group in the PAR (Past Album Review) segment, I had a quick search around to see which groups I hadn’t reviewed in this segment yet. And that is how I identified SHINee as the artist to review this week. I wanted to review a studio album from SHINee (as that is what their discography is predominately made up of). But I ran out of time to draft the review up, so today I opted to look at a mini-album instead. And when you think of SHINee, you think of ‘SHINee’s Back‘. So today, I will be reviewing the Sherlock mini-album which was released way back in 2012.
Sherlock Album Cover
1. Sherlock(Clue + Note) – Originally, I gave a 9.5/10 for Sherlock, factoring the song, video and performance. Given its iconic status and very powerful appeal, I have decided to bump Sherlock to that 10/10 rating. Click here for the full review of Sherlock (Clue + Note).(10/10)
2. Clue – For those who don’t know, Clue is one of the tracks that was mashed together with another on this album to form Sherlock. The title track made Clue’s ‘SHINee’s Back’ whisper and instrumental introduction forever iconic. It is also the birth-song of Sherlock’s first verse, the second part of Sherlock’s bridge of the title track and majority of the instrumental. With the rest of the song, the melody of the sections taken to Sherlock was continued. What I didn’t like about the song is that it doesn’t really feature a chorus. You could argue that what served as Sherlock’s pre-chorus was Clue’s chorus. However, I would say otherwise as it just wasn’t memorable enough to be a chorus. Though this might be my favouritism for Sherlock speaking. Regardless, Clue felt very incomplete because of this ‘missing chorus’. Two other aspects (one is positive and the other isn’t so much) of the song stood out for me. The positive aspect was Jonghyun’s adlib in the first half of the bridge. That felt cool and really added a colourful tinge to the song. The not-so-positive aspect was the abrupt ending, which is an element that I don’t like in any song to this day. (8/10)
3. Note – Note is the other ‘half’ of the mashup that formed Sherlock. When it first started, it felt like a completely different track as it had a slightly different instrumental. But as the song progressed, we approach the familiar sequences we can also find in Sherlock, such as the choruses, the pre-choruses, Key and Minho’s rap sequence that follows the chorus, the first half of Sherlock’s bridge and the closing sequence. As this song has a chorus (or the chorus, depending on how you think of it), it felt more complete. And since the chorus is quite powerful in both songs, the rest of Note reflected this by incorporating powerful vocals in the other parts of the song (i.e. the verses). I don’t really have much else to say regarding this song as nothing really stood out for me. But Note was still a good song. (8.5/10)
4. Alarm Clock (알람시계) – The next track on this album delves into the R&B genre and delivers an impressive display of the group’s vocals. Every member sounds superb in their own sections and I really liked how the members came together for the chorus. Their voices also do an amazing job of showcasing the song’s stunning melodies, which in turn helped the song become memorable and quite flowy. I also like Minho’s deep tone rap sequence at the end. It was so suitable for the song’s dramatic and emotional atmosphere. It was also served as an impactful ending for this nice song. I did think Alarm Clock‘s instrumental was a little standard for the genre. But it served as a great canvas for the member’s voices. I also really liked the twirling effect/sound they had going in the background, which added something different to the otherwise straightforward R&B instrumental. (9/10)
5. The Reason – The Reason follows a similar setup to the preceding song, where all the members contribute to the chorus by singing together. But some of the members do get an opportunity to shine amongst each other during the chorus. Regardless, all of these vocals and techniques come together to create one of the best sidetracks EVER. I admit that it has been a while since I have heard the song. But that makes relistening to The Reason so much better as it just blows me away, especially as the song approaches and enters the first chorus. The song is a ballad, but the instrumental is a little more modern with the use of electronic synths on top of a standard classical instrumental. It also features a substantial guitar solo that is just the icing on the cake for this song. I would love the opportunity to hear this song live one day, as I am sure it will be even more blissful in that setting. (10/10)
6. Stranger (낯선자) – From my understanding, Stranger was a single from one of the group’s Japanese album and also served as an OST for a Korean, Japanese and Chinese series. Stranger is okay as a sidetrack. I really liked the nostalgia that the song with how it started with the vibrating synths. The melodies remind me of OST of various dramas that I have watched while I was younger, so there is that sense of nostalgia as well. I also found it to be quite addictive and catchy, as a result of those melodies. But in comparison to the other songs on this album, Stranger feels quite weak vocally. It didn’t have that impressive vocal oomph that the other song had. I know the song may not be suitable for powerhouse vocals. But given that is what I have heard so far on this album, Stranger, unfortunately, feels like the odd one out. (7/10)
7. Honesty – The album ends with an acoustic track that puts the limelight on their vocals. While it isn’t powerhouse vocals, what we get in Honesty suitable for the acoustic nature of the song. And even then, SHINee pushes themselves in that direction. It is a casual song and is a lot lighter compared to the rest of the album. With that mindset, I find Honesty to be a pleasant album ender. It might also be different to the rest of the album as Stranger had also felt. But its placement was well thought out and the song served its purpose wonderfully. I love how the song ends with both Minho’s rapping, Jonghyun’s ad-lib and the fade out of the acoustic guitar. (9/10)
A month ago, WOODZ (aka. Cho Seung Youn) returned as a solo artist with his first mini-album, Equal. It featured the title track Love Me Harder (link for it down below). And now a month from its release, it is time for its album review. I hope this comeback has not been swept under a rug. Both the song and album (which I can say from today) is very underrated and needs more attention! But for those who may still be unfamiliar with WOODZ, here is a quick introduction. He is a member of UNIQ (the group currently on hiatus, and each member is focusing on solo activities) and was formerly apart of X1 (which has now disbanded). He has been active previously as a solo artist during the time between UNIQ and his appearance on Produce X 101, where he placed 5th overall. But the difference now is that his popularity has skyrocketed as a result to Produce X 101 and X1. And now, here is the review!
Equal Album Cover
1. Lift Up – For an opening track, Lift Up basically holds my attention hostage from whatever I was doing prior to listening to the song. I find that to be a very positive feature of the song, as that is what I want with the first track on the album. The start features a heavily autotuned deep voice, breathy sounds and dramatic strikes of instrumentation. We then move into the verses, which is probably what I want to describe as the ‘calm before the storm’, with the storm being the shouty chorus we get in Lift Up. It might be overwhelming the first time around for some, but I really like the thrilling nature. I liked the rough texture his voice brings to the song and the different textures we get in the background throughout the song, as well (such as the barking dogs and the flute in the second verse). It adds something different and captivating around each corner. I would have liked it if his pronunciation was a little clearer in the chorus. It didn’t occur to me that he was singing/shouting English lyrics until I searched up the lyrics. This was the only issue I had with Lift Up, otherwise it would have been deemed a 10/10 song. (9.5/10)
2. Accident – Accident is a smooth R&B track, placed cleverly after the intense and possibly overwhelming start to this album. It provides relief but does so in a way that continues the R&B momentum of the album. It starts off with a rock sound and it brews with that mindset. But it settles for the R&B as it progresses and loses that idea of going in a rock direction. Sure, this track may not be as powerful sounding song. But the lyrics are definitely quite heavy and may be as abrasive as how the preceding track sounds. Based on what I can understand, it seems like there is a toxic relationship, where pain is inflicted by one side and the other side accepts the pain as an ‘accident’. Not really a good message to put forward but it shows how willing one would go to get to know someone (but alas, in a twisted way). Aside from that, Accident show WOODZ’s vocals in a very memorable and epic manner. You can sense desperation and willingness in this voice, which would suit the twisted message that the song has. (9/10)
4. NOID – For some reason, the start of this song takes me back to Mamamoo’s HIP. Though, NOID is a lot darker and sinister. Once again, it delves into the R&B genre. But there is a groovy and subtle upbeat energy to the song. What the song does best is it shows off WOODZ’s vocals in an impressive manner. It compliments that subtle upbeat nature that I had mentioned just before as his vocals provide a slight kick to the song as well. And altogether, it is a good song. But in comparison to the rest of the album, I felt NOID was a little safe. This is more of an observation and I personally don’t mind this ‘safe’ connotation. It helps keeps the album grounded and doesn’t overload us with sounds or songs that could overwhelm us. (8/10)
5. Waikiki (ft. Colde) – With R&B being the main genre on this album, I was wondering when the sensual R&B vibes would kick in. Well, Waikiki answers that question. There isn’t much to the instrumental other than the clapping percussion and that very low humming we get in the background. We get more instrumentals added to the song as its progresses, but it isn’t really a massive difference. Despite its minimalist sounds, it is the artists that give the song its sensual vibes. Waikiki is driven by the melody that both WOODZ and Colde brings to the song via their delivery of their lines. I also found the contrast between the two artists to be very intriguing. WOODZ was at a somewhat higher pitch, while Colde stayed relatively low with his autotuned voice. It gives the song stability and really compliments the minimalist vibes. It isn’t my personal cup of tea, but it was very well executed. (8/10)
6. Buck(ft. Punchnello) – Buck is very different to what we have heard so far on this album. It is very energetic and packs a subtle punch. It also feels quite experimental. It takes more of a hip-hop profile rather than the R&B we heard on this album. It feels playful and carefree, in a way. The beat also seems very jabby. Nothing feels elongated or lasts for a substantial amount of time (relative to the length of the track). And I quite like this effect. Buck also features Punchnello and he brings a fast tempo to the song with his delivery, whereas WOODZ sounded mid-tempo. I also like it when they reach the back end of their verses, which featured a little more energy and urgency in their delivery. It adds more energy to the song in a way that compliments their rapping delivery. It may not be everyone’s cup of tea, but I find Buck to be a hidden gem on this album. (10/10)
7. Memories – WOODZ continues the divergence from the heavy R&B nature of the album with Memories. It is a ballad, as I had somehow expected from the title. I just had a feeling with such a sentimental title. What Memories (and this album, at large) has proven to me is how versatile WOODZ is. And this isn’t an observation of the songs. Even his voices have changed in each song, showing that he is fitting for many styles. In Memories, he sounds very blissful and his harmonies are breathtaking. Especially since he is rapper in both his previous groups. The instrumental is a little typical, going with a piano and drum set up. What I also enjoyed is the use of electric guitar throughout. It doesn’t make Memories unique, but I find it as a centerpiece to be quite refreshing. (9/10)
Despite the departure of their leader just prior to their original comeback date, AB6IX has managed to adapt well to the sudden change in their lineup. While they did delay the album release to re-record their songs and alter their choreography to fit the current four member lineup, the group pulled through this comeback without any issues. It looks like they have wrapped up their promotions already, but it is never too late to have a deeper drive into their album. Today, in addition to talking about each VIVID side track individually, I will be discussing the promotional potential of other tracks. What do I mean? Keep on reading to find out!
VIVID Album Cover
1. Red Up – Kicking off the album is the hip-hop influenced Red Up. During my initial listen of the song, the hip-hop influence during the verses and the inclining buildup we get in the pre-chorus gave me an impression of a really strong and impactful drop when it came to the chorus. But I was caught by surprised once we reach the chorus. Rather than being a hard drop, I found Red Up’s chorus to be sleek and trendy, thanks to the subtle impact brought on by the horns. It is very unexpecting, but I liked it quite a lot. I would have enjoyed the ending more they have incorporated something to add a little excitement and resolved the ‘repetitive’ issue that hindered the song’s appeal. The song itself was quite rap heavy, all of which was delivered by Woojin. He had big shoes to fill and he managed to do it all quite well. (8/10)
2. VIVID – If I had my way, VIVID would have been promoted on stage and potentially have taken over Surreal’s position as secondary promotional track. I really liked the whispers at the start. It was memorable and definitely got me intrigued to continue listening to the song. The song is quite punchy and had a decent level of excitement to it. VIVID answers one of my desire for the title track. It isn’t a direct continuation of that house sound we got from their earlier works, but I would say it is still in the vicinity. Each member also shined, which makes complete sense to promote the song. Woojin’s deep raps, Dae Hwi’s vocals, Woong and Donghyun’s falsetto in the chorus are just prime examples of them shining in this song. (9/10)
4. Surreal (초현실) – Under my imaginative plan for AB6IX’s promotions, Surreal would have served as the title track for VIVID (the album). Overall, it was a smoldering song which would have suited a mature look. And I believe that AB6IX really had that potential to nail such a concept and song. I really like the pounding nature of the instrumental. It is unique and very refreshing. I liked how they didn’t lose the song’s intensity, keeping it going throughout the entire song. I like the huskier and raspier vocals that the members had to bring to the song. This really compliments the darker atmosphere of the song. I would have liked the song to have a little more to it towards the end. It lacks a powerful climax to really bring the song to a close. It just continued going with the momentum from the start and to me, it just doesn’t feel finished. (9/10)
5. Midnight Blue– The song starts and ends with some acoustic guitars in the background. But the instrumental for everything in between just went with a pop sound and lost that acoustic guitar touch. It does peek through the instrumental at times, but it wasn’t the prominent feature to give that song a ‘dynamic’. I would have liked for the song to continue with that acoustic touch. It would have been an interesting appeal and Midnight Blue could have played with some cool dynamics. I did like the vocals and rapping in this song. Each member really shined in this song, like the rest of the songs on this album. (8.5/10)
6. Hold Tight (끈) – Hold Tight feels like it is the most typical track on this album by today’s standards. But this doesn’t mean I didn’t like it. I didn’t necessary get any special feelings towards the song. But there was a really good energy that makes it suitable for a dance club or party like environment. There was some decent intensity throughout, and I felt that the song really fits into AB6IX’s discography. Vocals and rapping were pretty good as well. I just found the song to lack that uniqueness that separates it from the rest of the pack of side-track releases from other artists. (7.5/10)
Since T-ARA’s last comeback in 2018 with What’s My Name, I have not review another T-ARA album. Given T-ARA’s dynamic and robust discography, I am surprised that it has taken me three and half years to revisit this group. The whole point of this ‘Past Album Review’ segment is to go back in time and revisit albums from current and previously active groups. With that, I will promise I will definitely keep T-ARA in my mind and hopefully comeback to review another album before the end of the year (I already have the next album in mind!). But until then, here is my review for the group’s 6th mini-album, And & End, which was released back in 2014, which was lead by Sugar Free.
2. ORGR – It was smart that ORGR was placed right after the intense nature of Sugar Free and before the softer songs on this album. It is like a bridge that connects the polar opposite songs on the album. There is a bit of edge to the song thanks to the hip-hop influence during the chorus, which connects well with the title track. The song is quite melodic and flowy in other parts, such as the pre-chorus, which goes hand-in-hand with the softer tracks. What I enjoyed about song even more is that sense of nostalgia that the song brings, reminding me of other previous female groups such as 4MINUTE, who easily would have thrived with a sidetrack like this. But this is a T-ARA sidetrack and I felt that the group executed it well. Their vocals were smooth and the rapping really helped give the song some additional sass. The song’s hooks including the ‘Na Na Na’ were quite addictive, helping make this song even more appealing. (9/10)
3. I Don’t Want You (남주긴 아까워) – I Don’t Want You stands out for its Parisian and artisan feel, based on the opening sequence. It is a very interesting and different sound to what I am used to. And it isn’t a sound that I would really be excited about. But I liked how they kept it going in the song. Nowadays, such influences would only last a short while. But in I Don’t Want You, it lasted for the entire 3 minutes. It adds a layer of elegance and gives the otherwise soft song unique colour. Vocally, T-ARA sounds very standard here. I did like how Qri’s rap sequence in the bridge was mixed into the song. It isn’t expected, but somehow the producers made it fit in without questions. Overall, a very nice song. (8/10)
4. Last Calendar (지난 달력) – While I was deciding which T-ARA’s albums I would review today, I noticed that their sidetrack discography was very ballad dominant. I hadn’t notice this before, which was rather odd. I do like my fair share of ballads. Last Calendar is nice ballad and one that I would put onto my ballad playlists for when I want to listen to slow music (or get lost in some feels). The instrumental is pretty standard overall. It has really soothing piano that starts off the song. And there is some guitar as well to add a little more zing to the ballad. The members bringing that swaying and flowy vocal melody that you know I like. It isn’t their most groundbreaking song, but it was still quite good. (8/10)
5. If I See Her (그녀를 보면) – If I See Her brings together interesting vocal melodies and a plain repetitive instrumental. You can probably tell which element that I enjoy more of. The vocal melodies really help boost this song and made something that I would have easily passed a little more attention grabbing. So good on the members for this song’s execution. Out of all the members, I find Jiyeon fits this style the most, as the song brings me 1 Minute 1 Second vibes (which, for those who don’t know) was Jiyeon’s solo debut track. Hyomin’s rapping was a little disappointing. I wished it was brought in differently and made to fit the song, rather than have it layered on top. That would have made the song more interesting. (7/10)
For today’s album review, I have decided to have a deeper listen to Hwasa’s solo comeback and first mini-album. Released two weeks ago, both the album and title track share the same name, Maria. The album also features Hwasa’s previous chart topping solo debut, Twit, and also the track for Hwasa’s most recent music video release, LMM. Just to summarise my thoughts on this album, more attention needs to be directed towards it. It contains three 10/10 songs, which isn’t something I do often. I may give out 10/10’s regularly to side tracks. But I don’t give that much out in one album! Which songs do I deem to be ‘perfect’? Well, you got to read on to find out!
Maria Album Cover
1. Nobody Else (Intro Track) – This short introductory track is quite loaded. Not only do we get her vocals in all its husky and raspy glory, Nobody Else’s instrumental transitions quite often. And when I say transition for this song, I mean that the song builds up. It starts off with natural sounds, as if we were in a rainforest or close by to a river as you can hear water trickling. To pair with the natural sounds, we have these eerie horn-like synths. It then cuts to Hwasa whispering ‘Nobody else’, before we are directed to some piano and Hwasa’s vocals. Within in a few seconds, we have percussion making an entrance and it gets heavier as it goes on. The introductory track, before easing out, goes head on with an intense dance instrumentation. It was one roller coaster ride, but it was well crafted to be cohesive track. (10/10)
3. Kidding – Produced by Zico, Kidding has this playful charm to it which helped make it interesting and different. It starts off with Hwasa singing alongside some acoustic guitars, followed by an applause, which gives off the impression that the performance was live. During this segment, she is singing about the how her partner loves her. It then cuts to a really groovy beat. Based on this transition, we could tell that the theme of the lyrics changed to Hwasa’s thoughts on her partner cheating on her. As the song progresses, we get some underlying jazzy influences which helps transform the song into fantastic number. I really love Hwasa’s delivery of her lines. There are some vocal works and harmonies in the background. But it is her rapping that steals my attention. I can feel her expressionless face bringing this song to life, with chaos ensuing in the background. I really like the ‘Are You Kidding Me’ reptition for the chorus, which was simple but effective in this song. (10/10)
4. Why –Why feels like a Western pop track. It begins with a suspenseful pop beat. Nothing special, if I were to be honest. Aside being a backdrop to Hwasa signature vocals. The chorus brings a rough, robust and crunchy instrumental sequence. It was a logical progression, in my point of view, and it allows for some choreography to be brought onto the stage if the song is ever performed on stage. The song repeats the suspenseful but plain verse, followed by the rough and crunchy chorus. While it was interesting texture wise, I wanted it to have something else as it got to the end to avoid becoming repetitive as it did. It is still a good song, nonetheless, just missing that element to be better. (8.5/10)
5. I’m Bad Too (ft. DPR Live) – I’m Bad Too is a short song. This is just an observation as I felt the length of the song was suitable. It didn’t play around with repetition to extend the length of the track and drain the appeal of the existing song. The instrumental seems to be lighthearted and playful, whilst the lyrics was all about Hwasa being angry (in a suitable tone) about a former partner. DPR Live features in the song and seems to act like a brotherly figure based on his lyrics. And I liked it. It adds a different dimension to the song and adds to that lighthearted atmosphere while also making sense lyrics-wise. It isn’t a standout song in my opinion, but the creativity of the lyrics earns the song a tick. (8/10)
6. LMM – There was a music video release for LMM during this past week and I have decided to keep it for the ‘Missed Review’ music video posts that I will be publishing in the future. It is coming, I swear! As for LMM, it is a breathtaking song that allows Hwasa’s vocals to shine. It is a ballad that sounds best if you put everything down and just zone into it. The instrumental and melodies are all very breezy, making it nice for a night drive or a reflective walk where you just want to be by yourself. What makes this an even more powerful song is that you don’t need to understand Korean. You can connect with her vocals, in one way or another. It is so impactful that the song also earns the third 10/10 on this album. (10/10)
KPOPREVIEWED 