It has almost been a year since JAEHYUN made his solo debut with his 1st studio album, J. Leading the 8-track album is the title track Smoke, an English version of the title track, as well as the pre-release singles Roses and Dandelion. As usual, links to the full reviews and music videos for the highlighted tracks, as well as my thoughts on four side-tracks and their audios, can be found below. J is very much an R&B-centric album, with all songs practically finding roots in the genre in some shape or form. While consistent, it does feel a little repetitive as it progresses. But that doesn’t mean the album is not of high quality and shows JAEHYUN’s passion for the genre.
Since the release of J, JAEHYUN also released a single titled Unconditionally (yet to be reviewed) in October 2024, before enlisting in the military the following month.
3. Flamin’ Hot Lemon – Continuing on with the R&B vibes is Flamin’ Hot Lemon. This all-English track is quite straightforward and smooth, despite having a pronounced beat. As for JAEHYUH, his deep vocals bring forth a sensual and evocative tone to the song that is quite alluring. I wished there was a bit more to the song, but it is fine as is. (7/10)
The official audio for Dandelion can be heard here.
5. Completely – This track is a ballad, and it is a stunner. Two elements stand out to me. The first is the piano instrumental, which is just beautiful. The way it dominates the background is so striking to me. The second is JAEHYUN’s vocals, which I can only describe as heavenly throughout Completely. His falsettos just feel so light. The melodies didn’t necessarily jump at me at first, but I love how captivating they get as I really settled into the song. (9/10)
6. Easy – Easy stays within the R&B genre, but gives off more of an alternative vibe. I liked the ripple-like synth that consistently played in the background, while the soft trap beat served as a good accompaniment. JAEHYUN’s vocals are nice throughout. But the chorus caught my attention. The “Easy come, easy go” and “Playin’ hot, playin’ cold” line is actually quite an earworm for me. (8/10)
7. Can’t Get You – After many straightforward R&B numbers, Can’t Get You is appreciably refreshing and is my personal pick for J’s hidden gem. JAEHYUN maintains the vibey and mature nature commonly associated with R&B, but mixes it up with jazzy and tropical elements that elevate this track above many of the others on the album. I love the backup vocals and am a sucker for the brass solo. JAEHYUN is also very alluring. I liked how he tapers some of his lines, and how much he gives to the ad-libs at the end. (10/10)
8. Smoke (English Version) – See my review for Smoke above under track 1.
LE SSERAFIM’s 4th mini-album CRAZY, which shares the same name as its title track, is the focus of this album review post. It was released at the end of August of last year, and CRAZY became a massive hit in my books since then. The rest of the mini-album was extremely strong (based on my standards), so it is a highly recommended listen from me. Plus, a particular side track was nominated as part of the 2024 KPORPEVIEWED Awards. You can find out which track, and my thoughts on the rest of the songs that make up CRAZY (the mini-album), down below.
CRAZY follows on from LE SSERAFIM’s 3rd mini-album, EASY, from earlier in the year.
CRAZY Album Cover
1. Chasing Lightning – The album starts off with the usual narration from LE SSERAFIM. This one occurs over a techno backing piece that readies us for what is to come on this mini-album. There are some brief vocals, as well. The narration tells 2 narratives. The first half of the track features some dialogue with disapproval responses. It concludes with the pessimistic message that ‘they cannot change the weather.’ But then LE SSERAFIM flips the script, accepting that they cannot change the weather, but they can ‘chase the lightning’. From here on out, the same dialogue recurs with responses that look towards the positive side of the situation. (9/10)
2. CRAZY (Title Track) – Since its release, CRAZY has grown on me excessively. So, I am bumping the original song rating from an 8 to a 9. Click here for CRAZY’s full review. (9/10)
3. Pierrot – Pierrot brings hip-hop to the mini-album. While I am not a hip-hop person, it doesn’t take me much to realise that Pierrot is a strong track. I like how LE SSERAFIM maintains this vibe throughout, keeping the track simple and straightforward for the most part. It does steer into interesting and unique territory when Pierrot leans into opera. Very random, but honestly very cool. Pierrot also samples Kim Wan Sun’s Pierrot Laughs At Us. (8.5/10)
4. 1-800-Hot-N-Fun – If you somehow missed it, 1-800-Hot-N-Fun was nominated for Best Rock Song in the 2024 KPOPREVIEWED Awards earlier this year. The reasons for this are straightforward. The guitar work made 1-800-Hot-N-Fun extremely memorable, and LE SSERAFIM’s attitude-filled delivery heightened the song further. Extra points for the hooks and embodiment of the rock sound. (10/10)
5. Crazier (미치지 못하는 이유) – After such bold songs, they end the mini-album with a bit of whiplash in the form of a ballad. Crazier is a nice soothing track, with beautiful and stunning vocals from the group. I liked the acoustic nature of the instrumental. I’m just not sure if it is the right song to end this particular mini-album with. (8/10)
OH MY GIRL returned in August last year with their 10th mini-album, Dreamy Resonance. Almost a year on, I am getting around to reviewing it. It features a total of 6 songs, including the title track Classifed. A reasonably strong mini-album, Dreamy Resonance was consistent and had some good side-tracks on it. I recommend you check out the mini-album if you haven’t already done so in the past year.
Dreamy Resonance follows their 9th mini-album Golden Hourglass (led by the title track Summer Comes). More recently, the group celebrated their 10th anniversary with the single Oh My.
2. Start Up – OH MY GIRL goes for feel-good vibes in Start Up. I love the bright and bubbly energy that the members exude, whilst the instrumental gives off a summery pop vibe. MIMI’s rapping adds a dynamic and punchy flair that uplifts Start Up. I do like the addition of the militaristic drumming in the bridge, which gives the song a touch of edge. The final chorus did feel a tad longer than it needed to be. But that isn’t too much of an issue. Overall, a really nice upbeat track. (8.5/10)
3. LA LA LA LA – MIMI and SEUNGHEE join hands for LA LA LA LA, a mid-tempo track that leans towards R&B territory. I like the way the two of them meld with each other for this track. Their almost-whispery vocals in the chorus were a nice middle ground, and the hooks had a nice ring to them. SEUNGHEE does well in the verses with her vocals and MIMI’s rapping adding some edge to LA LA LA LA. But on the flip side, there wasn’t much to remember the verses by, and the instrumentation behind the rapping made it feel boring. (8/10)
4. Sway (YOU & I) – YUBIN and ARIN lean more into the R&B genre with a dreamier instrumentation that incorporates strings and a touch of synths that sounds like water droplets. Both YUBIN and ARIN sound very nice throughout the track. I really liked the way they delivered the “Sway to the left, sway to the right” hook in the chorus. The rapping was unexpected, but I liked how it made Sway sound more interesting. (8/10)
5. Love Me Like You Do – HYOJUNG and YOOA bring us Love Me Like You Do, which, to me, is the best track on this mini-album. The vocals, harmonies and layering in this track are quite captivating. I like how calming and wispy the instrumental is overall, but the additional soft clashes and brief bursts of strings in the second verse just give it a little more. I don’t have much else to say about the track other than I like to sit back whilst it is playing to take it all in. (9/10)
6. Heavenly –Heavenly is a very pretty mid-tempo ballad, especially during its pre-choruses (I can have this part on repeat). I love how light and stunning the vocals are throughout the track, and the instrumental is simply beautiful. That latter comment can be applied more broadly to the entire song, where keeping everything simple and straightforward paid off. What a lovely way to end the mini-album. (9/10)
Next album up for review is ZEROBASEONE’s CINEMA PARADISE. This is the group’s 4th mini-album, released in August 2024. It features a total of 7 songs, including the title track GOOD SO BAD and the Korean version of YURA YURA. Overall, I thought it was another consistently solid mini-album from ZEROBASEONE.
ZEROBASEONE’s last Korean release was their 3rd mini-album, You Had Me At Hello, which featured the singles SWEAT and Feel the POP. More recently, ZEROBASEONE returned with their 5th mini-album, BLUE PARADISE (yet to be reviewed), which featured the single Doctor! Doctor! (also yet to be reviewed) and BLUE.
2. KILL THE ROMEO – KILL THE ROMEO is a fun and exciting track with a cool contrast in its sound. It starts off bright and upbeat, then shifts into a darker, more textured vibe for the chorus, which lends the song a great deal of depth. The catchy refrain brings back that light, clubby energy, and I really liked how fun and infectious it felt in that moment. The second verse has some of the best vocals in the song, aside from the powerful ad-libs near the end. I also want to mention the second half of the bridge, which introduces a deeper, denser club feel that smoothly transitions back into the final chorus. (9/10)
3. The Sea (바다) – The third track on the mini-album is ZEROBASEONE’s remake of The Sea, a song originally released in 1997 by UP. I liked how ZEROBASEONE maintained the original melodies of the chorus, which sound sweet and bright in the context of ZEROBASEONE’s vocals. The rapping (by JIWOONG and MATTHEW) from the original is also retained and delivered in a much cleaner manner than the original song. I also like how the song is bookended with sounds of people having fun, which helps bring out more of that summery vibe. (8/10)
4. Insomnia – The fast-paced drumming and percussion, particularly in the chorus, make Insomnia very likeable. This is over some dreamy synths, which creates a very alluring and chic contrast. I like how their vocals transition between those dreamy moments and when there’s a rush of energy through the drumming. The rapping was a nice turn and gave us a fine balance between the two ends of the spectrum in Insomnia. (8/10)
5. Road Movie – ZEROBASEONE puts on their hip-hop hats for Road Movie, showcasing their rapping skills for the majority of the song. All the members who rapped in this song did a great job, and I liked how each section had a different vibe, which allows us to really explore their rapping. However, it is the non-rapping choruses that steal the show in Road Movie. ZHANGHAO and TAERAE bring their dreamy vocals into the fold during the choruses over some atmospheric synths. These parts are beautifully stunning and is probably some of the best vocals on this mini-album. (9/10)
6. Eternity – I remember thinking the thumping at the start was the start to something dramatic. But Eternity turns out to be an R&B pop track. Their vocals make the track sound very nice and pleasant, with Eternity sounding particularly well when all the members sing together as part of the chorus. (8/10)
7. YURA YURA (Korean Version) – In case you missed it, YURA YURA was my pick for Best Japanese Song by a Korean Artist in the 2024 KPOPREVIEWED Awards. I chose it for its catchy and lively chorus, which both versions of the song feature. The slight dash of rock within the pop sound adds great depth to the song. I also enjoyed the post-chorus sequence, as it leans YURA YURA into head-banging territory. The vocals are solid throughout, which really helps pull everything together. (8.5/10)
As promised, here is the next post – just coming in at the very end of the day, where I am. Anyhow, this next post is the album review for TAEMIN’s 5th mini-album, ETERNAL, which was released in August 2024. A total of 7 songs are featured on this mini-album, including the singles Sexy In The Air and Horizon. The mini-album serves as his first mini-album following his departure from SM Entertainment (but he continues to be attached to SHINee, as evident through his participation in the recently released Poet | Artist) and commemorates the tenth anniversary since his solo debut. The mini-album also follows Guilty from the year before.
Overall, ETERNAL is another strong mini-album from TAEMIN. I mentioned something below as part of my thoughts on one of the songs, but I think it’s a statement that can be applied to the entire album. Put simply, this mini-album showcases TAEMIN’s artistic sense through his diverse range of sound profiles and the aesthetics presented in each track. More on this down below.
ETERNAL Album Cover
1. G.O.A.T – The mini-album starts off with a hip-hop track with some classy instrumentation. The piano and R&B vibes in this track make G.O.A.T feel sophisticated, while the EDM elicits a strong feeling that the accompanying performance would be a killer. TAEMIN has a strong command, and he really shows it off by making the opening single really captivating. (9/10)
3. Horizon– Horizon is the mini-album’s secondary single. I had initial plans to review it separately (as it does have its own music video – see below). However, if I remember correctly, the music video was briefly taken down, and I never checked if it had been re-uploaded until today. Anyhow, Horizon is a bold single with its punchy synth-pop instrumentation. The bass gives the song extra depth, and the chorus really hits with a strong burst of energy. TAEMIN absolutely shines here, and I liked how he makes the hooks feel so impactful and memorable. (10/10)
4. The Unknown Sea – Midway into the album, TAEMIN treats us to a ballad that speaks to the excitement and nervousness of the unknown. What makes The Unknown Sea more memorable from the onset compared to other ballads is that this song has bite to it, both in a vocal and instrumental sense. TAEMIN puts heft and emotions behind his vocals, which allows him to sound stunning and captivating in The Unknown Sea. The instrumentation is beautifully sparse, and I like how it builds as the song progresses. (8.5/10)
5. Crush – Crush sees TAEMIN venture into retro and electro-pop. TAEMIN also brings some funk to the mix through his vocals, giving the track some MJ flair. The “Na Na Na” is very catchy, and I enjoyed the textures in the background. Everything in this track had me coming back for more. (10/10)
6. Deja vu – Deja vu has this grandness to it that leaves me in awe. The classical side of the instrumental is captivating, while the basic trap beats and the background vocals in the bridge just give Deja vu a modern side to it. Both come together to truly show TAEMIN’s artistic style, though I wish the producers had explored more of that modern side in the background. He has consistently shown his strong vocals throughout this mini-album, but the way he carries himself throughout Deja vu feels elegant and just doesn’t disappoint at any moment. (9/10)
7. Say Less – TAEMIN closes out the mini-album with another non-traditional ballad. Say Less differs from traditional ballads through the presence of synths in its instrumentation. I enjoyed the atmospheric vibe that comes off Say Less’ backing, as well as his ethereal vocals (and accompanying processing) in this track. (8/10)
The next album to be reviewed is NMIXX’s Fe3O4: STICK OUT, the group’s third mini-album. This was released back in August last year, alongside the title track See That?. It features an additional five high-quality side tracks, which you can read more about, as well as my thoughts on them, below. Fe3O4: STICK OUT serves as the second instalment of their Fe3O4 series – the first being Fe3O4: Break from early 2024 and the third being Fe3O4: Forward from earlier this year (which I have yet to review – an album review for this mini-album is definitely on the cards).
2. Sickuhh (ft. Kid Milli) – Building on the hip-hop vibe of the title track, Sickuhh takes it even further into the genre. NMIXX and Kid Milli team up through rap to deliver a super chic and sleek track that keeps that classic hip-hop bounce. Everyone’s flow was on point, and I really enjoyed the energy each member—and Kid Milli—brought to the song. The production was cool and solid, making Sickuhh a track that is hard to pass up whenever it comes on. (9/10)
3. Red Light Sign, But We Go – This next track sticks with a hip-hop vibe but leans more into electronic sounds. The instrumental is super bold and intense from start to finish, which makes Red Light Sun, But We Go feel really powerful. The rapping didn’t hit as hard as in the previous song, but the vocals in the pre-chorus definitely made up for it. I just wish the hook wasn’t so repetitive and chant-like, especially toward the end—it felt a bit too safe for such an otherwise daring track. (8/10)
4. BEAT BEAT – NMIXX leans into a more pop sound in BEAT BEAT. I really liked the energetic marching-style beat and the touch of edge in the choruses. Their vocals and rap parts were strong throughout, but what stood out most to me were the ad-libs at the end. Whilst the ad-libs were in play, I especially loved how the music kept driving forward while BAE and LILY kept the energy going with their powerful delivery. (9/10)
5. Moving On – Moving On has NMIXX trying out pop rock on the mini-album, and they really pull it off. It reminds me of the pop-rock from the 2000s that I grew up with. The band instrumentation sounds great and keeps the song engaging. The electric guitar in the chorus is a highlight—it adds a quick but powerful burst of energy. I also enjoyed the warm, bright vibe the members bring with their vocals. They sound refreshing, and this tone helps deliver the song’s uplifting message. A stronger hook could have made Moving On even better, though. (8/10)
6. Love Is Lonely – Wrapping up the mini-album is the EDM pop track Love Is Lonely. NMIXX’s beautiful vocals immediately pulled me in, and I couldn’t stop thinking about the song after my first listen. I loved the dreamy vibe they bring to the chorus, mixed with the subtle energy of the EDM pop beat. While the hooks and melodies feel a bit muddled at times, it doesn’t take away from how stunning the song is overall. (8/10)
Next up on the album review front is KARD’s 7th mini-album from August 2024, Where to Now? (Pt. 1: Yellow Light). It is led by the title track Tell My Momma and features four additional songs and two instrumental tracks for the title track and the side track Boombox. This mini-album followed their 6th mini-album, ICKY, and the title track of the same name.
I can confirm that I didn’t care much for Tell My Momma since I reviewed it last year. But I was excited to still review the rest of the release, as the side tracks for this mini-album were all exciting listens. The title track was the mini-album’s only letdown from my perspective. More thoughts on the title track and each of the side tracks are down below.
Where to Now? (Part 1: Yellow Light) Album Cover
1. Waste My Time – I liked the concept of Waste My Time, which expresses the desire to be with the person they love, even if that means they are just wasting time. What I loved the most about the opening number is the velvety vocals SOMIN and JIWOO consistently showcased throughout Waste My Time. It pairs so well with the softer and atmospheric tropical house instrumentation. As for J.Seph and BM, they rap well in Waste My Time, but I find their parts fit in less due to their harsher deliveries. Sure, it gives Waste My Time a little more texture and edge than just velvety, but I think their parts could have melded better with the rest of the song. (8/10)
3. Boombox – Boombox is one of the side-tracks I remember the most from 2024. It was an unexpected favourite of mine, thanks to its boldness. It probably helped coming off such a low-key song. KARD did an amazing job bringing old school hip-hop vibes to life in Boombox – it was the song’s strongest asset. But while all members went in hard, I give extra points to JIWOO, who smashed that pre-chorus out of the park. Definitely a highly recommended KARD song. (10/10)
4. SHIMMY SHIMMY – SHIMMY SHIMMY stays in the hip-hop realm, but KARD takes on a more modern feel of the genre. I love the vibes and rhythm of this one. I also enjoyed the robustness of the instrumental and heightened beats. The chorus is also quite catchy as a result. I liked the passion that the group infuses into both vocals and rapping. It makes SHIMMY SHIMMY even more appealing and enticing to listen to. (8/10)
5. SPIN – SPIN is easily KARD’s experimental track of this mini-album. There is a fair bit going on between the Spanish words, the squeaky and striking synths and beats that give SPIN its own personality, and the shouty delivery of some of the lines. This is on top of their usual vocals and rapping, which were effortless in SPIN. Despite all of that, I never once put down SPIN. It is still a unique, fun and unapologetic track. (9/10)
BAMBAM’s 3rd mini-album, BAMESIS, is the next album to be reviewed on the blog. Released in August last year, this mini-album features 5 songs – one of which is the title track LAST PARADE. It is his first solo release since Sour & Sweet in 2023. It is also the last album released by the artist under ABYSS Entertainment – BAMBAM signed on with Halo Entertainment earlier this year. More recently, BAMBAM reunited with the rest of GOT7 for a new album, Winter Heptagon (led by the single PYTHON) and a series of concerts.
Overall, BAMESIS is a consistently fair album. It is a good mix of songs from the soloist, with BAMBAM going with different genres across the five songs. Have a listen below and let me know what you think about BAMESIS.
2. Mi Último Deseo– BAMBAM impresses in Mi Último Deseo, where he sings in English and Spanish. It is quite unexpected, given that the title track is in English and Korean. But very enjoyable nonetheless. Mi Último Deseo features a Latin-influenced instrumentation that comes off quite smooth overall. Mi Último Deseo could have infused a heftier beat or included more bite to the background, especially as the song progresses – it lacks a peak. But Mi Último Deseo is still a pleasant and interesting listen from BAMBAM. (8/10)
3. Ball Like That – Ball Like That brings together an R&B beat and atmospheric synths to make a very nostalgic-sounding track. Along with BAMBAM’s delivery, I find it reminiscent of the R&B that I enjoyed when I was younger. The smoothness of Ball Like That makes the song feel sleek and suits BAMBAM’s style. I also liked the freshness that his vocals bring to the music. The melodies were also relatively straightforward but catchy. However, I wish there was more to Ball Like That, simply because it doesn’t feel complete there yet. (8.5/10)
4. Must Be Nice – Must Be Nice embraces a soft pop-rock instrumental that melds so well with BAMBAM’s more delicate vocals, a side that we don’t hear all too much from the soloist. The atmosphere that develops throughout Must Be Nice is so soothing and calming. The guitar work is exceptionally nice, and I liked how the drumming/percussion elements nudge the song along subtly. (8/10)
5. Thank You Come Again – BAMESIS is brought to a close with Thank You Come Again, a hip-hop track with a bouncy beat and engaging rapping delivery. His flow throughout the track is impressive and engaging. I also liked the female vocals in the track, which pop out amongst the rest of the track. I appreciated how this track, although quite hip-hop leaning, doesn’t overdo it and doesn’t sound too energetic. It’s easygoing and works well as a final track on the album. (8/10)
fromis_9 is gearing up for a comeback in June with a reformed lineup of 5 members (Song Ha Young, Park Ji Won, Lee Na Kyung, Lee Chae Young, and Baek Ji Heon), after it was announced that the group would not renew their contracts with Pledis Entertainment and that Lee Sae Rom, Roh Ji Sun and Lee Seo Yeon would be departing the group. It is time to review their last album release as an 8-member group ahead of the comeback. Supersonic (the single album) was released long overdue in July 2024, with the title track of the same name and 2 additional side tracks.
Despite the long hiatus between Supersonic and their previous album, Unlock My World, fromis_9 proved they were still on the ball with a chart-topping hit and 2 impressive side tracks. More on the songs can be found below.
2. Beat The Heat – The one thing that Beat The Heat could have done better is cohesion, as the rest of the track is pretty good. The single has a bit going on, but it doesn’t overwhelm. But those bridging moments are quite tight, and I wish they were a little more breathable. It maintains its upbeatness all throughout the song and sounds well-suited for the summery period in which it was released. I found the slightly descending melody in the first chorus quite abstract initially, but it grew on me over time. The group delivered everything else nicely. A great song, overall. (9/10)
3. Take A Chance – Beautiful vocals make Take A Chance a stunning listen. I enjoyed the contrast between the consistently beating instrumentation and the delicate melodies. And in addition to the beautiful vocals, I love how sweet and nostalgic everything came to be. It is a perfect song for a nice breezy day in Summer and the new chapter they are embarking on for each of their careers. (10/10)
The next album for review is BANG&JUNG&YOO&MOON’s Curtain Call. It marks B.A.P’s grand return to the music scene after almost seven years, even though only BANG YONG GUK, JUNG DAEHYUN, YOO YOUNGJAE and MOON JONGUP are represented in this comeback (ZELO is currently carrying out his military enlistment). Curtain Call serves as B.A.P’s 6th mini-album since their debut in 2012 (14 years ago at its release), and features 5 songs, including the title track Gone.
While they have stuck around following the release of Curtain Call, as they did make a Christmas comeback in December 2024 with Christmas With You, the name of the mini-album, pre-release track (Farewell) and title track did sound like a last hurrah for the group. I am unsure of what they have planned for the future. However, I would love to see the quartet reunite with ZELO for future promotions and music releases and revive the group I always saw as having the most potential from the moment they debuted. But until we get confirmation of that, here are my thoughts on Curtain Call.
Curtain Call Album Cover
1. Love– In their first track in almost 7 years, Love expresses the emotions associated with falling in love, which I am sure is a message directed towards their fanbase (BABYs). It is a refreshing pop-rock track showcasing what we have missed out on for the last 7 years. What I really like about Love is how passionate the members sounded. From the stunning vocals and rapping, Love was pleasant yet powerful in its own right. (9/10)
2. Farewell (빛바랜 날들 이젠 잊고 다 안녕)(Pre-Release Track) – Just like the title of the mini-album, Farewell made me slightly nervous for the same reasons as mentioned in the intro of this review. But rest assured, Farewell’s lyrics speak to saying farewell to the past and looking forward to the future. It is also a pop-rock track, though the upbeat tempo and intensity of the instrumentation do make it more rock-leaning. It is the vocals that bring the track’s pop side to life. I particularly enjoyed BANG YONG GUK’s familiar hoarse vocals in this song, but there is also a strong showing from the others. (9/10)
4. Stand It All – Changing up the momentum of the mini-album is Stand It All. It is a ballad that speaks to accepting the unhappy moments and holding on strong during them. Like most ballads, I am drawn to its vocals, which have consistently stood out on this mini-album. In Stand It All, it is so emotional and heartfelt. Even the rapping was done so profoundly and resonates alongside the vocals based on emotions alone. Regarding the instrumentation, I liked the oomph it gives the ballad. Altogether, Stand It All a very powerful side-track from the group. (10/10)
5. Way Back – We go back to the rock genre with Way Back, the final song of the mini-album. The lyrics reflect on the past and look towards the future. Like every song before it, Way Back impresses on the vocal front. YOO YOUNGJAE’s delivery of the song’s hooks and melodies stands out. Though, per usual, all members sound excellent. The instrumentation is probably the most traditional and straightforward on this mini-album and could have been toned down slightly to not mask the vocals. However, those are just minor elements that do not hinder Way Back’s appeal. (8/10)
YOON SAN-HA was a close contender for a nomination for Best New Male Soloist in the 2024 KPOPREVIEWED Awards, but he ultimately missed out on a nomination. Had DUSK, YOON SAN-HA’s solo mini-album, been promoted on the music shows, I think he could have clinched a nomination. This would have helped it stay more prominently in my mind for when it was time to decide on the nominations. Anyway, if you can’t tell, I am reviewing DUSK today. It is a 6-track mini-album, featuring the title track Dive. As indicated throughout the mini-album, YOON SAN-HA focuses on R&B and ballads on his solo release, with one song earning itself a deserving 10/10. To find out which song that is, keep on reading below.
DUSK Album Cover
1. Yeowoobyul (여우별) – Yeowoobyul makes for a decent start to the mini-album. The first word that comes to mind when I revisit the song is tender. The acoustic guitars and soft percussion that comprise the instrumental for Yeowoobyul evoke R&B vibes, but SAN-HA’s vocals are as soothing as expected for a ballad. The presence (or feeling) of both these genres essentially sets up for what is to come on DUSK. While it is a vocally pleasant track with really nice, swaying melodies, I don’t recall much about this song when compared to the others. (7/10)
2. Losing My Mind – I recall when I first checked out the mini-album, Losing My Mind unexpectedly surprised me for being all in English. And even months on from the release, that unexpected feeling remains. Losing My Mind leans more towards the ballad side, featuring a piano-only instrumental. What gets me is how heart-wrenching SAN-HA sounds. Yes, he sounds stunning throughout “Losing My Mind,” but you can definitely feel the emotions pouring out of the song and his vocals. A memorable 10/10 for me. (10/10)
3. BITTERSWEET MISTAKE – BITTERSWEET MISTAKE moves the album into R&B territory and is the first to feature a prominent beat. It also features some dreamy synths and some sensual energy that I associate with the R&B genre. SAN-HA sounds very mature in this number. If you are unfamiliar with SAN-HA or ASTRO, I don’t think you would have guessed that he is the youngest in the group based on this track. I would have liked to hear a bit more in BITTERSWEET MISTAKE, as it is very linear, lacks development and ends abruptly. (8/10)
5. BLEEDING – Shortly after the release of the mini-album, SAN-HA dropped a performance video for BLEEDING, which I have linked below. As for the song, BLEEDING keeps us in the R&B territory, but the vector is a dance track with textural synths. I liked the crunch those synths give BLEEDING. When we get to the chorus, SAN-HA really hits his stride vocally in the song’s centrepiece, and the drop has this slight boldness to it, which I enjoyed. I just wish there was something more to BLEEDING that kept it from being so neutral from start to end. (8.5/10)
6. Rain Down On Me – Finishing off the mini-album is Rain Down On Me, which is a slight step up in terms of dynamism compared to the previous song. It continues with the R&B sound, but with a smoother dance vibe. I really like the guitar work in the background and how fitting the whole instrumental felt for a rainy day. I also appreciated the profound quality of SAN-HA’s vocals in this song. (9/10)
JIMIN’s second studio album, MUSE, is the next album to be reviewed on the blog. It was released in July last year and features the title track WHO as well as the pre-releases Smeraldo Garden Marching Band and Closer Than This. This album was released after JIMIN enlisted in the military in December 2023, and as a result, no promotions for MUSE occurred. However, that didn’t stop it from rising to the top of Billboard’s Global 200 (a first for JIMIN) and remaining there for 2 consecutive weeks.
Overall, I would categorise this as a fair KPOP album. There are some decent and strong side tracks on the album, but the title track weighed the studio album down for me. My thoughts on WHO can be found in its own review (link below), while my thoughts on the other tracks, including the pre-releases, are included in this post below.
MUSE Album Cover
1. Rebirth (Intro) – It now strikes me as odd to see a track that goes for 2.5 minutes long and be branded as an intro track, since the length of actual tracks has dwindled down over time. Anyhow, the album begins with Rebirth, a very atmospheric instrumental piece that is heightened by JIMIN’s angelic vocals and harmonies with those in the background. I enjoyed the warmth and comfort that is exuded from Rebirth, both of which make for a beautiful start to the album. (9/10)
2. Interlude: Showtime – From the intro, we jump right into the interlude track. Showtime feels like a cheerful circus or local fair tune, and directly leads us into the next track.
3. Smeraldo Garden Marching Band (ft. LOCO) – One of the tracks I have unfortunately not reviewed in full is JIMIN’s Smeraldo Garden Marching Band, which was released as a pre-release track ahead of the release of MUSE and WHO (the title track). I wasn’t a fan of it when it was first released, but Smeraldo Garden Marching Band has grown on me over time. It is probably one of the most cheerful tracks I have heard from JIMIN in a very long time, but I appreciate the brightness and marching band tune that the song is based on. JIMIN’s vocals are quite calming, and the chorus melodies have become quite fun and catchy. However, I feel like LOCO’s presence was the weak link in the song. I have never enjoyed his featuring in this song and thought it was lacklustre at best. (8/10)
4. Slow Dance (ft. Sofia Carson) – Slow Dance is a really nice R&B song to just, well, dance slowly to. There is a beat to it, but Slow Dance still oozes a smooth and velvety vibe simultaneously. The guitar work and bass contributed to this, but I liked how pronounced these elements were in the background. JIMIN does a good job of balancing out Sofia Carson’s higher-pitched vocals. I did wish her solo bits had a bit more bite to them, though I really liked the falsettos she slipped into during her part. Both JIMIN and Sofia closed out the song in a very satisfying manner through Slow Dance’s final chorus and outro. (9/10)
5. Be Mine – We return to the Latin influences that dominated KPOP heavily a few years back with Be Mine. I find this single to be a pleasant number, thanks to both the beautiful guitar work in the instrumentation, the slightly hefty beat and JIMIN’s vocals. His vocals shone in Be Mine, particularly through the harmonies featured towards the end. The chorus is also quite catchy, which helps make the track more memorable. (8.5/10)
7. Closer Than This – So, I completely missed the fact that Closer Than This had a music video. It shows JIMIN writing the lyrics of this song, seeing some sites and some memories he has created as part of BTS and his solo career. As for the song, Closer Than This is a pleasant pop song, telling his fans not to worry and that he (and the other BTS members) will be back soon. Instrumentally, it is very standard. However, I really enjoyed JIMIN’s sweet vocals in Closer Than This, which made the message more effective. I also liked it when Closer Than This switched it up slightly to include the young kids’ vocals at the end. That got to me. (8/10)
The next album for review is HA SUNG WOON’s 8th mini-album, BLESSED. It was released in July 2024 and was his first major music release since finishing his military service. BLESSED features 5 songs, including the title track of the same name. I have always been excited to review his new music and albums, as he had some great solo tracks since his Wanna One days. While I don’t think that sentiment is as strong on this mini-album, there are still a few singles on BLESSED that I quite enjoyed.
The last HA SUNG WOON release I reviewed was his 7th mini-album, Strange World, which featured the title track Focus. It was released prior to his military enlistment in 2022.
2. I Wanna– The first side track on the mini-album is I Wanna, which is a softer pop number. I really enjoyed this one, thanks to its pleasant vibe. Even as the song picks up and adds new elements, this was a constant in I Wanna. HA SUNG WOON sounds so nice throughout the track, and the melodies just make this such an appealing number. (9/10)
3. All I Need (ft. ERIC of THE BOYZ) – All I Need is such a vibrant number, stepping up the energy, beat and colour of the mini-album. I like the dominance of the piano in the verses, and the drumming just gives All I Need so much momentum. I wish there was more variety when it comes to the melodies. I liked how brighter HA SUNG WOON’s tone is, but he sounds similar throughout the song. This slightly dampens the liveliness of the song for me. ERIC from THE BOYZ appears briefly in the song during the second verse. His quick delivery does add to the song’s momentum and forward drive. (9/10)
4. I Already Lost You – HA SUNG WOON delves into pop rock for I Already Lost You. This is another strong number from the soloist, and I enjoy it thanks to its pleasant vibe. I Already Lost You is a bittersweet song, reflecting on a partner one likes but knows they cannot be with them. I liked the build-up to the chorus and how profound the chorus sounded once the rock elements kicked in. The resulting energy is perfect and well-balanced for HA SUNG WOON’s vocals. (8.5/10)
5. Mystery– Mystery makes for a decent dance track. This was an impression I got from the song after so long not listening to it. But repeat listens to Mystery made me quickly realise that it is also the mini-album’s most skippable track. I don’t remember much of it since it sounds quite similar instrumentally and vocally through and through. This ends up making Mystery sound very neutral and stagnant. The extra bass that comes into play is a nice touch and gives the song some heft. But it doesn’t do much to make the song more appealing. (6/10)
My first review for ALL(H)OURS was for their comeback single, SHOCK. In that review, I mentioned that I would review their debut track (and potentially mini-album) in the future. I still haven’t got around to that. But in a fitting style, ALL(H)OURS’ first album review is for the mini-album that features the title track SHOCK—their second mini-album, WITNESS. It was released in July 2024 and features a total of five songs.
Overall, I found the mini-album a consistent release, showcasing an EDM and hip-hop sound profile throughout most of the release. For a new group to whom I haven’t really dove into yet, this is a decent showing from the new group. More recently, ALL(H)OURS released their 3rd mini-album, Smoke Point, which features the tracks Graffiti and Gimme Gimme. I haven’t reviewed these as well. But at the very least, a review for Gimme Gimme is on the cards.
Until then, here are my thoughts on WITNESS.
WITNESS Album Cover
1. WITNESS – ALL(H)OURS kicks off their mini-album with the instrumental track WITNESS, kickstarting the release with a powerful rave-like track. It doesn’t hold back and has the adrenaline coursing through your body. I find it refreshing because we don’t hear all that many rave-like tracks in KPOP, though I admit it isn’t for everyone. It isn’t my usual go-to form of EDM. But on this mini-album, knowing what comes after, WITNESS does a good job of launching right into the rest.
3. PSYCHO MANTRA – The group leans towards an aggressive and abrasive sound profile in PSYCHO MANTRA. There are a few other sides of ALL(H)OURS that I will touch on in a second, but these two are the ones that I remember most vividly from the song. The aggressiveness comes out during the chorus when the rappers go shouty, and the abrasiveness comes through via the EDM/rock-influenced instrumentation and distorted vocals that form part of the background. We get some sleekness and smoothness from the vocal line, but it is very short-lived since the rappers get the limelight in PSYCHO MANTRA. Overall, it’s a cool song. (8/10)
4.’Bout That Issue – ‘Bout That Issue showcases both the vocals and rappers in a more balanced manner than the previous song. And from this, I can tell that ALL(H)OURS has a strong line of both. We also hear much more of that hip-hop genre in this song since the instrumental isn’t overwhelming. I actually appreciate that a lot, considering the song before this one. I find ‘Bout That Issue to be intriguing thanks to that vocal melody in the chorus. There is something very familiar about that I cannot pinpoint where I have heard it before. I also like the “’Bout That Issue” repetition that forms the song’s main hook. (8/10)
5. Blah Blah – Blah Blah gets the EDM and hip-hop balance just right. It also gives us some dramatic percussion/drumming, which makes the song cooler. I did think the vocals and rapping could have been stronger in this song. The members’ delivery didn’t hit the spot for me and they kept their styles very safe. Had they gone further, I think Blah Blah would have been a killer track. (7/10)
I am fully aware that STAYC made their comeback more recently, and a song review for BEBE is coming your way in the not-so-far-distant future. But until then, here is my review of their 1st studio album, Metamorphic. Released in July 2024, Metamorphic features 14 songs (slightly longer than the average studio-length album), including the title track, Cheeky Icy Thang. Metamorphic is a decent album with a mix of strong and fair songs. Keep reading to find out my thoughts on the individual songs that make up Metamorphic.
Metamorphic Album Cover
1. Twenty – STAYC kicks off the album with a formidable alternative R&B number. I liked the drumming in this one and the crisp vocals that give Twenty that power. Whenever I say I want oomph in a song, the direction the vocals went in this song is exactly what I am looking for. There are 2 downsides to Twenty – that it is very noticeably short, and I wished the instrumental was a bit more robust to prevent it from feeling as stagnant as it did. (8/10)
3. 1 Thing – 1 Thing is a very familiar sound for STAYC. It has the signature fun and brightness from its electronic pop instrumentation and STAYC’s delivery. Its chorus attracts my attention, thanks to its sassy delivery and how straight-shooting the members sounded. The bridge brings delicateness to the song before a dynamic and fun electronic instrumental break comes into play. (8/10)
4. Give It 2 Me – Give It 2 Me is a decent pop R&B track. But I feel like the autotune is heavy, and their vocals are rather piercing (in a not-so-good way). The highlight is definitely SIEUN’s rapping, it gives us some reprieve to the autotune and piercing vocals. But besides that, Give It 2 Me doesn’t speak to me as much as the other tracks on the album. (7/10)
5. Find – Next on the album is Find, a unit song by SIEUN, SEEUN and J. Find features neat and delicate vocals from the trio. The rapping brought some nice contrast, which I liked. The acoustic vibe of the instrumental is also lovely and different, especially as it is mixed with trap beats throughout the song. Some stronger melodies and catchiness would have helped lift Find to a new level. (7.5/10)
6. Let Me Know – STAYC revisits the pop genre in a pure manner in Let Me Know. It is quite a pleasant song. I liked the tempo of the instrumentation and the members’ singing in this one. I feel like that short ending sequence of the choruses, where the instrumental turns slightly atmospheric, and J ends with her “Let Me Know … Let Me Know” lin, has the potential for something more. I wished the song explored that potential. (8/10)
7. Nada – Nada brings a bit of hip-hop to the album. This differs from what I have heard so far, so it interested me. The pre-chorus is just something that gets me each time I listen to the song, while the instrumental was unexpectedly playful with the percussion. It makes Nada feel a little nursery rhyme-esque, contrasting with the song’s message about feeling nothing after meeting the person of their dreams. (8/10)
8. Fakin’ – Starting off the second half of the album is SUMIN and YOON, through their unit track Fakin’. The song is another pop track, with stunning vocals from the pair to make it an engaging number. I liked the simplicity of this combination and how easy it was to get into. Stronger hooks to make it more memorable would have sealed the deal for me. (9/10)
9. Roses – ISA is the only member to go solo on the album. Roses is a R&B number with a very intriguing instrumentation. The background has all sorts of effects, but it never feels overdone. ISA sounds quite good throughout the song, but stronger hooks and melodies could have improved the song further. (7/10)
10. Beauty Bomb – Beauty Bomb is one of the stronger songs on the album. The bubbly R&B (perfectly described by The KMeal) is quite fun, which is one reason why I find it so catchy. That ‘Doo Doo Doo’ in the chorus is hooky, as well as the ‘Blow my mind…’ lines that follow later on in the choruses. What I also like about Beauty Bomb is that it showcases STAYC well. Pleasant vocals and nicely contrasting rapping helped make Beauty Bomb engaging for me. (9/10)
11. Gummy Bear – The start of the verses for Gummy Bear, made up of trap beats and the swirly electronic synth, was interesting, to say the least. The rapping that pairs with this backing was fine, but the background is wacky. As the song progresses, I enjoy the rest of Gummy Bear. It develops into a feel-good pop song that feels pure and straightforward. I like how the vocals come off in this segment. The pre-choruses are another strong example of STAYC’s vocals. So, it begs the question of why we needed that start to even begin with, especially since the rest of the song is quite good. (8.5/10)
12. Stay WITH Me – STAYC visits the pop-rock genre through Stay WITH Me. The song is for their fans, and the lyrics are written by STAYC themselves! While it sounds good, and I liked how the rapping pairs up with the instrumentation, I wished I could say the same about their vocals. The vocalists could have been louder to match up with the energy of the pop-rock instrumentation. Stronger melodies, as well, would have helped them embrace the pop-rock better. (8/10)
13. Flexing on My Ex – The pop rock is definitely punchier and the members sound superb (and can be heard over the instrumentation)in Flexing on My Ex. We do lose some momentum as we get closer to the chorus, but this does help the centrepiece feel more impactful and prolific. (8/10)
14. Trouble Maker – The final song of this long album (not complaining here!) is Trouble Maker. It was such a fun and energetic song to end with. It literally makes me want to get up and dance (or cringingly dance along in my chair if you want a real-time update as I write this review). I love the song’s encore energy and the brass elements in the background. The expressiveness and bright vocals also make it a winning song. Pity is a short one. (10/10)
The next album up for review is Dreamcatcher’s VirtuouS. This is the group’s 10th mini-album and was released in July 2024. It is led by the title track, JUSTICE, and features an additional four songs. This album release follows their VillainS (title track OOTD) comeback from November 2023, the first part of their ‘VersuS‘ duology. Overall, VirtuouS is a powerful mini-album, with consistently strong songs across the board. This earns it a recommendation stamp from me (as you can see at the end of the post).
More recently, for Dreamcatcher, it was announced that Handong, Gahyun, and Dami were leaving their company, but it was confirmed that they remained in the group. In addition, JiU, SuA, and Yoohyeon will form a unit, while Siyeon will start a band. All these announcements are intriguing, and I can’t wait to see what the future holds for each member of Dreamcatcher, though I hope there will be regular group comebacks, as well.
VirtuouS Album Cover
. Intro: 7’Dreamcatcher’ – Opening up this mini-album is an instrumental track. This one starts off captivating with the piano, before slowly developing into the very familiar rock sound that Dreamcatcher is known for. The journey to get to the rock sound was beautiful. When the track realises the rock sound, it is powerful and impactful. A stunning opener.
3. STΦMP! – With a title like STΦMP!, you expect the song to have some heft. And we got just that. With Dreamcatcher at the helm, it is no surprise that STΦMP! fully embraces a powerful rock instrumental. The “Stomp Stomp” chant at the start of the chorus is definitely the song’s highlight, and you can feel the group’s command on stage now during the chorus. Their vocals are powerful and impressive in this one. (10/10)
4. 2 RINGS – Right off the bat, 2 RINGS doesn’t mess around, launching the audience into a punk rock sound. I want to take a moment to acknowledge the guitar work in 2 RINGS, as it was an astounding element and adds so much momentum to the song. Dreamcatcher also doesn’t mess around with their delivery. Once again, they sound very powerful and exude a lot of attitude and sass in this number. Personally, I do feel like they could have stepped up all elements in the final chorus to really round out the song. But what we did get was already outstanding. (9/10)
5. Fireflies – Final song on the album is Fireflies. Hearing the piano and balladry direction of the song was quite a shift from what is on this mini-album. But this ‘shift’ is not a bad thing. Dreamcatcher whisked me away with Fireflies, with beautiful instrumentation and stunning vocals and harmonies. Those harmonies, especially at the end, make the final moments of this mini-album so emotional. Fireflies has everything I love in a ballad. (10/10)
KPOPREVIEWED 