OnlyOneOf’s 6th mini-album, Things I Can’t Say LOve, is the next mini-album to be reviewed on this blog. This was released way back in January of this year alongside the title track dOpamine. Said title track earned a high rating from me in the song department, so it become the primary reason as to why I have picked up this mini-album for review. Things I Can’t Say LOve also follows from 2023’s seOul cOllectiOn mini-album.
things i can’t say lOve Album Cover
1. things i can’t say lOve (Instrumental) – While things i can’t say lOve is labelled as an instrumental track (implying that it the instrumental version of another track on this mini-album), it actually serves more as an intro track for this mini-album. And this intro track deserves to be a full-length track. The EDM and atmospheric vibe that comes from the presence of the piano feels very fulfilling. But like all instrumental tracks I have reviewed in the past on my blog, I can’t give it a rating.
3. give me the lOve, bitxx – give me the lOve, bitxx falls into the R&B genre. The track full embodies R&B with a smooth yet typical instrumental and breathy vocals from the members to elicit a more sensual direction. I do question the need for the final part of the song’s title (i.e., ‘bitxx’). I am presuming it is the non-explicit representation of the curse word. But I don’t get that energy or tone from the song, nor am I sure if it was ever reflected in the Korean lyrics – it wasn’t reflected in the English translations that I could find. Disappointed with the track from that aspect, as the title does appear to promise some aggression, but that was not delivered whatsoever. (7/10)
4.O– The fourth track of the mini-album, O, brings a darker tone to the mini-album. While the instrumental felt very consistent and relatively minimalistic for the length of the track, I found the piece to be quite rhythmic. And with the relative minimalistic nature of the background makes the beat to be quite prolific. With such an arrangement, the focus would be squarely on vocals. And I feel the members nailed this aspect of the song, with the passion and emotions behind their delivery felt quite profoundly. Less autotune and more raw vocals would have been appreciated, but what they delivered was still on brand for the group. (9/10)
5. gravity– The final song on the mini-album is gravity. Like the third song on the mini-album, gravity is another take on R&B. At least this time, the song doesn’t promise anything in its title. While gravity contains the usual R&B smooth and dreamy suspects, what also separates this track with the third track on the mini-album is its relative upbeat nature. This upbeat nature, combined with the members’ breathy vocals, helps smooth out the song further. And this combination makes for a really nice track that I enjoyed. (8/10)
Moving along with the albums released this year, I am reviewing ITZY’s second studio-album BORN TO BE today. It was released back on 8 January 2024 and follows on from their KILL MY DOUBT mini-album (which features CAKE as the lead single). BORN TO BE features a total of 10 tracks, including the pre-release with the same name as the album, the title track UNTOUCHABLE and five solo tracks from each member of ITZY (including LIA, who has been on a hiatus since September 2023). Regarding the solo tracks, I have not reviewed them separately ahead of time despite them having a short video released to promote them for a few reasons, but I have included each video down below.
Overall, BORN TO BE is strongest in the solo tracks and most of the side tracks. UNTOUCHABLE has grown on me a bit and was definitely a highlight. But there were some other tracks on the album that had more potential and I personally felt had more of an edge over the title track. Continue reading to find out which songs they are.
4. Dynamite – Dynamite lifts the song quality on the album back up with a very upbeat and loaded dance track. It is super engaging and I personally felt that was a lot of ITZY energy coming off it. The percussion keeps Dynamite dynamic and bouncy. I did think the members’ vocals were pushed a little too far, but there was some nice control on the members’ part. I am also not a massive fan of the abrupt ending. It didn’t finish Dynamite off satisfyingly. (8/10)
5. Crown on My Head (YEJI Solo) – We now turn to the solo songs and first up is YEJI. Crown On My Head is a rock track. I liked the different ways the electric guitar was employed in the song. In the first verse, the guitar work is exhilarating and electrifying, and I constantly wonder why it wasn’t continued in the more typical synth-based second verse. In the chorus, the guitar work takes on more of a grungy vibe. But the best use of the guitar comes in the instrumental break, where we get a shreddy effect. As for YEJI, her vocals definitely soared throughout and upped the intensity of Crown On My Head. She had full command of the track and delivered it superbly. (9/10)
6. Blossom (LIA Solo) – Despite being on hiatus, LIA does feature in this album through her solo track Blossom. The song takes us down an alternative R&B route, thanks to its more experimental instrumentation. This EDM-based adds a lot of energy and the synth work gives off a dreamy affair. LIA’s vocals fit the R&B style really well, especially with the slight rasp to her vocals. There are a few varying vocal styles in Blossom from LIA, all of which makes it an engaging solo track. (9/10)
7. Run Away (RYUJIN Solo) – Out of all the solo tracks, Run Away was the one that I instantly liked when I first checked out the album back when it was released. I remember it was the chorus that caught my attention, which brings together a passionate delivery from RYUJIN and some amazing guitar work that reminds me of pop-rock from the early 00s. I also like the mellow direction the bridge took, which was a nice yet brief break from the pop-rock energy. If I had to pick, RYUJIN’s Run Away is my top pick from the solo tracks on this album. (9/10)
8. Mine (CHAERYEONG Solo) – CHAERYEONG has the shortest solo track of the bunch, spanning less than 2 minutes. Mine is a synth pop track with a groovy tinge. CHAERYEONG brings a very sensual and sultry vibe to the song, which makes it very alluring. Of the five solo tracks, I think Mine was one that stood out the least. Not on the merits that it was bad song, but rather not reaching its full potential. An easy way to do this in Mine is to give CHAERYEONG’s vocals more definition and boldness. This would have helped oomph up her parts to give them more depth amongst the instrumentation. (8/10)
9. Yet, But (YUNA Solo) – Yet, But is YUNA’s solo contribution to the album. It is a rather straight forward track that feels like a good embodiment of what KPOP is. It brings a fun and playful energy to the album. This pairs with YUNA’s youthful vocals. Personally, I do feel like Yet, But is a little too sweet for my liking. It also stays within the lines and feels rather ‘safe’. But I enjoyed the exploration into the light-hearted territory of pop. (7.5/10)
10. Escalator – Bringing the members (sans LIA) back together for the final song is Escalator. It is an experimental dance track, that features a fierce demeanour from the members and loud synth work. It was definitely a blast on all fronts. I did like the way the vocals were processed at the start, panning from either side. I also like the shouty motif the members went for the chorus, which felt right for such a loud and strong song. Lastly, I also like the techno synth work at the end, adding a lot more flair and bombast to the song. (9/10)
It has been a while since I reviewed a B1A4 album. The last album review was for their 5th mini-album, Solo Day (released in 2015, but reviewed in 2020). They are a group that is very much still around, but you don’t hear of them as much nowadays compared to in the past. Their last official release (Adore You) was over 2 years ago! Well, that changed in January of this year, when B1A4 made their long awaited comeback with REWIND (the title track – link down below) and CONNECT (the title of their latest mini-album a.k.a. the focus of this post). Overall, I found CONNECT to be a solid 5 track mini-album that is consistent across the board, with one particular track getting a 10/10 for me. Continue reading to find out which song that is).
2. BACK TO YOU (시간을 지나 마주한 너) – BACK TO YOU is a simple yet pleasant pop track, with the ‘pleasant’ descriptor being a positive aspect of the song. The simplicity comes through via how straight forward BACK TO YOU came across. It had good rhythm and a solid upbeatness that kept the song going. The melodies were comforting and made the song flow along nicely. The vocals were good, but I could have done with lesser autotune. The vocal processing made the members sound a little tinny. And if I am being honest, I don’t think B1A4 needed that autotune in the first place. (8/10)
3. PAUSE– For me, the most fun song on the album has to go to PAUSE. The UK-garage and retro influence on the instrumental is very interesting and dynamic, but I also like how the song maintains B1A4’s maturity. Despite that maturity, I always find myself bobbing along to the song. The softer vocal approach felt contrasting with the instrumentation and this makes the PAUSE intriguing. While I felt the autotune was unnecessary in the previous song, I welcome the autotune’s contribution to the fun in this song, especially how those vocals pan from ear to ear to make it feel like you are in the centre of the fun. An easy 10/10 for me. (10/10)
4. WHEN YOU CALL MY NAME (네가내이름을부를때) – Truthfully, WHEN YOU CALL MY NAME is the sound I associate with B1A4 nowadays. They stepped away from the fun and dance style that they released and promoted with as a quintet. But that felt lost when B1A4 was reduced to their current lineup. This is in no way intended to be criticism of the members who left or the current sound of B1A4. WHEN YOU CALL MY NAME definitely proves this, as the trio sounds very lovely throughout the number. The heartwarming band instrumentation and tone of the song is also extremely nice. (8/10)
5. STILL IN MY HEART (이별은없는거야) – Bringing the mini-album to a close is STILL IN MY HEART, which goes down both an acoustic balladry and also fan song route. That usual swaying melody that I like in ballads is very much present in STILL IN MY HEART. I also enjoyed the soulful touch that is present in the background of the track. Once again, the members sound really nice and captivating in the ballad, with the roughness in Sanduel’s vocals at the end being a beautiful moment in the track. (8/10)
If you have not been following my blog lately, I ended finished up my reviews of 2023 albums (for the time being) last weekend. That means that I will be finally making a start on the 2024 albums. While it will be a slow process to catch up four months worth of albums, I do appreciate your patience as I get through them. But I will start from the beginning, meaning SF9’s 13th mini-album Sequence (released on 8 January 2024) is the first one up for review. Sequence features a total of 6 tracks, including the title BIBORA. It also is the first album release by SF9 since ROWOON’s departure from the group to focus on his acting career.
2. Midnight Sun – The rush of energy from the instrumentation, the familiarity of the synths and the solid vocals made Midnight Sun quite likeable. When you dig a little deeper, this pop song is for their fans – FANTASY. While fan songs are usually reserved for the end of an album, the placement of Midnight Sun towards the beginning of the mini-album is rather reassuring, especially since how SF9 doesn’t get regular comebacks anymore (which is a complete farce) and the departure of ROWOON from the group last year. Just by listening to the vocals, anyone can hear the sincerity behind the SF9 members toward their fans. (8/10)
3. DOMINO – I thought the vocal processing in this song made TAEYANG sound a little awkward at the start. But after that, the rest of DOMINO makes it a very strong dance track. The rap sequences made the song feel very dynamic. The same rappers brought us the cool descending and dramatic bridge, which gives off that vivid imagery of falling dominos. Definitely a memorable moment in the song. Pity the vocalists didn’t get much of an opportunity to shine in DOMINO, particularly since INSEONG and DAWON’s small part in the pre-choruses were my second favourite moments in the song. (9/10)
4. Strings – The brighter pop sound, the chanty hooks and the fact you can feel the members are smiling at you as they sing makes Strings another ideal fan song. Strings talks about their unbreakable bond with their fans. I like how after a rap dominant song, SF9 turned their focus to vocals. But ZUHO’s rapping in the second verse was also quite cool. I like how deep he went and the seamless flow he delivered. My only complaint about Strings is that the instrumental could have been lowered slightly so we can hear the members more clearly. At certain parts, the backing was loud that it was drowning out the members. (8/10)
5. Morning Coffee – Continuing the bright motif is the funky tinged Morning Coffee. This subtle energy in the song is bound to get you awake in the morning, just like a morning coffee. I particularly like how the funkiness isn’t in your face, which makes the song an ideal track to start your day off. It doesn’t catch you off guard, but rather eases you into its bright motif. ZUHO’s rapping was good, but I think his part doesn’t suit the rest of Morning Coffee as much. I just feel like his style was a little too harsh for this track. (8/10)
6. Superconductor (DAWON Solo) – The final song on the album a solo song from DAWON. He has a unique set of vocals, so I am glad he gets his own song to shine. However, I would also like to have heard solo songs from the rest of SF9, as well. While Superconductor does a nice job of showing us his vocals and style, the instrumental sounded like it was sped up. Maybe this was deliberate and is meant to be a musical representation of a superconductor or even an aesthetic. But I personally thought it was rather distracting and doesn’t give us much opportunity to appreciate it or DAWON. Had it been slowed down, even by a small bit, there would have been more of a chance of that appreciation happening and that would have boded well for Superconductor. (7/10)
I present to you my thoughts on ATEEZ’s second studio album THE WORLD EP.FIN: WILL, which dropped back on 1 December 2023. I know I have been mentioning this review for quite a bit as I have been reviewing some side tracks in preparation for this album review over the last few weeks. A total of 12 tracks, including the title track Crazy Form, four unit and solo tracks and 2 interlude/outro tracks, feature on this album. Also in some unexpected news that I just found out whilst writing up this album review, ATEEZ literally announced their next Korean comeback yesterday with GOLDEN HOUR Part. 1 and a May 31 release date. So with this album review out of the way, it is also time to prepare for ATEEZ’s next comeback (if you have already recovered from their 2 epic Coachella performances). But first, my thoughts on THE WORLD EP.FIN: WILL.
Please note that this album review also marks my final album review for a 2023 album for now. Apologies if you were awaiting for another 2023 album to be reviewed. They will form part of the list of albums that I will look to review in my spare time on an ad-hoc basis from previous years.
THE WORLD EP.FIN: WILL Album Cover
1. WE KNOW – WE KNOW builds the intensity for what is to come on this studio album. It feels suspenseful and maintains that vibe for majority of the song, which makes for an interesting opener. There is a fair bit I like in WE KNOW, such as the refrained rapping and the use of the autotune to help further that suspense and intensity. However, I feel WE KNOW’s vocals (excluding JONGHO’s impressive ad-libs) were sub-par and the instrumentation (I expected some sort of peak and not a linear trajectory to this song) was lackluster, and the hooks and melodies felt too underbaked. (7/10)
2. Emergency – Emergency steps the energy up a notch, but it takes a while for me to actually get into the track. I like the infusion of a more “epic vibe” into the instrumentation. The bass and synths definitely make the song bolder, while the members bring a certain hype energy to the table in Emergency. The best part of the song has to be the bridge – from JONGHO’s vocals to slight inclination of the instrumental to the rappers bringing up the energy in a similar manner. While the melodies do sound better in Emergency compared to the previous song, it could have gone further. The hooks were also a weak element. Had both picked up sooner, I think I would have gotten into the track a lot faster and not wait until we got near to the end to realize I like the song. (7.5/10)
4. ARRIBA – I like the exotic tinge to ARRIBA’s instrumental. It instantly attracts attention and appeals to me. In addition to the instrumentation, the energy that the members channel felt promising. The ending was the most exciting sequence of the song, thanks to the layering of ad-libs and chorus. The hooks were catchy and the melodies were almost sleek-like. I did think there was opportunity for the members to go even further and make ARRIBA feel even more of a hype track. But there is already a lot more to enjoy in ARRIBA compared to the other side tracks thus far on the mini-album. (8/10)
5. Silver Light – Silver Light’s electronic and synth-based instrumentation reminds me of Cyberpunk – a very infamous side track of ATEEZ’s. However, instead of being as intense and hard-hitting as Cyberpunk, Silver Light opts for a softer profile. I quite like Silver Light as it feels very ATEEZ, but the delicate sound profile and simmering/held back intensity is very unique and different for the group. The members’ vocals and rapping work extremely well in Silver Light, with the vocal work bringing out a more elegant sound. The rappers hold themselves back to complement the soundscape but I did like the roughness they have to offer in Silver Light. Best part of the song has to be YEOSANG and YUNHO’s English line in the choruses – their deep vocals adds to that simmering intensity that makes Silver Light so entrancing for me. (9/10)
6. Crescent Part.2 – Serving as an unofficial interlude to the album is Crescent Part.2. We heard something quite similar in TREASURE EP.3 : One To All, where Crescent (Part 1) served as an interlude with a similar soundscape of ocean waves crashing and birds in the distance. In Crescent Part.2, the instrumental piece is also quite riveting and stunning. It literally felt like nature all around me when I listen to this track. Extremely atmospheric. But it ends with a foreboding sound of a ship horn going off in the distance.
7. Dreamy Day (꿈날) – Bringing in some light to the album is Dreamy Day. I don’t have much thoughts on the instrumentation, but the brighter tone to the instrumentation did bring a smile to my face. As does the melodies. The vocals are much softer and it really did feel like the vocal line in this song took full advantage of the softer tone of the song to bring out those melodies thoroughly. The rappers are contained to just the second verse and kept to the softer brief that is Dreamy Day. Altogether, it was a very pleasant and enjoyable track. (8/10)
12. FIN : WILL – Closing out this studio album and THE WORLD era is FIN : WILL. There are some really nice narrations to the song. It starts off with questions about having painful memories and moments in the past. After a short focus on those, the questions start to become more hopeful and positive, which felt fitting for the uplifting tone that the music goes for. The backing piece is atmospheric and reflective, reminding me of a walk where you are lost in your own thoughts that are positively influenced by the nice sunny and breezy surroundings.
I had intended to wrap up my reviews of 2023 albums (for now) this week with another album (look over my more recent reviews to figure which album that might be). But then I realized I may have overlooked an important comeback from the past year that I should have picked up earlier to review – TAEMIN’s Guilty. I know, I apologies for missing Guilty. But I have slid in Guilty into the agenda this weekend, and move that other album to next weekend. This is TAEMIN’s first mini-album since completing his military list, his last mini-album with SM Entertainment (TAEMIN left SM earlier this year and has signed on with Big Planet Made (BPM) Entertainment) and his fourth Korean mini-album overall. It features the title track of the same name and 5 additional side tracks.
2. The Rizzness – Despite having a questionable name, many listeners unexpectedly like The Rizzness. I am in that group as well, but not exactly to the extent of others. The Rizzness is a much edgier song than usual for TAEMIN, and this attracts attentions. He is known for more aesthetic works, so The Rizzness is very much different for the soloist. The instrumental adds to that ‘difference’ with a bold trap/hip-hop styled drill sound. His vocals definitely smooth out the roughness of the instrumental backing whilst also creating tension with the rest of the song. But I think there could have been some more interesting delivery from TAEMIN to make The Rizzness even more interesting. It is good as it is, but some flair (one way or another) in the vocal department could have made it even better. ICYMI – TAEMIN also released a performance video for The Rizzness. (8/10)
3. She Loves Me, She Loves Me Not – The trap and guitar riffs make this track interesting from the onset. Then comes TAEMIN’s vocals, which is by far the most captivating element and literally carries you onto the journey of She Loves Me, She Loves Me Not. He relies on a breathier tone in some parts to provide a more sensual yet pensive vibe, and amps up other parts with shoutier vocals in other moments to give us some vigor. This illustrates the dilly dally nature of the song’s lyrics and title (which is about realisation of an ending relationship). Clever. Despite the different delivery tactics used, he manages to also maintain a consistent softness and delicateness to the song, which helps give She Loves Me, She Loves Me Not an emotional ad heartbreaking dimension, as well. (9/10)
4. Not Over You (제자리) – Not Over You speaks to the feeling of not being over someone that you had broken up with and the fact the memories of the relationship still too raw. I found the R&B-esque instrumental for Not Over You gives it a calming presence, yet TAEMIN’s vocals were emotive and engaging throughout. I like how the various elements in Not Over You cohesively worked together. A good example of this is the autotune that blends TAEMIN’s vocals with the instrumental during the choruses. I also really liked how deep his vocals got in the bridge of the song. Definitely a gripping moment in Not Over You. (8/10)
5. Night Away (오늘밤) – Night Away goes for a softer pop track, which features a prominent acoustic guitar presence and some really nice dreamy synth work. The combination of the two makes for a soothing number. TAEMIN’s clear vocals also follows this direction, and does so in a very consistent manner. This consistency isn’t a flaw in the song, as any differentiation in vocals or delivery could have potentially disrupted the flow of the song. (8/10)
6. Blue – My favourite song on this album comes at the end. Blue is just so captivatingly atmospheric. The only way I can fully appreciate Blue is by stopping whatever I am doing and closing my eyes so I can be whisked away. From the synth work to the vintage drums to the guitar work to TAEMIN’s vocals, everything just felt so calming. Refreshing and freeing also comes to my mind when I listen to Blue. I keep on mentioning how good TAEMIN’s vocals are on this album, but I think his delivery here is the best. Just so captivating. (10/10)
I am still wrapping up my list of 2023 album reviews, which I am expecting to have wrapped next weekend. Next on my dwindling list of albums is Xdinary Heroes’ Livelock, which was released in October 2023 alongside the music video for the title track Break The Brake. Following the album release, music videos for PLUTO and AGAIN? AGAIN! also dropped – the former got its own review which I posted last week, while the latter song’s review is located in this post. An additional four songs are featured on the album, rounding the tracklist for Livelock to 7 songs.
If you missed it, the band’s performance for Break The Brake earned them a nomination and win for Best Band Performance of 2023 in the 2023 KPOPREVIEWED Awards. And that recognition should also be expanded to cover the entire mini-album, as the tracks on the album were all of a very high calibre and explored various rock and punk sounds in a very appealing and enticing manner.
Livelock Album Cover
1. Freddy – Xdinary Heroes begin the album with a very lively song. Freddy actually feels fitting for a fast-paced chase scene in an action-comedy movie – the song’s lyrics are also about a chase. The rhythm in this track was intense, but also fun at the same time. It makes for an interesting and compelling atmosphere. The drumming was definitely the main driver of this. It was also backed up with some animated vocals that kept the momentum of Freddy going. I also really like how they went full head-banging rock as part of the bridge. A very strong start to the album. (10/10)
4. Enemy – Enemy talks about how you are your own biggest enemy. It is an emo-rock song that has a fair bit of tension to it. When the track reaches the chorus, all of that tension is released in a very intense and loaded manner that makes Enemy shine. The electric guitar at the end is a bit skittish, but works well with the rest of the track. The vocal work has a conflicted tone to it, which makes perfect sense to this track. (8/10)
5. Bad Chemical – Bad Chemical bring synths and industrial rock together. I love the head banging potential behind the chorus of this track. It makes the song so much more thrilling. The shoutier motif that the members adopted with their chorus delivery made sure they could be heard over the packed instrumentation, and it added to that thrilling nature I just mentioned. Other parts saw more melodic vocals, which sound quite nice as well. (9/10)
6. Paranoid – With the likes of Good Enough in Xdinary Heroes’ repertoire, I am excited for another rock ballad from the band. Paranoid doesn’t give off that same spark as the former song did, but I find it so interesting that they managed to make a song about being insecure so dreamy. Jungsu’s long note was spectacular, and I like the raspier motif each vocalist brings to the song. I also like how the rock amps up throughout the song. (9/10)
7. AGAIN? AGAIN! – The mini-album ends off with another fast-paced and fun track. AGAIN? AGAIN! is very much a different song to the one that opened that the track thanks to its much brighter pop punk energy. It celebrates the idea of falling in love again. The drumming and guitar work goes hard in this track, which makes this track exhilarating to listen to, particularly in that instrumental break. The combination of such a positive message and energising atmosphere just makes it so profound. ICYMI – Xdinary Heroes did release a self-cam music video for this track. (10/10)
Late to the game as always. But I am finally getting around to reviewing Jung Kook’s solo studio album. Golden. Golden was released by Jung Kook in November last year prior to his military enlistment in December 2023. The 11-song tracklist boasts Jung Kook’s 2023 singles, including the title track Standing Next To You, July 2023’s SEVEN (featuring Latto) and September 2023’s 3D (fearing Jack Harlow). Per usual with all of my album reviews, links to the reviews for these songs and my individual thoughts on each song are down below.
My thoughts on the album is simple. Golden is a predominately pop album that was perfectly curated for Jung Kook. I wouldn’t want to imagine the pressure of putting this album together, since it was so highly anticipated by fans in Korea and globally. But he really made sure it exceeded expectations that everyone had. The album itself also sees Jung Kook collaborate with some big names in the pop industry – including Ed Sheeran and Shawn Mendes. The album is also fully in English.
2. Closer To You (ft. Major Lazer) – Closer To You is a muted R&B track, with a reggae touch and enticing bass-line in the instrumental. There is a lot of tension in this track, but I find to be more subtle and of backseat manner. It is definitely there in Closer To You, but it isn’t in your face about it. Jung Kook brings a soft and breathy tone to the song, which works extremely well with rest of the track and makes it even more seductive and alluring to listen to. (9/10)
5. Yes or No – Jung Kook taps squarely into the pop genre with Yes or No. If you look at the team behind the song, you will see super pop star Ed Sheeran’s name, which explains why Yes or No feels so familiar. The track features a catchy guitar riff in the background, and it falls to the bright side of the spectrum. Jung Kook’s vocals definitely contributes to that commend the fact that his vocals were crisp and clear throughout this track. I would have liked something more, as it feels a little too simple and consistent. But it was a great track nonetheless. (8/10)
6. Please Don’t Change (ft. DJ Snake) – The upbeatness of Please Don’t Change makes it feel fitting for the dance floor. The track employs afro-beats and electro-pop, which makes for a really cool mix. The instrumental never really peaks, keeping fairly neutral overall. I find this direction (or lack thereof) to be quite charming and it makes complete sense considering the title of the song speaks to the desire not wanting one’s lover to change. The neutral feeling also flows into Jung Kook’s vocals. (8/10)
7. Hate You – Hate You is a pop ballad that I always close my eyes to when it pops up. It is the only way in which I can fully appreciate the song and take it all in. Jung Kook’s vocals is stunningly beautiful yet so heartbreaking at the same time. Hate You’s message of hating a former lover to make life easier is conveyed so well that you can feel Jung Kook’s pain in this voice. And this in itself speaks volume to the talent that is Jung Kook. This is all over a simple and minimalistic piano. The track boasts Shawn Mendes as part of the team behind it. (10/10)
8.Somebody – Somebody sees Jung Kook’s vocals processed and altered in a way that gives him a deeper voice. It is an interesting and peculiar result that I am not entirely sure of. But it doesn’t mean Somebody is a bad song. The deeper tone does pair well with the bass that features in the R&B instrumentation. I really like the beat and detailing synths to this this track, particularly in the parts without any vocals. (8/10)
9. Too Sad To Dance – Returning to the pop genre with a more acoustic direction is Too Sad To Dance. I find myself nodding along to the song, and enjoy the simplicity of Jung Kook’s vocals in this song. But when I dive deeper into the song, I find the happier and cheerful demeanour of the vocals and the sad and emotional lyrics to be an interesting contrast. I am honestly not sure what I should be feeling when I listen to the song, as a result. (7.5/10)
10. Shot Glass of Tears – The final original song on the album is Shot Glass of Tears, which is another pop ballad. I liked the pace of this track and Jung Kook continues to sound good in this song. The atmosphere that builds in the background as Shot Glass of Tears was intriguing in a not so good way. I am not entirely sure if it was needed or what its purpose was. (7/10)
11. Seven (Clean Version) (ft. Latto) – See my thoughts on Seven above.
I am slowly wrapping up my time reviewing 2023 albums, but there are a couple more to be published over the next two weeks. TAEYEON’s To. X, which was released back in November last year, is one of the final 2023 albums to be covered for the time being. It is led by the single of the same name, and is TAEYEON’s first release since her highly successful INVU studio album from the year before. Comparing the two album releases, I do find that To. X is slightly weaker in comparison to the studio album. But there are still a few good tracks on this mini-album still worth checking out.
2. Melt Away – Melt Away is a very classy sounding track from the get-go thanks to the guitar riffs (which brings a light tinge of Latin influence to the song), brass and percussion. All of this makes Melt Away into a somewhat sensual track, as well. TAEYEON’s vocals are quite powerful and engaging throughout, particularly towards the end of the track where she soars. In the choruses, we hear go for a much more alluring approach, which fits the vibes of Melt Away quite well. (8/10)
3. Burn It Down – Gearing more towards pop, Burn It Down carries over guitar riffs and percussion from the preceding track. While I do like TAEYEON’s vocals here, with the more interesting melodies, my biggest take away and issue with Burn It Down is that it stays pretty neutral throughout and ‘doesn’t go anywhere’. I wished there was some sort of trajectory or progression in this track to make it even more interesting. (7/10)
4. Nightmare (악몽) – Sometimes consistency can be an issue for certain songs. But in Nightmare, I find it to be quite helpful in creating a stilling environment. The paced guitar riffs in this track and TAEYEON’s low and slight vocals add to that stilling atmosphere, creating a riveting track. I really like her breathy ad-libs in the track. (8/10)
5. All For Nothing – For All For Nothing, I really enjoyed the atmosphere that the track had. Consistency is also well utilised in this song, with the addition of piano to the guitar adding a nice velvety feel to the song. Paired with a much softer and breathier vocal approach from TAEYEON, I felt this is the best and most beautiful track on this mini-album. I particularly like the harmonies in this track. (10/10)
6. Fabulous – Changing up the momentum of the mini-album in the final track is Fabulous, which opts to include more of a retro profile with its background. It is also the most vibrant sounding track on this mini-album. I really like the prettiness that the instrumental exudes, though I could have done with less repetitive keyboard or piano. It feels a bit typical and cliché. Fabulous is also an all-English track that talks about self-confidence – a TAEYEON first. Her vocals are also really nice and feels comforting. (8.5/10)
For those who don’t know, I am a massive fan of GOT7 and the member that always drew me in was GOT7’s main vocalist, Youngjae. So naturally, I just have to make time and sit down to write a review for Youngjae’s studio album release, Do It. Youngjae’s Do It was released back in November 2023 and features a total of 10 songs, which includes the title track of the same name. Bias aside, I like the album. It isn’t the knock out album that I seek, but it is another great taste into what Youngjae has to offer as a solo artist, following his past mini-album releases of Colors from Ars (lead by Vibin) and SUGAR (lead by the title track of the same name).
Do It Album Cover
1. Flower – Starting the studio album is the synth pop Flower. I liked the prominence of Youngjae’s vocals over the synth instrumentation. I also enjoyed the impact that Flower (as a whole) has impact as an opening track – thanks to those prominent vocals and hefty synth work. (8/10)
3. Deal – Youngjae turns to a groovy motif for Deal. I really enjoyed his vocals in this track, as it had so much character and personality from Youngjae. The instrumentation made me want to boogie in my chair, as well. The unexpected moment in Deal is definitely Youngjae rapping in the bridge and he does so effortlessly. The meatier tone that he uses is definitely shocking for a fan like me, but I also like how his vocals backs up the rapping in the latter parts. A definitely strong track on this album. (9/10)
4. Dreaming Again – R&B and synths comes together in Dreaming Again. It is a good song, again with prominent vocals from the solo artist and some trendy twinkling synths. I do wish that both aspects of the song were toned down a bit to potentially appear more aesthetic, and that there was something to cut through the consistency of the track. I think both of these could improve Dreaming Again by quite a bit. (7/10)
5. Problem – Youngjae returns with a deeper tone and a really slinky R&B instrumentation in Problem. Both sets Problem up quite well and are carried throughout the track. I also liked the touch of bass in the background and how his vocals climb towards the end. The song also features catchy melodies and hooks, which helps making Problem a memorable track to me. (9/10)
6. Errr Day – Err Day is actually a single released much earlier in 2023 and is one that I haven’t been able to review yet (it also got a music video; in case you missed it). The track itself has a nice light summery vibe, which complements the warmer season that was approaching at the time of release. Err Day also features dreamy vocals from Youngjae, which helped make the melody comforting and pleasant sounding. (8.5/10)
7. Fluffy – If you are a fan of Youngjae, you are probably aware that he has a pet dog named Coco. And he is definitely massively in love with Coco, given that Fluffy isn’t the first song he has written for his dog. Regardless if you knew the context of the track or not, Fluffy is definitely a sweet-sounding track – you can definitely feel the love from Youngjae. I liked the guitar and wooden xylophone in the background, particularly since they gave Fluffy such a playful and fun vibe. (8/10)
8. Snooze– Snooze brings the acoustic guitar into play, whilst also bringing back the dreamy and comforting vocals that we have heard earlier on in the album. While the track isn’t usually my style or go-to, I can’t help but smile to the track. Youngjae has always had that effect on me, and Snooze is just proof of that in song form. (8/10)
9. Thinking of You (자꾸네가) – Thinking of You is the ballad you could see a mile away. It is beautifully instrumented with piano and Youngjae’s vocals are quite captivating, especially as you get towards the end. The band instrumentation that kicks in for the final chorus brings the track home. Definitely one of the best tracks on this album. (9/10)
10. Never Leave You Again – The final track on Youngjae’s first studio album is Never Leave You Again, a song from him to his fans. I am sure fans of his (and GOT7 more widely) have found this to be a touching song. Music wise, I really like his vocals in this track, especially when they are backed by his own backing vocals. While it could have been a ballad, I also appreciate the pop vibes that feature in Never Leave You Again. It feels on brand for Youngjae. (9/10)
We continue to bounce around the past year through the album review segment. Today, I am reviewing D.O’s 2nd mini-album, Expectation – his first solo release since finishing his military enlistment and solo debut back in 2021. It also follows on from D.O’s participation in EXO’s long awaited comeback with Cream Soda earlier on in the last year. Expectation features a total 7 tracks – the title track Somebody, the pre-release track I Do and five additional tracks.
Just some overall impressions on this mini-album to hope entice you to check out the mini-album if you haven’t yet – it is a highly recommended one from me. In hindsight, it should have been nominated for Best Album of 2023. But as I reviewed it way too late, I missed that opportunity and have robbed D.O of a potential win in that category. Massive apologies! But do check out the mini-album and let me know which is your favourite track as I have a few on here.
2. Wonder (기적) – I quite liked the upbeatness that Wonder featured. The indie pop sound came through so nicely, with the acoustic guitar being a really nice constant to keep the song grounded. The beat to Wonder is also definitely foot-tapping worthy. D.O’s vocals brings so much sweetness and cheerfulness to the table, and the melodies were just so captivating. I like the additions to the instrumental as Wonder went on, such as the claps we hear towards the end. These additions enhanced the cheerfulness and happy vibes that comes off the song, and made the indie track a little punchier so it wasn’t too consistent from start to end. Overall, a very easy-going and easy-on-the-ears listen that I personally enjoyed very much on this mini-album. (9/10)
3. I Do (별 떨어진다) (Pre-Release Track) – I Do was released back in early September, around two weeks before the official release of Expectation. My thoughts on Wonder can be reflected on I Do just as well, but there are some minute differences that does set it apart from the latter song. Firstly, I Do feels a lot more simplistic thanks to its instrumentation. I felt we steered towards more straight-forward pop in I Do and the only main instrument that makes up the backing is an acoustic guitar (with some bass). Simplicity can be said about the melodies as well, which I felt became even more attractive and addictive the more I listened to the song. And finally, D.O vocals were just stunningly effortless in I Do. (10/10)
4. Lost – Packing a punch is Lost, which is probably my ultimate favourite on this mini-album. Lost conveys a much heavier dose of emotions given the lyrics focus on a breakup. But we are not talking ballads here. Lost is a pop track, with the chorus featuring thumping beats that drive the song forwards and a darker pop-rock-like motif that adds complexity to this mini-album. I feel like this could be his answer to a dance track and would love to see how he would present this to us on a stage. With his vocals, you can hear how he ups the ante with more passion and power when it matters the most to make this an impactful and unforgettable song. (10/10)
5. Ordinary Days (내일의 우리) – Every time Ordinary Days plays, I get lost in it. I just find myself getting whisked away with the paced nature of the instrumental, and D.O’s vocals serves as the perfect vehicle to take me away. Everything is definitely a lot more delicate in Ordinary Days, compared to the other songs, but this shouldn’t scare you away from thinking it is just another ballad or is too slow-paced for you. (9/10)
6. The View – The View was the song that spoke to me the least on this mini-album. But I still find it to be quite pleasant one. D.O’s vocals are still captivating enough to fall into, and I liked the indie coffee shop inspiration behind the instrumental outro that closes out the song. I just wished there was a bit more to the song, such as a more memorable melody. (8/10)
7. Lost (Acoustic Version) – While I don’t tend to make comments on alternate versions of a song in my album review, the acoustic version of Lost felt like needed to be spoken about. Even without the oomph from the instrumentation of the original, this version still manages to come off as stilling. And I love the raw and unprocessed nature of his vocals in this version. I won’t include a rating for it, but it is definitely on par with the original.
I am back tomorrow with song reviews that I have missed whilst on my break, plus other new releases that will be released during the week. In other words, a lot to get through. But before I am officially back tomorrow, there is one last album review that I have scheduled – Dreamcatcher’s VillainS. It is their 9th mini-album release, and their second one of 2023 (the first being Apocalypse: From Us, which featured the title track BONVOYAGE). VillainS features the title track OOTD, three side tracks and an intro track – a grand total of five tracks. As usual, thoughts on each song are below.
VillainS Album Cover
1. Intro: This My Fashion – Kicking off the mini-album and the new chapter in Dreamcatcher’s career is the intro track This My Fashion, which features a repetitive autotuned or robotic utterance of the title and a more electronic rock sound profile. I found this track to be a little unsettling, thanks to the lack of anything else in the track (the lack of vocals means I will not be rating this song and including it in the ‘overall album rating’). But it definitely means that This My Fashion has an intriguing aspect to it which beckons me to listen on.
3. Rising – To me, Rising sounds like a throwback to their earlier rock works that they built their name on. And this throwback is definitely well executed by the group and their producers. Dreamcatcher sounds more mature in this track. The hooks and melodies in Rising are catchy and their delivery in this song just shows us how well they meld into the genre now. Also, the rock gears towards the metal corner of the genre, which feels weightier. All of this makes for a highlight on this mini-album. (10/10)
4. Shatter – While I do like the set up to Shatter and its more experimental sound profile of electronica and punk, I felt like some parts of the song were relatively softer than the rest and this left the track unbalanced, in my opinion. I wished where the vocals were soft, they were actually intensified. This would also allow the instrumentation to go harder to really fully appreciate the best of both worlds. I did like the clever interwoven classical influences in Shatter, giving another dimension to the song. (8/10)
5. We Are Young – Dreamcatcher hits the club in We Are Young, going with a progressive house sound. It is definitely a different take on the group’s usual sound, which we all know has been more rock leaning. The drop and subsequent instrumental that makes up the chorus was very satisfying and hits the spot quite well. Interestingly, the verses and bridge feature softer vocals and a more delicate touch from the members. In the bridge, the way Siyeon transitions We Are Young from these vocals back to the club vibe is probably the best bit of the song and a profound way to end of this mini-album. (10/10)
It has been a few years since we last saw VIXX on stage. That was through Scentist (if we are considering their Korean comeback) or Reincarnation (if we are considering their Japanese comeback). There have been also two digital singles since those comebacks. But in November 2023, VIXX made their long awaited comeback with the mini-album CONTINUUM and the title track Amnesia. Today, I will be reviewing the mini-album. In addition to the title track, it features an additional four songs. And per usual, this mini-album is on par with the rest of their album releases as far as I can remember, a strong album release and features a few hidden gems. For more on individual songs, continue reading below.
2. Chemical – Chemical takes me right back to some of their older side tracks, going for that darker and sexier vibe that VIXX always have in some form on their albums. I found everything to be rather straight forward and simple in Chemical, from the breathy yet clear vocals, sultry melodies, and trap and electronic instrumentational. But the descriptors ‘simple’ and ‘straight-forward’ are no critique towards Chemical. Rather the simplicity allows the song and the members within it really shine. (9/10)
3. LILAC (라일락) – In a more heartfelt and acoustic manner is LILAC. While the beginning and verses of the song brings out an acoustic flair, I do think LILAC’s chorus gears the song towards a minimalistic pop-rock demeanour. As the instrumentation is kept to a minimum, this allows LILAC to showcase the stunning vocal profile of the trio by placing their delivery into the spotlight. (9/10)
4. SAVAGE – SAVAGE takes an upbeat and dynamic turn in its instrumental, easily becoming my favourite pick on this mini-album. I like quite a lot in this track, such as the twinkling effect in the chorus (which gives SAVAGE depth), how fun the song gets thanks to the really funky instrumentation, and how lively and expressive VIXX sounds in SAVAGE. (10/10)
5. If You Come Tonight – If You Come Tonight is an easy-going and softer track to end the mini-album on. It isn’t a ballad, but it is as beautiful as a ballad from VIXX could be. The melodies are really nice, and VIXX’s really nice vocal work also has this sweet tinge to it that emphasises the track’s pleasant and soothing vibes. (8/10)
THE BOYZ announced back last year their second studio length album PHANTASY and that it would be split into three parts. I also think I read somewhere that the entire album was to be released by the end of 2023. But I think that ship has sailed given we only have two parts and it is already early 2024. Anyhow, the group kicked off PHANTASY with the first part, Christmas in August and LIP GLOSS, in August 2023. And in November 2023, the group followed up with the second part of PHANTASY, Sixth Sense, which is the focus of this review post. The single WATCH IT serves as the title track and forms part of the six-track second part of the album. For my thoughts on each of the song below (FYI – some of which do have music videos – linked blow. But due to time constraints, I have opted to review them here instead), continue reading the review below.
2. Rat In The Trap (덫) – The first unit track on this part of the album is Rat In The Trap, which features Sangyeon, Jacob, Kevin, New and Hakyeon. I wrote this review before the music video for Rat In The Trap was released. Here, they describe love as a trap. I really like the funky vibe that is channeled throughout the track. Further to that, the electric bass gives the track that dark and edgy vibe (and a very cool crunchy effect), while the melodies and vocal work feels quite sleek. (8/10)
3. Honey – Honey also got the music video treatment earlier this year. But as it was an all-English song (which was a genuine surprise to me), it (presently) can only fall into the realm of my International Song Reviews segment. As that segment tends to lag behind, here are my thoughts on Honey. It is a smooth and sleek hip-hop track performed by members Sunwoo and Eric. The lyrics are quite sensual and mature, but I feel this helps makes the song feel even smoother. The two rappers’ vocals were actually well done, and their rapping is definitely engaging. I really like their use of the deeper and lower registers throughout, which really helped make Honey alluring to listeners. Eric and Sunwoo did a very successful job with Honey. (9/10)
4. Bad Luck – All the members come together again in Bad Luck, which felt like quintessential THE BOYZ for me. The synth work comes off as dramatic in Bad Luck and gives momentum to the song. The vocal work is amazing, with fast tempo delivery in the chorus being one of the cooler aspects of the track. But it is the rapping that bookends both ends of the second verse were the standout moments, with Sunwoo’s rhythmic sequence at the end of the second verse being the best of the best. I want to relive those few seconds again and again. (10/10)
5. CRYING & LAUGHTER – The hollow percussion to start off the song was definitely an interesting choice. But it actually ends up blending well with the rest of the instrumentation. There are also other interesting choices in this dance track, as more scratchy strings. Again, good rapping and vocals from the members throughout CRYING & LAUGHTER, all of which makes the song engaging to listen to again and again. The ‘La la la’ and melodies are quite catchy. A solid single, overall. (8/10)
6. Escape – Again, we see interesting instrumentation choices in Escape. There are a few odd balls (at least, that is how I hear them) in the background, such as the consistent and brief thumping percussion, the very dull piano-like right at the back of the instrumentation, a bubbling effect sound and probably a lot more that I cannot pinpoint. That being said, everything melds together to be quite aesthetic. I thought it was really cool. The airy vocals from the members actually complimented the music quite well. It had an alluring effect that worked very well on me. My only improvement to this song is that it could have used something more memorable in terms of hooks and melodies. (8.5/10)
After what felt like has been a concentrated amount of album reviews for male groups, I am here with an album review for a female group – this time, VIVIZ. The trio made their comeback in November 2023 with their 4th mini-album VERSUS and the title track MANIAC, following on from their PULL UP comeback from earlier in 2023. Including the title track, this mini-album also features another 4 songs.
This is the first time I am reviewing an album from VIVIZ, who debuted following the unexpected announcement of GFriend’s disbandment. Said announcement is still one that catches me off guard and shocks me even after two years as it was simply not even considered as an option given the success off the group. That being said, VIVIZ picks it right up with their debut and have had a consistent career post GFriend since. This time around, I am encouraged to review VERSUS thanks to how much the title track has grown on me and the fact the mini-album has one awesome track that I really wanted to share with you. Continue reading below to find out which VERSUS song is the one you must listen to!
VERSUS Album Cover
1. MANIAC (Title Track) – One of the wishes expressed in my review for MANIAC was that more listens would help boost up the song for me, given my review was written merely hours after the song release. I am happy to say that since the release of MANIAC, the additional listens did help and I am more than inclined to increase MANIAC’s song rating to a 7/10. Click here for the full review for MANIAC.(7/10)
2. Untie – Untie is my favourite pick from this mini-album. The runway aesthetic that makes up Untie’s sound profile is successfully executed, with the instrumental setting the scene with immediate effect. VIVIZ’s very low and raspy toned breathy vocals was definitely a highlight aspect of the song, with the rest of the vocals being very solid efforts as well. It was the perfect vessel for the charisma, confidence and power that they were conveying in Untie. (10/10)
3. Overflow – We gear towards more R&B territory for Overflow. I liked the dreamier vibes from the instrumentation and the vocals were really well done. Unfortunately, the melodies didn’t keep me around and I found this to be an excuse to skip the song constantly. (7/10)
4. Day To Day (한걸음) – I find that Eunha’s higher pitched vocals work excellently in Day to Day, and Umji and SinB’s vocals follow through quite nicely. I like the really soft pop vibes that comes from Day To Day, which makes it quite graceful and lovely listen. The melodies have this small bounce to it, which I quite liked. And everything else contributes to an easy listen. (8/10)
5. Up 2 Me – We re-enter upbeat territory to close out the VERSUS mini-album with Up 2 Me. After some paced tracks, it is definitely nice to hear some energy from this mini-album. Up 2 Me is another enjoyable track with a catchy chorus and retro detailing in the pop instrumentation that backs the track. I kind of wished that was a more prolific element in Up 2 Me to really give Up 2 Me a little more oomph, but the track is good enough as it is. (8/10)
After completing their military enlistment at the same time in June 2023 (a first in KPOP to navigate the biggest cause of prolonged hiatus in male KPOP groups), ONF returned in October 2023 with their 7th mini-album, Love Effect. It is their first comeback since their special album release of Storage of ONF in 2022 in the midst of their military enlistments, which featured the title track Your Song. Love Effect (the mini-album) features a total of 5 songs, including their latest title track of the same name.
Overall, this new mini-album is a solid way to ease us back into ONF, with the title track itself borrowing that similar sound profile that I personally liked from their title tracks that they released prior to the military enlistments in 2021 (i.e., Beautiful Beautiful) and the others songs demonstrating the group’s variability with different sounds and genres. Continue reading to find out what my thoughts on each individual song are below.
Love Effect Album Cover
1. Be Here Now – Kicking off the mini-album is the single Be Here Now, which lyrics are about the future that ONF wants with their fans (FUSEs). I really like the cheerful and feel-good vibe that the verses bring to the song, and the choruses are an inclusive extension of that thanks to the members singing together. Wyatt’s rapping in the bridge brings a playful vibe to the mix, while the only pre-chorus in Be Here Now is extremely pleasant (so much so, that it stands out to me). (9/10)
3. Dam Dam Di Ram – ONF taps into hip-hop territory with this dance track, which to me sounds like a typical male KPOP group release. It just sounds plain and doesn’t really feel as exciting as some of their other tracks on this mini-album. Also, Dam Dam Di Ram is a lot more serious and heavier than ONF’s other releases, which is a departure from what we hear from ONF usually. That being said, there are some good moments and aspects to the song, such as Hyojin and Seungjun’s (formerly J-Us) unique vocals in the pre-choruses, Wyatt’s very low tone rap-speak in the second verse and the refreshing flute that features in the background throughout the song. (7.5/10)
4. Arrival– Whilst Arrival is also quite hefty and serious like releases from other male groups, I do find that Arrival does a much better job of showcasing ONF’s style and colour. Just check out the chorus, and I think you will know what I am talking about (if you have been a long-time fan of ONF). The synth wave instrumentation behind Arrival is a lot more dynamic and this definitely helps make the song more appealing. The detailing we hear in the background introduces some crunchy textures, while I felt was very cool. (8.5/10)
5. Wind Effect (바람이 부는 이유) – The final song on the album is (surprise, surprise) a ballad. It is a lovely song to end on, with a soft piano instrumental and pleasant vocals to round out of the mini-album. Given the title of this track is rather similar to the title track of this release, the lyrics of Wind Effect reads in as a potential lead into the title track – Wind Effect depicts the beginning of love, while Love Effect (the title track) depicts the falling in love. (8/10)
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