NCT is nominated for Best Male Group, while NCT 127 is nominated for Best Male Group and Best Subunit in the 2020 KPOPREVIEWED. To support NCT, NCT 127 and your other favourite artists, click here to vote for them below the 31st of December.
NCT has been extremely busy over the last two months, splitting their 23-member lineup into four different units for promotions of Make A Wish (Birthday Song), From Home, 90’s Love and Work It, all of which were title tracks from their second studio album, NCT 2020: Resonance (Click here for Part 1 and Part 2 of the album reviews). To wrap up promotions for this album, NCT have regrouped as a 23-member group for the surprise release of the Resonance single, which officially dropped on Friday this past week. Aside from being a song performed by 23 members, Resonance is also a mix of four songs from their album – Make A Wish (Birthday Song), 90’s Love, Work It and Raise The Roof.
It sounds very ambitious and like many, I have my reservations. A hybrid of four songs in one. But we need to remind ourselves that SM Entertainment are the creative minds behind Sherlock and One, both of which are all combinations of two songs. So SM Entertainment has done this before. Rather than taking bits and pieces of the songs and merging them together into something really tight and cohesive, Resonance delves more down the mashup route, rather than a hybrid song at first glance. It borrows segments of Make A Wish (which had the honour of providing two parts to Resonance), 90’s Love and Work It (one part each). Interestingly, it isn’t the choruses of each of the three title tracks that make it into Resonance, as that would confuse listeners with four different sets of hooks and energies. Instead, the segments are combined with Raise The Roof‘s chorus, which is a clever move. The song does make an attempt to blend the four songs together by applying a new intro, spoken boldly and proudly (?) by Mark himself, amplifying the chorus (compared to the original) and infusing intense EDM into the mix through a standalone dance break. Altogether, Resonance does manage to come off as epic and powerful, which suits their image. Does Resonance work? I would say so. While we are clearly reminded of each song individually, the new additions do a lot of heavy lifting to give Resonance a fresh and individualistic sound that hasn’t been in any of the four songs before. In other words, there is something new in the track. And that I consider a win.
With such an epic and powerful tone to the song, the music video is equally as epic. It too was quite ambitious, but SM Entertainment really pulled out all the stops to make sure the video works. The editing between each part was super cool, especially Ten’s kick in the dubstep dance break. I really liked all the sets of that were used. I liked how they recycled that box set with different coloured lights to use for each of the title tracks and for one Resonance‘s choruses. The stage with the big screen was definitely a bold power move, while the one with the flow silk was so fitting for that bridge. But my favourite has to be the stadium stage. When the high notes hit and we are shown an drone shot of all the lights turning on, my jaw was on the ground. It was so epic and will be a music video scene that I will definitely remember for a long time. Likewise, all the drone shots at the end left me speechless.
The choreography was like the song. It didn’t change up the choreography for each of the three title tracks. And I completely understand that. It would have been too much of the members to relearn a whole new routine for the same song, given that they will be learning new choreographies for award ceremonies and end of year music festivals concurrently. For the new sections, I did like the intensity of the chorus’ routine, which they made look almost animalistic. The dubstep dance break was equally as full-on and even more powerful.
Song – 9/10 Music Video – 10/10 Performance – 10/10 Overall Rating – 9.5/10
There are still so many October albums that I am trying to get through and I need to make a start with the November albums (which I will do tomorrow). Today, I will be covering TWICE’s most recent release in Korea, Eyes Wide Open. The group’s second studio album was released back at the end of October and features the title track, I Can’t Stop Me. Alongside this track, TWICE keeps listeners busy with another 12 tracks. As we are talking about a 13 track album, you can already tell it is going to be a long one. So accept my apologies on how late this album review is and let’s just get stuck into it.
2. Hell in Heaven – Right after the title track comes TWICE most aesthetic single to date. It did definitely a bold statement to give the song, but I really do think Hell in Heaven earns the title. The song has this tropical profile that feels almost exotic and jungle-like. The vocal work in this is superb. There were some that were super good. I really liked the almost hushed approach vocals at the start of the chorus (by Jihyo, Mina and Tzuyu for each of the choruses respectively), complimenting the instrumental beat drop delay. I also like the breathy approach some of the other members took. Honestly, a really strong follow-up to the title track. (10/10)
3. Up No More – Up No More has the instrumental of a standard female group KPOP song. There is a hint of retro in it, which was the only thing worth mentioning. Other than that, I didn’t find anything special in the instrumental. What TWICE does extremely well with the song is infuse more of that retro feel through their vocals. I also really liked the fast melodic hook to the song, which has grown exponentially since the album releases. There is something about its fast delivery that feels groovy and catchy. The rapping was quite nice, but on the typical side of the spectrum. (7.5/10)
4. Do What We Like – Mina opening Do What We Like was an excellent move. She doesn’t get a lot of the credit when it comes vocals in the title tracks, so I felt like she had her moment to shine at the very start of this song. Apart from that, Do What We Like takes me back to Western electronic music from the last decade, partly thanks to the pop keyboard and those violin synths. The melodies were very sleek and I really liked the hooks, even though they were not as catchy as I wished they were. Do What We Like sounds wholesome and nostalgic, overall. (9.5/10)
5. Bring It Back– When you think about how TWICE started with their cutesy sound, I don’t think anyone would ever expect Bring It Back to fit in with their discography. It honestly took me a few listens to actually feel comfortable with this song. Bring It Back’s chorus had a deep and heavy tone, opting for trap-based EDM. It was slightly unsettling, given the song’s verses were more paced, airier and lighter in tone. But after these few listens, the song works out well. I liked the kick of upbeat energy that the first half of the bridge brings. It was a nice changeup to the slow pace of the verses. The second half of the bridge, just before the song brings back the trap EDM, was not that great, as it didn’t feel like it blended well with the members’ higher tone voices. (9/10)
6. Believer – After such a heavy song, Believer doesn’t come in to one-up the preceding song. Believer has good energy, but it doesn’t have the zing necessary to really continue the momentum. It starts off as a R&B number, before settling for something a little more upbeat pop sound. I wished they did something more with the instrumentals to give it that memorable factor. Instead, it just felt safe. The vocals was good, with the main and lead vocals standing out the most. Dahyun’s whispering rap was good, but it would have been nice if the producers extended the rapping sequence with a punchier approach following the whispering style. Finally, the song’s ending made it feel incomplete. All of these factors leave the song as one of the weakest on the album. (7/10)
7. Queen – There are a number of elements of Queen that makes it stand out. The first is the bouncy electronic introductory sequence that kicked off the song. The second is the ‘ba-ba-da-ba’ that also opened the song alongside Mina’s English line. (On a side note, I felt the way the producers built this song up felt very typical and failed to capitalize on the uniqueness of the opening electronic sequence). The third has to be the ‘Just a Show’ line that kicks off the chorus (which was keyed into my memory). The fourth is the funky energy we get in the chorus. Everything else just felt typical to me. (8.5/10)
8. Go Hard – While I do feel that Go Hard goes in all the right directions, the one thing it fails to really do is … well … go hard. This song really needs more bass, which would have brought a whole new level of dynamism and depth to the song. But other than that Go Hard gets all the ticks. There is intensity during the chorus that feels appropriate for a song titled ‘Go Hard’. The deep voices that repeats the ‘We just go hard’ line definitely works extremely well. I also liked that some of the members had a bit of a raspier tone for this song, which again works extremely well. The only other complaint is that the elephant-like trumpet samples should have been replaced with a different type of brass – one that doesn’t sound like the animal. (8/10)
9. Shot Clock – Shot Clock thrives on the consistent marching-band style instrumental. It definitely delivered energy and intensity to the song, especially when it came to the final chorus. First impression to the song was the vocal work was really good. But the more I listen to Shot Clock, the more that feeling some reason rubs off. This is a flaw of being too consistent, making everything feel the same all throughout. I was glad when the trap-centric rap sequence, as it cut the consistency and made the song more interesting. Wished they changed up the vocal style early on. (8.5/10)
10. Handle It– Handle It starts off with an R&B sound. I was drawn to it, thanks to the soft thumping of the drum that is pretty much there throughout the song. The chorus was a surprising change, moving the R&B feel to a jazzier sound (though in hindsight, I should have heard it coming as there was a slight jazzy influence in the verse). There was a bit more oomph to it, otherwise I would say the song would be suitable as hotel lobby music. But the oomph makes it more fitting for a modern jazz bar. I want to say there was good vocals in the song, which was the case for the verses. But I felt their approach to the chorus was a bit much, in combination with the instrumental elements of the chorus. (8/10)
11. Depend on You – You know how I tend to make the joke that ballads are mandatory on KPOP albums? Well, Eyes Wide Open doesn’t have a ballad. I know, how shocking! Depend on You is probably the closest song on the tracklist to a ballad. I really like the acoustic feels of the instrumental, and their soft vocals. The chorus is a simple beat drop, infusing some EDM into the song. It is also detailed with autotuned ad-libs. Together, all of the song felt like you listening on a cloud. Definitely a pleasant listen. (9/10)
12. Say Something – Getting me right at the start is the funky and retro vibes of the song, throwing us back to the 70s. There is also a blend of jazz mixed into the song, which made the song more interesting for me. Aside from the instrumental, TWICE really shows off their vocals in this song. To me, it is their best vocal work throughout the entire album. I just really liked how they sounded in the song and how balanced it felt with the instrumental. Neither masked the other and both complimented each other. Interestingly, the best part of the song is the ending with the saxophone solo and the fade it. It just made the Say Something perfect. (10/10)
13. Behind the Mask – Behind The Mask was an excellent song to end off the group’s second album. The trap/pop combination of the instrumental was quite an atmospheric experience, with the song feeling neither light or intense. What I really enjoyed about the song were their vocals. They sound melancholy and very chilling all at the same time over the trap/pop blend. The bridge was a really strong stillness moment and the launch back into the final chorus was spectacular. A strong song to end the album on. (10/10)
Earlier this week, ONEUS made a surprise comeback with a new single, BBUSYEO. This comeback is significantly different to any of their previous comebacks for its bright and lighthearted approach, contrasting with the group’s dark and serious toned comebacks. BBUSYEO also follows ONEUS’ other 2020 comebacks, A Song Written Easily and the more recent TO BE OR NOT TO BE (which has been nominated for Best Concept and Music Video in the 2020 KPOPREVIEWED Awards – Link to vote for them is above).
As previously mentioned. ONEUS opts for a more lighthearted and fun sound for BBUYSEO, miles away from any of their previous music. It is definitely unexplored territory for the group. I particularly like how the start of the song just gets straight to the point. There is no need for a build up or to fluff up the song. Instead, BBUYSEO starts off with heavily autotuned oohs and aahs that sounded quite funny to me, going straight for that lighthearted effect that has already been mentioned. Then the song gets straight to its upbeatness with the fast tempo backing of the verse, thanks to the use of funky guitars and a clapping beat. Here, there are strong vocals and raps from the members, with their delivery very much keeping up with the intensity and pace of the music. When we round on the chorus, it comes with no surprises that it is brass heavy. Firstly, brass instruments is the go to instrument group if you want something fun or infectious. Secondly, the verses hint towards the chorus with the use of some brass elements, but they were clearly not as prominent as in the chorus and were pretty much overlooked. The rest of the song basically follows the above, with the addition of a trap based rap sequence just after the first chorus, an amazing display of vocals from the vocalists of the group in the bridge (who do even more with ad-libs in the final chorus), and the new extension at the very end of the song to bring it all together. I feel that the song does lack strong hooks, however. ONEUS was clearly going in the right direction, but I felt the producers underestimated the power behind the brass in the instrumental and the hooks that they do have got somewhat lost in the instrumentation. However, BBUYSEO still comes together nicely as the group’s first bright track. While I personally do prefer ONEUS’ darker and serious tones, having a bright song like this once in a while won’t do harm to their discography.
As mentioned earlier, this new sound allows ONEUS to explore new concepts. And this is clearly observed in the music video. There were a lot of stuff being smashed throughout the video, which makes completes sense given that BBUSYEO translates to Break It in English. Bright colours and hilarious moments were heavily used throughout the video to convey the ‘not serious’ and lighthearted tone of the comeback. My favourite part has to be when Ravn punches the toilet door to reveal a posing and waving Hwanwoong, who ended up smashing the toilet. It is just a major WTF moment that made me laugh.
I am totally digging the energy that is coming from the members during the performance. They definitely give it their all and it really portrays the song really well on stage. I wouldn’t be surprised if this one is more intensive than their dances for their more serious/darker music. A lot more jumps and interactions with the camera is enable in this performance, which lifts up the dynamic nature of it.
Song – 9/10 Music Video – 9/10 Performance – 9/10 Overall Rating – 9/10
You would think that an artist as legendary as BoA, who is releasing her tenth studio album and celebrating 20 years in the KPOP industry would get some decent promotions to make sure the public knows about all these milestones so they can celebrate with her. Unfortunately, that hasn’t been the case. Better, the title of the song and BoA’s tenth studio album, felt like it was released out of the blue yesterday. And it is pretty much overshadowed by SM Entertainment’s over big release of the week. I just hope SM Entertainment has big things planned for this album, so that BoA can celebrate in style and get recognition for the amazing feats she has achieved. In the meanwhile, here is my review for Better.
Better brings out some of BoA’s best skills that I haven’t heard for a while. She has released some really good tracks recently, including Woman which really made itself known thanks to its boldness and elegance. Better diverts into a different territory. To me, the song feels simple yet executed amazingly. Simple may have the connotation of being plain or obvious. But I feel Better is ‘simple’ in a more dynamic sense. It is a R&B track that has this deep funky beat embedded in the background of the verse. I thought it was a really showstopping piece that really attracts my attention. There isn’t anything else of major interest that steals my attention other than BoA herself. It is straightforward and consistent (another example of when consistency is a positive trait). There are some bellowing synths throughout the song, but I feel that blend in nicely with the deep funky R&B roots this song has. BoA’s raspy vocals come into full effect, adding an amazing texture to the song that I am digging. The harmonies with the backing vocals during the chorus really helped oomph up the song without going for anything too extreme. I love the elegance that she brings to the first half of the bridge. The rapping that kicks off the second half of the bridge capitalises on the deep funky notes that I mentioned, giving the song an awesome change up before reaching the final chorus. Overall, Better is amazing in many senses and definitely pulls together her legendary skills in a suitable manner to celebrate her achievements.
The music video has this eerie dark vibe to it which feels highly suitable for the song’s simple profile. There were a few different sets and this eerie dark vibe really helps blur them altogether to make the video feel like it was one whole piece. And I feel this is better than having multiple sets come together in an attempt to feel like one video, but instead it comes off completely mismatching. The music video adopts that closeup and choreography formula, which I feel is totally fine for this video. BoA steals my attention for majority of the video (further helping blend the video’s components together) and keeps me captivated for the three and a half minutes with her beauty and choreography skills.
While I am chatting about choreography skills, we can’t skip the actual dancing when it comes to BoA. While this might not be as bold as Woman‘s choreography (I mean – how does one top her upside walk entrance?). To me, the choreograph utilises pace extremely well. There were parts that had a kick to it and other parts which took time. Put these together and you had a performance that made complete sense when it comes to BoA.
Song – 9/10 Music Video – 9/10 Performance – 9/10 Overall Rating – 9/10
Prepare yourselves for the influx of really overdued album reviews coming your way over the next few weekends. SEVENTEEN’s ; [Semicolon] was released back at the end of October and features HOME;RUN as the lead title track. The album also features five other tracks, four of which are actually ‘unit’ tracks based on the members age groups. I found this to be an interesting way to split up their tracks, given that SEVENTEEN already has dedicated units for vocals, performance and hip-hop. However, I am glad that they did do this, as it gives us a bit more variety with their music – some of which just doesn’t fall into the vocal, performance or hip-hop categories. Keep on reading to find out what styles they opted for with these age-based groups.
2. Do Re Mi (도레미)– Do Re Mi is performed by the maknae (or ‘youngest’) line (i.e. Seungkwan. Vernon and Dino). It is a nice mid-tempo pop track. Do Re Mi is subtly playful and very colourful, which I find suitable for their personality. The vibrancy of the pop instrumental in this song matches their youthfulness, as well. The chorus was catchy and had a pleasant vibe to it. The vocal work from all three members was quite good and Vernon’s rap had a nice oomph to it which made it stand out for me. Personally, I am not a fan of the change in the instrumental when it came to the bridge. I didn’t like the mild choppiness that it brought into the song, which disrupted the feel of the song’s consistency. (8/10)
3. Hey Buddy – Hey Buddy has that retro fanfare that reminds me of Bruno Mar’s Uptown Funk. This is thanks to the use of the brassy synths and trumpets in the instrumental. It is fun and upbeat throughout, making it another consistent track. I am digging the energy of the instrumental, particularly the end sequence that just keeps on coming. Hey Buddy features DK, Mingyu and The8. Each member brings a different element to the song, all of which I have never really picked up before in SEVENTEEN’s releases. DK has this musical-like delivery style of his vocals that makes his part so much punchier. Mingyu’s raps is quite sleek, while his vocals have this really cool nasally texture to them, while The8’s vocals have this freshness to them that I like. Altogether, Hey Buddy is a banger. (10/10)
4. Light A Flame (마음에 불을 지펴) – For some odd reason when I saw the title of this song, I thought we would be getting some edgy. But Light A Flame opts for a Latin influence. It is a bit more subdued and held back than the Latin releases that we are used to in KPOP. But this allows for a more sensual nature that makes Light A Flame feel unique. To me, the song is mature and well-thought out. Jun, Hoshi, Wonwoo and Woozi bring amazing vocals to this piece, with a mixture of standard vocals, deep tones (for the rapping and ending of this song) and falsettos throughout. I particularly like jazzy style instrumental bridge we got. It fitted in nicely and worked well with the rest of the song. (9/10)
6. Ah! Love– Ah! Love is performed by S.Coups, Jeonghan and Joshua. To fit their status as the hyung-line (or eldest line) of the group, Ah! Love is actually quite mature sounding. That being said, the song does manage to develop into something along the lines of a R&B pop track. The acoustic guitars dominated the instrumental and helped the song grow its refined style. The song’s ‘Ah! Love You, Ah! Love Me’ hook was surprisingly quite catchy and enjoyable. It also happens to be the group’s most memorable hook from this album. (9/10)
7. All My Love (겨우) – The final song features the regrouping of Seventeen. It is soft pop balladry track that is enjoyable. There are nice melodies in the song and an impressive display of vocals and rapping throughout the song. I am not exactly a fan of the synthetic nature of the instrumental. It felt a little too distorted for my liking. But I do admit that when paired with Seventeen’s vocals, All My Love’s instrumental actually comes off as warm and inviting. Overall, a pleasant ending to the album. (8/10)
A week ago, GOT7 teased their comeback with the pre-release of Breath, one part of the first half of their fourth studio album’s name. Today, the male group (who recently won the Performance of the Year grand prize at the Asia Artist Awards for the second year in a row), GOT7 dropped their official comeback title track, titled LAST PIECE. It is also the other half of their new album’s name, with both coming together to form Breath of Love: Last Piece. This is the group’s most recent comeback, following Not By The Moon earlier in the year.
To me, LAST PIECE has this explosive element to it, which I find amazing and extremely thrilling to listen to. But more on that in just a second. The song starts off pretty much like any other dance song. There was a strong opening with that repetitive hazy synth (not sure how else to describe it). Yugyeom then starts off the song, followed by Jinyoung, BamBam and Mark. The instrumental during this part was quite pleasantly consistent. I really like its mid-tempo and classy approach. That hazy synth continues to play its part in the song, but the verse has a bit of a kick to it thanks to the beat of the song. Jinyoung’s falsetto stunned me, before Jackson comes in briefly before the chorus. The main chorus features Youngjae and JB’s vocals and catchy melodic hooks that expresses we are their missing final piece. I find there is an explosive element to this chorus, but it is subtle thanks to Youngjae’s powerful vocals during this section. I believe that this subtleness is a deliberate move, as the more explosive post-chorus hook is where the fireworks truly go bang. That rush of rock energy and intensity just feels so good, with Mark and Jackson going all out in this part to match that energy we get. It also gives GOT7 an opportunity to showcase some of their performance skills. The rest of the song is more so what I have already (haphazardly) described. Just everything feels a lot better. The chorus gets more impactful. The post-chorus instrumental hook hits harder and Jinyoung’s falsetto during the bridge is something worth mentioning once again. Overall, LAST PIECE is another excellent track to add to GOT7’s discography.
LAST PIECE‘s music video carries over the instantly change of background and flawless editing from the Breath music video. But this time around, the members were the ones instantly changing, with the setting remaining the same between shots. And to make it extra complicated, this technique was mainly applied during choreography shots. So yeah, shout out to the editing department for this video. The one thing I was disappointed about was the lack of Youngjae’s screen time. I understand that he was injured and hence couldn’t dance throughout the video. But I am sure the producers and directors could have thought of something to give Youngjae a bit more screen time. I did however like how when he finally appeared (and thus GOT7 was completed), all the space on the wall was filled with pictures and paintings. Definitely a nice way to show that all the pieces were filled in the end.
The choreography definitely looks good. I really like the energy that each member channeled during the chorus and how incredibly sharp the moves ended up being. I really liked how they amped up the moves for the post-chorus rock influenced instrumental break. The ending with their forearms and hands forming an interlinked heptagon was pretty cool, reminding me of their seven piece necklace (when put together, it also became a heptagon).
Song – 9/10 Music Video – 8.5/10 Performance – 9/10 Overall Rating – 8.9/10
Despite already having BTS and TXT under already under their company name, it seems like Big Hit Entertainment is still hungry for another male group (Don’t worry to all you female group stans, Big Hit has confirmed a female group is coming our way in 2021). This new male group is called ENHYPEN and they were formed through the survival show I-LAND, which aired earlier this year. Seven members were chosen to be part of ENHYPEN’s lineup, including Heeseung, Jay, Jake, Sunghoon, Sunoo, Jungwon, and Ni-ki. Their debut single is titled Given-Taken and was dropped earlier today.
Given the current status of Big Hit Entertainment, I feel that any act who debuts under the Big Hit name is guaranteed success. But honestly, I don’t think ENHYPEN needs this guarantee given the calibre of Given-Taken itself. It is on a whole new level. Given-Taken starts off with this really beautiful harp that already screams out uniqueness. This start already feels quite tense, which is always a positive thing. The harps continue throughout the first verse as we get a slow and moody beat to accompany it and vocals. There is also some rapping. It was pretty much masked to be like the vocals and I wished they didn’t do that. Throughout the song I was yearning for something edgy and dynamic, which the raps would have served extremely well as a carrier for these two characteristics. Given-Taken then changes up the song by going into a pop-centric chorus. It reminds me of TXT’s Crown, just without the colour. If you couldn’t tell by now, but Given-Taken throws dark vibes right at you from the first second. I like the ‘To You… To… Me‘ part of the chorus. The second chorus was more so the same as the first verse. I wished they did something more with it. Likewise with the bridge. But it doesn’t mean I find the song terrible. I am totally digging this release. and will enjoy it no matter what I say about it. And it isn’t all ‘I want more’ with these parts. These sections do show and confirm with me is that ENPYPEN’s vocals are solid. I did not detect a weak spot throughout the song or any flaws in this department. Honestly, a really good job by this new group.
The lyrics of Given-Taken hints towards a dark concept. With lines such as ‘Red blood on that crown, That blood dripping down, Red Blood‘, I don’t think sunshines and flowers is going to cut it. To match with the dark vibes of the song, the music video opts for a horror theme. Oh, how I wished this debut was timed to coincide with Halloween. That would have been iconic. There isn’t anything scarier in this world, until you introduce little children to the story. And I feel that is the premise of the music video. The boys look innocent, but they (or at least one of them) has something to hide (i.e. he is an vampire). That scene at the end was expected once it started playing. But that particular member’s smile (sorry, I don’t know any of their names yet) to show off his fang was really haunting. Likewise, the really captivating yet probably trigger-warning worthy nose bleed start was definitely something I am sure people will be chatting about. I could literally sit here and list all the scenes that impressed me (hint: I was impressed by all). And all the member showcased perfect acting skills throughout the video.
The snippets of the choreography that I saw in the music video told me one thing. Never to underestimate ENHYPEN when it comes to their dance skills. This is only their debut song, yet their performance skills look like they have been around for many years. They looked super mature, despite their young age. Aside from that, I didn’t see any mind blowing or impressive moves that would have made me more eager to watch more of their stuff. I definitely will, though. I just wanted to explain why I am not giving them a 10/10 this time around (based on what I saw in the music video).
Song – 8.5/10 Music Video – 10/10 Performance – 9/10 Overall Rating – 9.1/10
Kai body rolls his way into this week with the release of his solo debut single, Mmmh. It is the title track off his first solo and self-titled mini-album. From what I understand, Kai is the final member of EXO to officially release a solo song in some capacity, eights years after he kicked off his music career as an EXO member. I find this completely surprising, given that he is one of the popular members of the group. It is definitely an overdue release, so I am not going to keep you waiting anymore. Without further ado, here is my review for Mmmh.
Personally, I wasn’t exactly sure what style of music Kai would get into for his solo career. Not that I don’t follow him or anything. He just has that vibe that he is an all-rounder and can pretty much pull off whatever sound or concept that is thrown at him. I could easily see him doing something upbeat or along the lines of hip-hop for a solo song. But Mmmh goes in a different direction – sensual R&B. Of course, it makes complete sense to why he would have gone with this style for his debut. And it was well executed. I did have some concerns about how Kai would handle some parts of the song, especially since he isn’t the best vocalist in his group. But one listen into Mmmh and those concerns were tossed out of the door. Kai handles the vocal department without any issues, with his appealing low and breathy tone. He pulls off those ad-libs effortlessly, which confirms that those concerns are no longer a thing for me. The ‘Mmmh‘ hook in the chorus was quite catchy and smooth. As for the instrumental, I really liked the very subtle electronic influence we get. It is rather masked by the rest of the R&B and trap based instrumentation. But I would say this is refined rather than lacking. The same technique was used in the bridge, but this is on the opposite end of the spectrum. I could hear a hint of violins towards the end. I wished they could have gone with more of that to make Mmmh a little more interesting, as it was something I personally didn’t see coming and liked it to be explored more. Overall, Mmmh was a solid debut song that shows off Kai’s skills and talents pretty well.
One of the things that I have noticed recently with the music videos is that the editing and post-production have been amazing. Take that city scene we see in the background while Kai is sitting on the edge of the roof. That was very detailed, futuristic and very visually appealing. The yellow hue sky dance choreography scene also looked amazing. The best part, however, is how Kai is dancing (towards the end of the video) and he is transported to a different section of the same scene, leaving behind a thousand small glass shards where he used to be. That is already on a whole different level, but the fact that he could interact with those former pieces of himself added a whole new level of coolness. And his fashion looked awesome throughout the video. And his abs is quite something as well.
At the start of the review, I mentioned that Kai is body rolling. But I just uncovered some information about that particular part of the dance (I think you know which part I am talking about). It is more of a hip grind, but it still looks like a tiny body roll from afar. The rest of the choreography looks really cool and sharp, which is expected from EXO’s main dancer.
Song – 9/10 Music Video – 10/10 Performance – 9/10 Overall Rating – 9.3/10
Yesterday, I reviewed the first half of NCT’s second studio album, NCT 2020: Resonance. And as promised, I am reviewing the second half of the studio album today (another fast tracked album review). On top of the 13 tracks from yesterday (this count includes the additional versions of the title track and the Interlude which I did not review), Part 2 brings an additional eight songs (which includes another interlude and outro). Per usual, I have not reviewed the interlude and outro due to their lack of lyrics. And aside from that, let’s get stuck into this album!
NCT 2020: Resonance Part 2 Album Cover
Click here for the reviews of the tracks originally on NCT 2020: Resonance Part 1. These reviews and rating scores do not influence the album rating I will be giving to NCT 2020: Resonance Part 2 below.
3. Raise The Roof – NCT raises the roof with Taeil, Johnny, Yuta, Kun, Jungwoo, Hendery, Renjun, Chenle, and Jisung at the helm. Raise The Roof is a song loaded with energy and a subtle sense of intensity that gets me excited. At first, I thought I wouldn’t like the song as much. But with a few repeats already passing, Raise The Roof caught on. Aside from the energy, I really like the members’ deep tone throughout the song, which matches with the deep autotuned voice that appears at the final chorus and the club-styled hip-hop influenced instrumental. The song’s ending has this back and forth type of motion that I really enjoyed and the song’s final moment was extremely satisfying. The biggest question mark I have is the vocally driven bridge, which I noted to be a typical NCT move. I felt it didn’t have a place in this song, which was the case yesterday in some songs from the Part 1 album. (9/10)
7. My Everything – The tracks preceding My Everything are actually some of the album’s more slower tunes (i.e. Light Bulb and Dancing In The Rain). These make way for My Everything, a ballad that features the heavenly vocals of Taeil, Xiaojun and Renjun. The entire ballad is driven by a piano only instrumental and the vocals of the three members. Three positive things to say about the song. It makes me sway along to the melodies (my self-made indicator of a good ballad). It makes me stop whatever I am doing to fully appreciate the song. And it feels pretty much like the many captivating and stunning ballad OSTs we hear. Can’t really fault anything in this song. (10/10)
19. All About You (단잠) – All About You is another amazing addition to the album. It is the type of song that made me go ‘ooh’ and ‘aah’ once the chorus kicks in. I really liked that electronic influence All About You had, kicking the otherwise smooth song up a notch and injecting really strong energy into the song. I loved the crunchy and bouncy textures this instrumental brought to the song. It was definitely appealing. What also stands out for me is that All About You is vocally centric upbeat number. Jaehyun, Jungwoo, Mark, Hendery, Shotaro, Sungchan and Chenle all sound really good in this song. And the combination of the vocals and instrumental remind me of the 90s for some reason, which I am totally digging. (10/10)
20. I.O.U – I.O.U screams retro with its R&B instrumental from the very first second. There is something about the choppy nature of the song that reminds me of music we would hear coming out of an old-style television in movies. I.O.U does not shy away from this influence. The song is made to sound like it changes in tempo (especially around the rap sequences). But whatever is done to the song is done whilst maintaining both the retro and R&B influences from start to end. Definitely a good form of consistency here. While I am absolutely fine with this direction of the song, I do think the instrumental is slightly overwhelming and was competing with the vocals/rapping. While we are on the topic of rapping and vocals (courtesy of Taeyong, Doyoung, Kun, Yangyang, Shotaro, Chenle and Jisung), I am totally digging it all. I do think the rapping has the edge, especially Jisung’s part which took me by surprise. (9/10)
Overall Album Rating – 8.6/10
Yangyang’s Teaser Image for NCT 2020: Resonance Part 2.
Taeil’s Teaser Image for NCT 2020: Resonance Part 2
Shotaro’s Teaser Image for NCT 2020: Resonance Part 2
Jeno’s Teaser Image for NCT 2020: Resonance Part 2
Haechan’s Teaser Image for NCT 2020: Resonance Part 2
Hendery’s Teaser Image for NCT 2020: Resonance Part 2
Yuta’s Teaser Image for NCT 2020: Resonance Part 2
Winwin’s Teaser Image for NCT 2020: Resonance Part 2
Jaehyun’s Teaser Image for NCT 2020: Resonance Part 2
Jungwoo’s Teaser Image for NCT 2020: Resonance Part 2
Sungchans’s Teaser Image for NCT 2020: Resonance Part 2
Chenle Teaser Image for NCT 2020: Resonance Part 2
Taeyong’s Teaser Image for NCT 2020: Resonance Part 2
Ten’s Teaser Image for NCT 2020: Resonance Part 2
Johnny’s Teaser Image for NCT 2020: Resonance Part 2
Xiaojun’s Teaser Image for NCT 2020: Resonance Part 2
Kun’s Teaser Image for NCT 2020: Resonance Part 2
Renjun’s Teaser Image for NCT 2020: Resonance Part 2
Lucas’s Teaser Image for NCT 2020: Resonance Part 2
Doyoung’s Teaser Image for NCT 2020: Resonance Part 2
Mark’s Teaser Image for NCT 2020: Resonance Part 2
Jaemin’s Teaser Image for NCT 2020: Resonance Part 2
Jisung’s Teaser Image for NCT 2020: Resonance Part 2
NCT completes 2020 with the return to full group promotions under the collective name of NCT. This means that NCT 127, NCT Dream and WayV, along with new members Shotaro and Sungchan have come together to promote under name of NCT and NCT U for their two part album. Today, I will be focusing on the first half of their second studio album, titled NCT 2020: Resonance. It features Make A Wish (Birthday Song) and From Home as the title tracks, alongside a bunch of new songs from various NCT U lineups (all of which we haven’t seen before) and the three units of NCT that I already mentioned above. It is a long album review, so let’s get moving along.
NCT 2020: Resonance Part 1 Album Cover
NCT 2020: Resonance Part 1 also features ‘Interlude: Past to Present‘ as the sixth track. But per usual protocol for album reviews on the segment, this track was not reviewed due to lack to lyrics. There are also a Korean version of From Home and an English version of Make A Wish (Birthday Song), which were not reviewed as I had already reviewed the original versions (links below).
2. Misfit – Misfit delves into the world of rapping, with Johnny, Taeyong, Mark, Hendery, Jeno, Yangyang and Sungchan all bringing their A-game for this track. The song is an excellent hype track, with rapping taking you back to earlier eras of rap music. The energy is quite full-on, but I won’t describe it as intense. Rather, it is fun and definitely a highlight to listen to. Mark’s leads us into the song with a sequence that confirms his talent and skillset. And each other member follows suit to show us what their skillset is capable of. I really like the more concentrated instrumental when it comes to the chorus, amplifying and intensifying Misfit’s energy, pulling you into the hype song even more. (10/10)
3. Volcano – Volcano features Taeyong, Doyoung, Jaehyun, Winwin, Jungwoo, Lucas and Mark. It takes on a hip-hop influence that also brings me back to earlier eras of the music, just a little more recent than Misfit’s throwback. I like how the energy in Volcano is more subtle than compared to the preceding track. I am digging the sleek nature of the chorus, especially with layering of raps and the simply spoken ‘Bounce’ over it. It isn’t much of a standout track, compared to the two tracks before it. The inclusion of the vocals was nice, but I felt it made the song confusing. Overall, this is what I would call a ‘pleasant’ listen. I would listen to it if it was on my playlist. But I wouldn’t go through the effort to seek it out. (8/10)
4. Light Bulb (백열등) – Light Bulb is performed by four out of 23 of the members (Taeyong, Kun, Doyoung and Sungchan) and it is one of my favourite tracks on the album. The song features a really soothing instrumental and a slower tempo, which is thanks to the piano that we hear. There is also percussion to give Light Bulb a bit of a kick and enable the song to feature rapping. The combination of both gives Light Bulb an R&B profile. Taeyong and Sungchan’s rapping is superb and very mature sounding. It also follows the same pattern as the preceding side tracks, giving off a nostalgic vibe. Doyoung and Kun’s vocals were breathy and very gripping. No one felt out of place and no element felt like they outdid another. Light Bulb was a very balanced track that deserves praise and attention. (10/10)
5. Dancing In The Rain– Dancing In The Rain introduces Taeil, Yuta, Jungwoo, Xiaojun and Chenle to the album, performing alongside Johnny, Jaehyun and Kun. I really like the melodies of this jazzy R&B mashup song, especially when it comes to the catchy ‘Drip Drop’ line. I really like the opening and closing piano sequences, bringing that jazz influence to life. I also think it is these jazzy influences that allows the rapping sequences to slide into the song effortlessly. The vocals showcase really nice harmonies amongst the vocalists in this NCT U lineup and also bringing some of that R&B touch to the surface. A stunning song. (9.5/10)
7. Déjà vu (무대) (NCT Dream) – Déjà vu is the first song to be released by NCT Dream since the confirmation that NCT Dream’s lineup will become permanent and that Mark will officially return to the unit. I wondered what NCT Dream’s direction would be, given that they are no longer young as when they first debuted and that their sound has matured exponentially since Mark’s graduation. Déjà vu hints that mature NCT Dream will remain. That being said, it isn’t as captivating as past NCT Dream’s promotional track and this feels best as a side track. (7/10)
8. Nectar (月之迷) (WayV) – WayV’s discography has been quite mature from the get-go. So Nectar fits in perfectly. It feels and sounds very sensual. I really liked the subtle energy that the song contains. I also really like the main hook of the song, as it was quite simple yet very addictive. That high note was impressive. But what I find the most exciting about Nectar is that the song is in Chinese, which is the start of the multilingual approach on this album (the second title track, From Home, also features Chinese and Japanese lyrics). (8/10)
9. Music, Dance (NCT 127) – To me, NCT 127’s addition to Part 1 of NCT 2020: Resonance was the weakest of all. Music, Dance’s best moment was when the instrumental had an upbeat persona. It felt satisfying and does feel like a great track to dance to. Unfortunately, the same cannot be said about the rest of the song. I thought the verses were really weird with its choppy intro approach and those vocals sequence (while were very good) diverted the song away from what should have been a wholesome dance track that should have been satisfying across the board. (6/10)
10. Faded In My Last Song (피아노) – We return to another NCT U track, performed by Taeil, Johnny, Yuta, Ten, Lucas, Renjun, Haechan and Jisung. It is a R&B track that features awesome melodies over a stunning piano/trap beat instrumental background. I really like how the vocal and rapping were extremely cohesive in this song. The way the song’s title, ‘Faded In My Last Song’, was sung in the song really stuck with me and has become my most favourite line/part to listen and look forward to. (10/10)
I promised album reviews for NCT’s NCT 2020: Resonance this weekend. But before I can get to the album review, I need to review one more song, the second title track from the Part 2 of the album. Conveniently, the music video for this second title track, Work It, dropped officially today. So I will be reviewing it before I publish any album reviews for the massive group. From the 23-member lineup, Work It features Johnny, Yuta, Ten, Jungwoo, Hendery, Jaemin and Jisung. Let’s see what these members bring to the table.
I really wanted to like Work It, but I couldn’t. I don’t think I ever watched/listen to a song with such a straight face before. Out of the four title tracks that NCT have given thus far, Work It is probably my least favourite. But before I delve into the reasons why the song didn’t work for me, let’s start about the positives of Work It. The chorus was pretty solid and I can see it growing on me (provided I look past the reasons I will list later on). It features two very strong hooks. The first being the simple ‘Work It’ that is essentially spoken into the song. The second is the main synth of chorus’ instrumental, which brings some edge to the song and the fast tempo. If you know me, I like my energy and this chorus definitely tried to bring it. Unfortunately, the rest of the song just felt dull or mis-matched. I can’t get over the blandness and over-consistency the verses brought to the song. The members had pretty decent delivery with their rapping here. But the verses lacked the instrumental to really bring the song some life. I just got bored with its plainness and lack of energy. The fact that the second verse didn’t do much to change to up and felt like a repeat of the first verse didn’t help. I feel like this is a case where the producers were trying to do a lot with the members, but very little with the instrumental. The bridge was nice vocally, but it did not fit in with the rest of the song. We went straight from a fast tempo EDM track into a smoothed out, classically approach and slowed tempo backdrop for vocals. It is something that NCT does a lot and it tends to work fine. This time around, the difference was too noticeable. They could have at least gone with a slower form of EDM to give the different parts a chance to blend sounds or at least make it seem like it would fit. Overall, Work It had some highs. But it was the lows that got my attention.
Work It’s music video was no way meant to be taken seriously. Based on the casual way the members were acting and the smiles plastered over their faces, it was a fun video. The music video adopts the choreography and closeup formula that I dislike. similar to how the previous NCT U’s music videos were also structured. From memory, those ones had a bit going on, so the formula wasn’t as noticeable. Work it didn’t have much going on, so it was very noticeable from first glance. The editing felt plain (for the most part – there were some cool transitions) and I wished more could have done to it. Also Haechan’s presence at the end of the 90’s Love video is answered in Work It, creating a bridge between the videos. But I don’t see any that indicates that the connection is there for fun.
The choreography looks good. I felt more energy in the small snippets of the choreography that I saw in the music videos than from the actual song. I would like to see if they bring some of their boogie freestyle that we saw in the music video to the stage performances or not.
Song – 5/10 Music Video – 7/10 Performance – 7/10 Overall Rating – 6/10
Earlier this month, SECERET NUMBER made their first comeback with Got That Boom. For those who have missed this female rookie group, they are a five-member group (consisting of Léa, Dita, Jinny, Soodam and Denise) under Vine Entertainment. This Got That Boom comeback comes after their debut with Who Dis? earlier this year.
The opening of Got That Boom always reminds me of an ITZY styled track. In my point of view, this sets up this track positively. And this is only positive and not a blatant copy of the popular female group because SECERT NUMBER manages to put their own spin on the style through this pop centric chorus and vocal work. Interestingly, I didn’t see this chorus coming. Personally I was expecting a little more attitude if the song was following the ITZY style instrumentally. But SECRET NUMBER manages to spin the song bad filling up the instrumentation with most notably brass and directing it down that pop route. It is still very good and I really thought it was well crafted. The ‘Dance Dance, Dance Dance‘ hook was quite catchy. So was the post-chorus hook with the ‘Tic Tac Toe‘ line. This is where the attitude that I thought was coming ended up. The vocal work was quite solid. It may not be a powerhouse style (which I think could have been used to give the song that extra layer of uniqueness especially for the final chorus – there were some good adlibs, but not that powerhouse style), but there were strong melodies throughout the song. The dance break was very logical. It had the boom that SECRET NUMBER claims that they got. And the rapping gives off a very strong edgy vibe. Overall, SECRET NUMBER proves that they have what it take on the industry with Got That Boom. They just need their own signature style or sound to really make themselves well known.
I really liked the edgy vibes the music video had. The sets, their outfits all carried gave off this vibe and looked pretty cool. There was also this kind of nostalgic factor to the set, given that many female groups have used similar sets in the past. So this video felt like a mashup of those styles, all in which came together quite nicely. The issue with the music video was the editing made it a bit messy. It felt like multiple editors were allowed the edit the video and I felt like I saw four different styles. In hindsight, it didn’t make the video that terrible looking. But it was just very distracting and very inconsistent.
The dance looks nice. There was a nice balance between the attitude behind the moves and the respective parts of the song. The chorus had this cute bounce to it, while the post-chorus hook had more of a mild sassy tone. I wished they took a bit further though, as that part really called for it. Something similar to the dance break and rap sequence would have been ideal.
Song – 8/10 Music Video – 7/10 Performance – 8/10 Overall Rating – 7.7/10
Over the last few months, we have glossed over the solo debut (and comeback) of DaHye, who was a former member of BESTie. This is one group we have heard for a while. The last review I have down for them was Excuse Me in 2015. It has been indirectly confirmed that the group had disbanded by 2018, with U.Ji and Dahye leaving the group in 2017 and Hyeyeon making her solo debut in 2018 (another solo debut that I have missed). DaHye made her solo debut back in October with a cover of Uhm Jung Hwa’s infamous single, Poison. Earlier this month, she returned with Bad Blood (the focus of this review).
The dramatic violins and electric guitar that start off this song really pulls you in. Bad Blood from the get-go is very dramatic and suspenseful. The entire introductory sequence then moves into the background of the instrumentation, allowing DaHye to enters with what I would describe as a very creepy-esque vocals that fits the dramatic and suspenseful vibes of the song that are maintained in the verse. The song starts to build when it gets to the pre-chorus, with the piano coming into play. The chorus comes next and it has really memorable melodies. I really liked the huskiness her voice brings to the melody, making the listening experience so much better. What I also really enjoyed was the mild electronic influence. In a time where synths dominate songs, the violins and guitars remain the dominating element of the instrumentation and not the synths. The second verse is more so the same, with a bit more of that synth influence in the mix. The stripping of the instrumentation to just have the piano remain was pretty clever, complimenting the creepiness I mentioned before. It also allows a for the dance break that follows to be intensified. What saves Bad Blood from borderline consistency are those really screechy violins in the dance break. They are quite unsettling, but they go well with the song’s tone. I would have liked one more ‘final chorus’ to really bring this song to an end. Or at least a even more dramatic ending to give the song some closure. But apart from that, Bad Blood is a song that made me go wow.
The music video would have benefited if there was some sort of vampire-like concept in it. But DaHye’s company probably isn’t the most loaded company out there at the moment, so I understand they had to make do with what they had. That being said, Bad Blood‘s music video ticks a lot of boxes. DaHye does a really good job of showcasing that creepy side throughout the video via her charismatic stares. I mean that whole sequence just prior to the second chorus pretty much sums up this horror concept. I also really liked how there was a contrast with the lighting and the darkness of the set. Likewise, the white outfits and the darkness of the set; and the black outfits with the lighting.
The choreography is pretty good. I liked the sensual nature of the routine. Not sure about the red sticks with the red strips of fabric. I guess they do add a splash of colour to the performance. I feel like the performance could have gone for some more horror-esque, yet still keep that sensual feel. I reckon that would be a unique stage concept as I think only limited female soloists have done it before.
Song – 9/10 Music Video – 8/10 Performance – 8/10 Overall Rating – 8.5/10
In this edition of the Album Review segment, I am covering Weeekly’s second mini-album, We Can. This is the first time I am reviewing their album. I passed on the opportunity to review their debut mini-album, We Are, which featured their debut title track Tag Me. But while I was vetting albums to review recently, We Can popped out me. Two of the tracks stole my attention and I knew I had to review this album to make sure I draw your attention to them. That being said, the rest of the mini-album is definitely a standout, so I recommend that you give the entire release a listen.
We Can Album Cover
1. Unnie (언니) – Opening up the album is Unnie, which is a reasonably cutesy styled pop track. The cutesy style is usually not really my cup of tea (though there are songs of this style that I do indulge myself with), but Unnie holds back from being oversaturated with this profile. As a result, the song is quite pleasant. There are some really nice vocals throughout the song, such as in the second verse and the entire bridge. The instrumental is upbeat and I really like the use of the electric guitar throughout some of the song, adding a bit of zing to the song to make it more interesting. (8/10)
2. My Earth – My Earth is a texturally interesting song and my personal favourite off the album. This is obviously thanks to the EDM instrumental that dominated the song. While I do admit that it could have been overwhelming for some, there is something aesthetic about the different EDM influences and synths they had picked for the song and how it all blends together without a noticeable hitch. Props to the producers! The bass was definitely needed to give the song depth and definition. I also liked the light vocals, which was surprising as you would expect them to be drowned out by the instrumental. But somehow, they poked through and you could hear them clearly. Props, once again, to the producers of My Earth! (9.5/10)
4. Top Secret(몰래몰래) – Top Secret is another really strong track off this album. To me, this is a Goldilocks’ type of song. Nothing in this track was lacking or too soft. Nothing was too extreme or over the top. Everything was enjoyable and pleasant. Just right, as Goldilocks would say in the fairytale. (Okay, end of fairytale reference). But honestly, this is what makes the song just standout. It didn’t need craziness or need a centerpiece that the song revolves around. I particularly enjoyed the main hook ‘You, You, You~’, as it reminds me of another way back in the early 10s. It is always nice for a trip down nostalgia lane. (10/10)
5. Weeekly(월화수목금토일) – The final song on this album is a self-titled song that returns to the upbeat roots that started off the album. It is another cutesy track. There is slightly more of this cutesy profile in Weeekly in comparison to Unnie, but it isn’t a case of oversaturation. I appreciate everything in this song from the hooks to the melodies. The vocals was very nice and the guitar in the instrumentation was a nice touch. The only part that I didn’t really like was the anthem-like sequence that was the bridge of the song. It felt cliché and didn’t feel fitting for the song for me. (8/10)
Returning today as well is NCT with their second part of their NCT 2020 Resonance album. For those who missed NCT’s first part of the NCT 2020 Resonance album, the group formed different smaller units back in October to facilitate the release of Make A Wish (Birthday Song) and From Home. For the first release of the second part, 90’s Love is performed by Ten, WinWin, Mark, Jeno, Haechan, YangYang and Sungchan. Before we get stuck into the review, I just want to say that NCT’s album review for both the first and second part of the NCT 2020 Resonance album will be published over this coming weekend. It is in the works, so be prepared for that!
90’s Love take you back to the retro hip-hop that we got commonly from the era in the song’s name. There is a modern twist to the song with the various instruments used throughout, so the song can be better described as ‘newtro’. It is jam packed with energy that throws it back to the 90s, which makes the song so much more appealing for me. The use of drums constantly really makes 90’s Love so much more abrasive, but in a fun and dynamic manner. The ‘Hey Hey Hey’ at the start really helped hype up the song and I liked how the rapping continues the momentum of this hype. The whole rapping sequence in the second verse is proof of this, even though it is detached from the first verse. Definitely reiterates to me Mark’s capabilities and also shows off Sungchan’s talent/potential. 90’s Love‘s point of weakness has to be the sudden change from retro to vocals for the bridge. There isn’t anything wrong with the two sections (like how do I fault Haechan and Ten’s amazing high note?). It is just the sudden change that really cuts the flow of energy in the song and reduced everything that was going on beforehand into basically nothing. I wished there was some bridge to really connect the two parts, like a gradual easing into the vocal sequence. Interestingly, I found the relaunch back into the chorus to work just fine. And as I said, the vocals in this section are on point. Overall, 90’s Love is definitely a full on type of song, with just one hiccup along the way.
The ice hockey concept is definitely pretty cool. I really like how the entire ice rink had the NCT branding, which I guess SM Entertainment is fortunate enough to do. I found the dinosaurs to be a really funny and lighthearted addition to the video. Usually I would say all the references to the dinosaurs are a bit random. But since it is the mascot of the team, I really cannot say that as the dinosaur has its purpose in this video. I did also like the random video game version of the mascots dancing to the choreography. I guess the main question is what is up with Haechan (I think it is Haechan) on the spinning thing at the end of the video? A possible hint for the next video? I guess we have to wait and see.
Great choreography from what I can see from the music video. The entire dance break just after the bridge was very intense. The constant percussion and the energy really lends well to an amazing routine that NCT U pulls off without any problems.
Song – 8.5/10 Music Video – 9/1/0 Performance – 9/10 Overall Rating – 8.8/10
GOT7 is making their return with a comeback next week in the form of a studio album titled Breath of Life: Last Piece. I am excited and pumped for this comeback like all their fans, but I am slightly concerned about the ‘Last Piece‘ segment of the title. Hopefully it isn’t what I think it is. In the meanwhile this week, the group is out teasing and hyping us up with their impending return through their pre-release single, Breath. This comebacks comes after Not By The Moon, which was released back in April this year.
Breath is a light mid-tempo R&B track with a bit of a hip-hop influence. The song itself is reasonably catchy, which is thanks to the way the members are arranged in this song. I really like their their use of projection in the chorus. It is a nice play on textures here and definitely alluring to listen to. It is also a slight teaser to the vocal prowess of both Youngjae and JB, especially for those who are tuning into a GOT7 release for the first time. The whistling is also a really fun element to the song, breaking up the chorus by being inserted between lines to make the chorus appear punchier. There is also a really nice sense of bounce to the song, which I enjoyed very much. It also made the song so much more appealing, especially since I prefer more upbeat releases at the end of the day. While I think the rappers of the group were used in a fine way, I think if they had a slight more edgy sequence, this would have boosted the dynamic of Breath to a new level. But as I said, I am happy with how the song turned out. Youngjae and the rest of the composing team for Breath really knows how to appeal to our senses.
The music video for Breath feels just right for the song. It compliments the energy without a hitch and the members looked like they had a genuine time filming this video. But can we take a step back for a moment to appreciate the amazingness of the editing of this video? The switches between members and setting were so well timed and looked flawless. This technique gives the video a very unique spin and will become the excuse I would use to continue to rewatch the video. Since this is a pre-release, I looking at very nook and cranny to note any possible connection for next week’s release. The floating piece of white silk seems to be a key element in this video, appearing quite often throughout the video. It also appears in a frame at the very end. I also think the signage (or maybe the entire sets in general) will be appearing in the official comeback music video (i.e. B.O.L Station and A Piece of Cake).
Song – 9/10 Music Video – 10/10 Overall Rating – 9.4/10
