Category: KPOP

[Review] Love Language – TXT

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TXT returned at the end of last week with their new single Love Language. This latest release follows their 7th mini-album, The Star Chapter: Sanctuary, from the end of last year and the title track Over The Moon. It also follows a well-deserved extended break for the group.

Love Language is a pleasant release from TXT, but I wish there was more to Love Language than what it had to offer. Everything from the darting synths in the background, the members’ sweet vocals, and the contrasting deeper spoken tone of the post-chorus sequence from YEONJUN, SOOBIN, and BEOMGYU was all fine. The opening line to the choruses was memorable, and I liked the extra raspiness from TAEHYUN and HEUINGKAI. But Love Language is such a safe release (relative to the rest of their discography, which has been bold and striking at times) that it feels extremely basic. I can’t hear anything exciting enough in Love Language to attract and grab my attention, aside from this being a TXT release. This will put the song’s longevity at risk. I feel like that exciting element is what Love Language is missing. But I am not entirely sure what could be used (perhaps a different texture or something that builds on the edginess that the post-chorus sequences attempt to get across), given the mellowness of Love Language, which restricts their options.

The music video shows TXT in a very cutesy light, searching for their special someone’s love language. It is interesting yet different from the usual portrayal of the members, but I thought it was quite a good watch. The video style and creative decisions really complement the song quite well. I particularly liked the scenes where one member would be at the forefront of the screen, and the rest would be just doing their own thing in the background.

I don’t think we expected to see SOOBIN’s abs as part of the choreography for this comeback, especially with such a sweet song and cutesy video. But I am sure no one is complaining about its appearance in the routine. I actually quite liked the sharp and fast movements during the chorus. It added a little visual oomph to the routine and offered the comeback a little more intensity and dynamic flair.

Song – 7/10
Music Video – 8/10
Performance – 8/10
Overall Rating – 7.5/10

[Album Review] Curtain Call (6th Mini Album) – B.A.P (as BANG&JUNG&YOO&MOON)

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The next album for review is BANG&JUNG&YOO&MOON’s Curtain Call. It marks B.A.P’s grand return to the music scene after almost seven years, even though only BANG YONG GUK, JUNG DAEHYUN, YOO YOUNGJAE and MOON JONGUP are represented in this comeback (ZELO is currently carrying out his military enlistment). Curtain Call serves as B.A.P’s 6th mini-album since their debut in 2012 (14 years ago at its release), and features 5 songs, including the title track Gone.

While they have stuck around following the release of Curtain Call, as they did make a Christmas comeback in December 2024 with Christmas With You, the name of the mini-album, pre-release track (Farewell) and title track did sound like a last hurrah for the group. I am unsure of what they have planned for the future. However, I would love to see the quartet reunite with ZELO for future promotions and music releases and revive the group I always saw as having the most potential from the moment they debuted. But until we get confirmation of that, here are my thoughts on Curtain Call.

Curtain Call Album Cover

1. Love – In their first track in almost 7 years, Love expresses the emotions associated with falling in love, which I am sure is a message directed towards their fanbase (BABYs). It is a refreshing pop-rock track showcasing what we have missed out on for the last 7 years. What I really like about Love is how passionate the members sounded. From the stunning vocals and rapping, Love was pleasant yet powerful in its own right. (9/10)

2. Farewell (빛바랜 날들 이젠 잊고 다 안녕) (Pre-Release Track) – Just like the title of the mini-album, Farewell made me slightly nervous for the same reasons as mentioned in the intro of this review. But rest assured, Farewell’s lyrics speak to saying farewell to the past and looking forward to the future. It is also a pop-rock track, though the upbeat tempo and intensity of the instrumentation do make it more rock-leaning. It is the vocals that bring the track’s pop side to life. I particularly enjoyed BANG YONG GUK’s familiar hoarse vocals in this song, but there is also a strong showing from the others. (9/10)  

3. Gone (Title Track) – Click here for the full review for Gone. (8/10)

4. Stand It All – Changing up the momentum of the mini-album is Stand It All. It is a ballad that speaks to accepting the unhappy moments and holding on strong during them. Like most ballads, I am drawn to its vocals, which have consistently stood out on this mini-album. In Stand It All, it is so emotional and heartfelt. Even the rapping was done so profoundly and resonates alongside the vocals based on emotions alone. Regarding the instrumentation, I liked the oomph it gives the ballad. Altogether, Stand It All a very powerful side-track from the group. (10/10)

5. Way Back – We go back to the rock genre with Way Back, the final song of the mini-album. The lyrics reflect on the past and look towards the future. Like every song before it, Way Back impresses on the vocal front. YOO YOUNGJAE’s delivery of the song’s hooks and melodies stands out. Though, per usual, all members sound excellent. The instrumentation is probably the most traditional and straightforward on this mini-album and could have been toned down slightly to not mask the vocals. However, those are just minor elements that do not hinder Way Back’s appeal. (8/10)

Overall Album Rating – 8.8/10

Curtain Call Teaser Image

[Review] Bag Bad Back – RIIZE

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RIIZE is also gearing up for a comeback with their first studio album, ODYSSEY, later this month. But ahead of the comeback, the group is teasing us with Bag Bad Back. It is the first comeback from the group since the release of the repackaged version of their first mini-album, Riizing: Epilogue, and the single Combo. It is also the first release following the official withdrawal of SEUNGHAN from the group.

Before I get on with the main parts of the review, I just have one thing to get off my chest – what on earth do they mean by Bag Bad Back? I don’t have the slightest clue. However, according to Soompi, the lyrics “makes a witty comparison between the essentials we carry in our bags and RIIZE’s own drive—their metaphorical bag filled with ambition and a shared vision to grow into shining artists”.

Anyhow, Bag Bad Back is a decent song. However, comparing this hip-hop sound with their previous works, I’d take their previous ’emotional pop’ numbers any day. I just find Bag Bad Back hard to vibe with, and I put it down to personal preference. After all, I have always been more pop-leaning compared to hip-hop. When I break down Bag Bad Back, there is definitely a likable quantity of energy and edge present in Bag Bad Back. I thought the instrumental was rather cool, with a nice simmering underlay that gives the track subtle amount of texture and the piano that kicks in at the bridge was very beautiful. Their vocals and rapping was quite good, though I think I would have liked a stronger and meatier hook in the song. The “Bag Bag Bag” chant felt a little too basic and straightforward for my liking. SOHEE’s high note was great peak for a low-tone song. Separately, I liked the elements. But together, Bag Bad Back doesn’t resonate with me. But I want to emphasis – it is not because the song is bad, but it is because it is simply not my style.

As for the music video, I thought it very cool. It took Bag Bad Back‘s hip-hop sound and translated it well into a visual piece. The video features a bag that represents RIIZE’s ambition, per the lyrics of the song. But for a bag carrying such an important aspect of RIIZE’s career, that bag is definitely not treated as well. It is chucked around a lot. I also liked the dance practice concept, as well as the suited look in the alley. The only thing I am uncertain about is what the accumulating classical instrumentals that concentrates as SOHEE’s delivers his high note represents.

Amazing choreography, with thanks going towards SHOTARO, Lee Bada, J BLAZE, and THE BIPS for choreographing it (this information was also taken from Soompi’s article). I really enjoyed the hip-hop flair that formed part of the routine, as well as the different bag references (backpacks, duffel bags etc) throughout it. II also like it how the moves constantly keep the members on their toes, creating an exciting and energetic routine that shows off RIIZE’s dance capabilities once again.

Song – 8/10
Music Video – 9/10
Performance – 10/10
Overall Rating – 8.7/10

[Review] TIPI-TAP – Kep1er

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Let’s cast our minds back to November 2024, when Kep1er made their comeback with the mini-album and single of the same name, TIPI-TAP. I apologise for the delay in reviewing the single. TIPI-TAP was Kep1er’s first comeback since becoming a seven-member group, following the departure of Mashiro and Yeseo, who did not renew their contracts and left both Wake One Entertainment and the group. It also follows their Shooting Star single and their first full-length album Kep1going On.

While there are some remaining songs from 2024 that I am eager to review, TIPI-TAP isn’t one of them. Well, if I do not pick it up today, I don’t know when I will. Again, it is a song with certain elements I liked. For example, I liked the warmth of the members’ vocals. I liked how the chorus ended up having some bite to it, thanks to the catchy “Crush on you” hook. And I appreciated the soft tune. But being a soft song does have its limitations, and TIPI-TAP realises some of those limitations. Again, I don’t remember much else from the song aside from the above. Even the repetition of the song’s title wasn’t that much of a draw for me. And don’t get me started on TIPI-TAP‘s attempts to beef up this repetition. The softness also means TIPI-TAP is very ‘light on’, in that there isn’t much to ground the song. To me, this makes the song feel very fleeting and forgettable. There isn’t anything memorable about the DnB instrumental, and I can make similar comments about the vocals, though I will admit the cuter motif works well for them (and is not annoying). I am not a fan of their layering of vocals and rapping in the bridge, but the ‘remixed’ instrumental was a good way to change up the song. Overall, TIPI-TAP gave me things to like and things to forget, resulting in an ‘alright’ from me.

I also find the music video for this comeback to be rather forgettable. It matches up with their cutesy vocals and features a dreamy motif. But I feel everything is just a touch too youthful. The colour palette is vibrant, but feels more suited for the younger kids. In Australia, there is a children’s TV show that I grew up with called Play School, and the colours in the music video remind me of that TV show. The outfits exude a pure and innocent aura, which I find fine. However, some of the styling, such as Hikaru’s headpiece, is more suitable for a very young audience. And the whole ‘bag on the back’ trend throughout K-pop more recently feels very elementary or primary school-like. The wings do not help.

The choreography looks nice. It is quite cutesy and youthful. But like the rest of the comeback, there really wasn’t a standout moment in the routine, and so it was easily swept from our minds once promotions ended or you had moved on to another stage.

Song – 6/10
Music Video – 6/10
Performance – 7/10
Overall Rating – 6.2/10

[Review] HANDS UP – MEOVV

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MEOVV is gearing up for a comeback in May. But before we can hear their 1st mini-album, MY EYES OPEN VVIDE, the group pre-released the single HANDS UP (the focus of this post) on Monday. The future album release will follow their TOXIC and BODY comeback from November 2024.

HANDS UP has garnered a lukewarm response from me since its release. I liked certain elements, while other parts of the song felt very beige. Let’s start with what I liked, namely the delivery of the chorus. I really enjoyed the hooks, and MEOVV’s deadpan delivery of them was actually quite effective. It forges a catchy and memorable element in HANDS UP. I also enjoyed the momentum behind the song. That really helped me get through the song. I also liked how cool the ending of HANDS UP sounded, with what felt like a remix of everything before it. Beyond that, I felt HANDS UP was stuck in a bit of a rut. I find the vocals to be over-processed, particularly when they do the longer notes in the choruses. I am not convinced as to why they needed to do this, and I’m unsure of its effectiveness. It did help with that deadpanness, but I am sure the members could handle that part without the autotune. HANDS UP also has a beige problem with its instrumental, where everything felt overly similar throughout the song until the final moment. I wish there were more variety in the music and that it wasn’t linear as it was. The verses, as well as the rapping, were also dull and unimaginative. Overall, what I liked from HANDS UP has helped the song grow on me ever so slowly, but I don’t think I will reach the point of really enjoying the track.

The music video revolves around the Korean game arkkagi, where players flick their own stones to knock off their opponent’s stones off the board. I really like the aesthetic of the setting, which felt very clean and modern. The intense focus on the members and various hand formations displayed prominently throughout the video are probably representative of the intense focus needed to play the game and the necessary hand formations to flick a stone (particularly when it is in a precarious location on the board). I also like how, during the second verse, the stones are flying by the members as per the game. But interestingly, the most memorable moment for me was watching the kid feel so stressed about his next move against another MEOVV member during the second chorus. For some unknown reason, that scene spoke to me and was memorable.

The choreography for HANDS UP was actually quite cool. Obviously, there were a lot of arms and hands up in the air throughout the routine. But there was also an element of intensity, attitude and sassiness from the members that I quite enjoyed.

Song – 6.5/10
Music Video – 9/10
Performance – 9/10
Overall Rating – 7.8/10

[Review] Chains – HIGHLIGHT

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HIGHLIGHT is back with their new single, Chains, from their 6th mini-album, From Real to Surreal. This is their first comeback since their Switch On mini-album and BODY single from last year. It is also the first release since the group announced that they had regained their former name, BEAST, a massive win for the group. The pre-release Endless Ending was released under the name BEAST (HIGHLIGHT), but the group has chosen to keep and promote under their current name, HIGHLIGHT.

My initial impression of Chains was that it was decent. The chorus was my main favourite segment by far, especially with that deep pounding beat that kicks it off. The melodies and hooks in Chain‘s centrepiece were pretty prolific. I wish the same could be said about the clarinet sound (which I previously described as ‘flute-like’ in other reviews) in the background. There was potential for it to be a standout element in the Chains that really pulls the audience in. However, although it is audible and detectable, I find that it is often masked by the rest of the instrumentation and doesn’t get much opportunity to truly stand out. Another weak aspect of Chains is the verses. I didn’t remember much from these segments aside from being chic and sleek. Each time I have listened to Chains since its release (it has only been two hours, but I had to replay it several times to write this review), I have been anticipating the chorus more than the verses and have not paid much attention to the verses. HIGHLIGHT/BEAST songs, in the past, have had much stronger verses that add significantly to the songs. But in Chains, I didn’t get that same feeling from the verses. Overall, my initial impression of Chains still stands even after consolidating my thoughts into this review.

Chains conveys the feeling of a “mad all-consuming love” (taken from Soompi). While I am unsure of what the video shows, my best guess is that it depicts the influence the person has on the members, leading them to engage in some sort of heist together. Gikwang kills or knocks out a bunch of guards on the inside; Dongwoon blocks the police from coming in; Dojoon keeps watch from afar, and I think Yoseob steals whatever the lover wants. I could be entirely wrong, but that is what I got out of the music video. I like the black outfits they wore throughout the video, which match that chic and sleek vibe I mentioned earlier about the song. Keeping the amount of colour (and their prominence) also matches the same vibes.

The choreography also gives me a similar decent impression. It is not their best or most memorable work, from what I could see in the music video, but it isn’t terrible. I think more can be said once they perform Chains for the first time, and I may return to review the choreography again. For the time being, the choreography remains on par with the above, at this stage.

Song – 7/10
Music Video – 7/10
Performance – 7/10
Overall Rating – 7/10

[Album Review] DUSK (1st Mini Album) – YOON SAN-HA (ASTRO)

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YOON SAN-HA was a close contender for a nomination for Best New Male Soloist in the 2024 KPOPREVIEWED Awards, but he ultimately missed out on a nomination. Had DUSK, YOON SAN-HA’s solo mini-album, been promoted on the music shows, I think he could have clinched a nomination. This would have helped it stay more prominently in my mind for when it was time to decide on the nominations. Anyway, if you can’t tell, I am reviewing DUSK today. It is a 6-track mini-album, featuring the title track Dive. As indicated throughout the mini-album, YOON SAN-HA focuses on R&B and ballads on his solo release, with one song earning itself a deserving 10/10. To find out which song that is, keep on reading below.

DUSK Album Cover

1. Yeowoobyul (여우별) – Yeowoobyul makes for a decent start to the mini-album. The first word that comes to mind when I revisit the song is tender. The acoustic guitars and soft percussion that comprise the instrumental for Yeowoobyul evoke R&B vibes, but SAN-HA’s vocals are as soothing as expected for a ballad. The presence (or feeling) of both these genres essentially sets up for what is to come on DUSK. While it is a vocally pleasant track with really nice, swaying melodies, I don’t recall much about this song when compared to the others. (7/10)

2. Losing My Mind – I recall when I first checked out the mini-album, Losing My Mind unexpectedly surprised me for being all in English. And even months on from the release, that unexpected feeling remains. Losing My Mind leans more towards the ballad side, featuring a piano-only instrumental. What gets me is how heart-wrenching SAN-HA sounds. Yes, he sounds stunning throughout “Losing My Mind,” but you can definitely feel the emotions pouring out of the song and his vocals. A memorable 10/10 for me. (10/10)

3. BITTERSWEET MISTAKE – BITTERSWEET MISTAKE moves the album into R&B territory and is the first to feature a prominent beat. It also features some dreamy synths and some sensual energy that I associate with the R&B genre. SAN-HA sounds very mature in this number. If you are unfamiliar with SAN-HA or ASTRO, I don’t think you would have guessed that he is the youngest in the group based on this track. I would have liked to hear a bit more in BITTERSWEET MISTAKE, as it is very linear, lacks development and ends abruptly. (8/10)  

4. Dive (Title Track) – Click here for the full review for Dive. (8/10)

5. BLEEDING – Shortly after the release of the mini-album, SAN-HA dropped a performance video for BLEEDING, which I have linked below. As for the song, BLEEDING keeps us in the R&B territory, but the vector is a dance track with textural synths. I liked the crunch those synths give BLEEDING. When we get to the chorus, SAN-HA really hits his stride vocally in the song’s centrepiece, and the drop has this slight boldness to it, which I enjoyed. I just wish there was something more to BLEEDING that kept it from being so neutral from start to end. (8.5/10)

6. Rain Down On Me – Finishing off the mini-album is Rain Down On Me, which is a slight step up in terms of dynamism compared to the previous song. It continues with the R&B sound, but with a smoother dance vibe. I really like the guitar work in the background and how fitting the whole instrumental felt for a rainy day. I also appreciated the profound quality of SAN-HA’s vocals in this song. (9/10)

Overall Album Rating – 8.4/10

DUSK Teaser Image

[Review] Beautiful Life – Xdinary Heroes

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Aside from their previous single, Night Before The End, I know I have yet to review any of their singles from their Open ♭eta series, which are featured on their 5th mini-album Live and Fall from October last year. I will get to them eventually ahead of a future album review post for Live and Fall. But more recently (end of March), Xdinary Heroes returned with their 6th mini-album, Beautiful Mind. Today’s review focuses on the lead single Beautiful Life.

Beautiful Life is a bold track from Xdinary Heroes. Right from the start (and throughout various moments of the song), Xdinary Heroes draws inspiration from the legendary rock band Queen. This in itself is an ambitious direction. And yet, they nailed it! Xdinary Heroes’ take on rock opera is infused with contemporary and modern rock influences, giving the nostalgic aspect of Beautiful Life a fresh spin. I quite liked the combination, and it feels very cohesive. I really like it when the song picks up and intensifies, it takes the song up a notch. And that is what I call an amazing rock song. Even the Queen-inspired moments of Beautiful Life were really stunning, and the vocals during those parts were really nice. Talking about the vocals, Xdinary Heroes were consistently strong throughout the song and I liked the raspy touch they add to the song. More prolific melodies and hooks in Beautiful Life would have benefited the song. While I appreciate Beautiful Life musically, I don’t recall much beyond the surface of the song. It is only when I really focus on the song, such as when writing this review, do I notice these elements. They do sound good, but they are not the exact stand outs Beautiful Life calls for.

The music video depicts a dystopian reality where Xdinary Heroes are hunted down for playing music. They go on the run, but are tracked down by the masked man and completely bashed up by them. Xdinary Heroes put up a fight, but they don’t win. Towards the end of the video, the masked men are revealed to be Xdinary Heroes themselves, and the ones playing music or being bashed are virtual forms of themselves. I am not entirely sure what this suggests exactly, but it appears they are protecting their right to play music by being part of the forces that are against it. After all, there is that say “if you can’t beat them, join them”. I really liked Xdinary Heroes’ acting and the make-up department for making the injuries appear very real. Definitely a cool video, and the music just makes it more dramatic and impactful at certain points.

Song – 9/10
Music Video – 9/10
Overall Rating – 9/10

[Review] Countdown – TWS:

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TWS: is back with a new single titled Countdown, which comes off their 3rd mini-album, Try With Us. Both song and mini-album officially dropped this past Monday. This release is TWS:’ first major release since 2024, which saw TWS: debut with the highly successful plot twist and return with the equally successful If I’m S, Can You Be My N? and Last Festival.

Countdown very much continues the group’s ‘boyhood pop’ sound that they debuted with. The new song reminded me of plot twist from the first listen, both instrumentally, melodies and brightness wise. There are a few elements that differentiate it from their debut song, namely the deep “ba-bum” that follows some of the second and final choruses and the more intense rapping in the second verse. The former was quite intriguing yet fun, while the latter definitely helps ground the song. I also like how they prolonged the ending by splitting the final line into three parts. It makes the ending of Countdown feel like it offers up a little bit more. I would have appreciated other different elements to help give Countdown its own individuality would have been appreciated, simply because Countdown is very much familiar territory for TWS: and, dare I say, plays it safe. For example, the instrumental shares a similar foundation to plot twist. And their vocal style felt like it was lifted from the earlier song, which raises the “I wished there was more opportunity for the members to shine” comment I made in that review. That being said, Countdown hits the right spot in terms of energy and brightness, making it an ideal release to take us to the more energetic and vibrant summer sounds.

The members wonder what being an adult feels like in the music video, as they move on from their high school days in their previous music videos and into their young adult era. Plot twist – pun fully intended – being an adult isn’t all crack up to be with work, decision making and responsibilities. Just in case TWS: was looking for an answer hahaha…. There are a few different scenes in the video which all adults have experienced in some form, such as moving into your own place, the failed meals and the helplessness of a car breaking down (and your parents/guardians not around as a safety net). I liked the casual wear, which is a nice change up from the school uniform that they previously wore throughout 2024.

The choreography alongside this release is another TWS: routine that impresses. They always manage to make their dances appear fun, despite being super intense and energetic. The moves right after the intro definitely left a mark in my mind, as did the twist and turn in the first pre-choruses and the jumps during the choruses (just to name a few examples of the standout moments).

Song – 8/10
Music Video – 9/10
Performance – 10/10
Overall Rating – 8.7/10

[Review] Wait On Me – KAI (EXO)

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After teasing us with Adult Swim and Walls Don’t Talk, KAI (from EXO) has officially made his first solo comeback since his military enlistment in 2023. The new single, titled Wait On Me, is from his 4th mini-album of the same name. As mentioned previously, his last solo comeback was with Rover in 2023.

Wait On Me continues the subdued nature of the tracks from the mini-album that KAI has unveiled so far. But one of the biggest changes he makes to this sound profile with Wait On Me is his (usual) sexy motif, which makes the new single more alluring. ‘Alluring’ is the exact word I would use to describe his delivery throughout the song. His vocals sound so airy and dreamy throughout Wait On Me, especially as we get to the choruses. This is Wait On Me‘s stand-out element in my mind. His rapping adds some oomph and intensity to the song, giving it some much-needed variety. Otherwise, Wait On Me would have slipped into that neutral gear. Instrumentally, Wait On Me contains a mix of atmospheric synth work and heavy Afrobeats with some groove on the side. They blend together in the bridge to create a really cool instrumental break that doesn’t break the flow or disrupt the song. And like the rapping, I appreciated the intensity this part gives to the song. Unfortunately, Wait On Me falters when it comes to the hooks and melodies department. I think there is a melody in there, but the delivery was so wispy that it was hard to really detect and hear. But the hook was nowhere near strong enough for my liking.

Just like the song, the music video for Wait On Me is just as alluring, and KAI is absolutely sexy throughout the video, just like always. After all, is it a KAI music video without his abs making an appearance? Also (since I am already asking questions), did anyone feel like the silver top he wore at the start reminded them of EXO’s debut era? Anyhow, I liked the use of depth throughout the video, with KAI standing/dancing in the foreground and the dancers in the background. It is a different type of framing that looks cool. The hazy brown colour palette was an interesting choice, but it works well overall.

Choreography-wise, KAI impresses once again with the artistic flair the routine had. It made for a very captivating experience and is easily one of the best solo routines of the year thus far. He pulls it all off so well and charismatically, as well. I really liked the sharp movements that make up the chorus section of the routine. He and the dancers also put so much oomph into the dance break – that was by far the performance’s best section.

Song – 8/10
Music Video – 8/10
Performance – 10/10
Overall Rating – 8.4/10

[Album Review] MUSE (2nd Studio Album) – JIMIN (BTS)

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JIMIN’s second studio album, MUSE, is the next album to be reviewed on the blog. It was released in July last year and features the title track WHO as well as the pre-releases Smeraldo Garden Marching Band and Closer Than This. This album was released after JIMIN enlisted in the military in December 2023, and as a result, no promotions for MUSE occurred. However, that didn’t stop it from rising to the top of Billboard’s Global 200 (a first for JIMIN) and remaining there for 2 consecutive weeks.

Overall, I would categorise this as a fair KPOP album. There are some decent and strong side tracks on the album, but the title track weighed the studio album down for me. My thoughts on WHO can be found in its own review (link below), while my thoughts on the other tracks, including the pre-releases, are included in this post below.

MUSE Album Cover

1. Rebirth (Intro) – It now strikes me as odd to see a track that goes for 2.5 minutes long and be branded as an intro track, since the length of actual tracks has dwindled down over time. Anyhow, the album begins with Rebirth, a very atmospheric instrumental piece that is heightened by JIMIN’s angelic vocals and harmonies with those in the background. I enjoyed the warmth and comfort that is exuded from Rebirth, both of which make for a beautiful start to the album. (9/10)

2. Interlude: Showtime – From the intro, we jump right into the interlude track. Showtime feels like a cheerful circus or local fair tune, and directly leads us into the next track.

3. Smeraldo Garden Marching Band (ft. LOCO) – One of the tracks I have unfortunately not reviewed in full is JIMIN’s Smeraldo Garden Marching Band, which was released as a pre-release track ahead of the release of MUSE and WHO (the title track). I wasn’t a fan of it when it was first released, but Smeraldo Garden Marching Band has grown on me over time. It is probably one of the most cheerful tracks I have heard from JIMIN in a very long time, but I appreciate the brightness and marching band tune that the song is based on. JIMIN’s vocals are quite calming, and the chorus melodies have become quite fun and catchy. However, I feel like LOCO’s presence was the weak link in the song. I have never enjoyed his featuring in this song and thought it was lacklustre at best. (8/10)

4. Slow Dance (ft. Sofia Carson) – Slow Dance is a really nice R&B song to just, well, dance slowly to. There is a beat to it, but Slow Dance still oozes a smooth and velvety vibe simultaneously. The guitar work and bass contributed to this, but I liked how pronounced these elements were in the background. JIMIN does a good job of balancing out Sofia Carson’s higher-pitched vocals. I did wish her solo bits had a bit more bite to them, though I really liked the falsettos she slipped into during her part. Both JIMIN and Sofia closed out the song in a very satisfying manner through Slow Dance’s final chorus and outro. (9/10)

5. Be Mine – We return to the Latin influences that dominated KPOP heavily a few years back with Be Mine. I find this single to be a pleasant number, thanks to both the beautiful guitar work in the instrumentation, the slightly hefty beat and JIMIN’s vocals. His vocals shone in Be Mine, particularly through the harmonies featured towards the end. The chorus is also quite catchy, which helps make the track more memorable. (8.5/10)

6. Who (Title Track) – Click here for the full review for Who. (7.5/10)

7. Closer Than This – So, I completely missed the fact that Closer Than This had a music video. It shows JIMIN writing the lyrics of this song, seeing some sites and some memories he has created as part of BTS and his solo career. As for the song, Closer Than This is a pleasant pop song, telling his fans not to worry and that he (and the other BTS members) will be back soon. Instrumentally, it is very standard. However, I really enjoyed JIMIN’s sweet vocals in Closer Than This, which made the message more effective. I also liked it when Closer Than This switched it up slightly to include the young kids’ vocals at the end. That got to me. (8/10)

Overall Album Rating – 8.3/10

MUSE Teaser Image

[Review] poppop – NCT WISH

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Continuing with the supposed SM Entertainment theme is my review of poppop, NCT WISH’s latest single from their new mini-album of the same name. It follows after Dunkshot and Steady from their 1st mini-album, Steady (all of which I have yet to review).

I found poppop to be an okay song. There were aspects that I didn’t enjoy, while there were parts that I liked. The chorus appears to be the most decisive part of poppop, and I completely get why. Launching right into rapping was very unexpected, and the vocal processing applied to the members’ shouty rapping voices in the chorus made the centrepiece feel obnoxious. But this choice of vocal processing was more widespread than just in the chorus, and made most of the other rapping sequences throughout poppop feel subpar. But not all rapping in poppop was disappointing. I don’t feel the same way about poppop‘s final chorus, where all the members do their shouty rap to close out the song. This part felt dynamic, and the vocal processing was less prominent than in earlier parts. I also liked the monotonous “pop, pop, pop” hook in the song, which followed the choruses. This just added a slight deep tone to the song, which offset the bright and bubbly tone of the rest of poppop. The vocal parts in the song were also a strong aspect, but better melodies would have enhanced the song’s quality. And while not as affected, they didn’t escape the vocal processing mentioned, and certain parts still sounded off.

The music video shows SION making a move on someone he has a crush on via message. However, after spending time with the other members of his group, he is almost late for the date. He makes it in time, with the other members running after him and wishing him luck. It’s a cute video, and NCT WISH does a good job of showcasing their youthful charm in the video. Talking about charms, the bubbly charms that appear throughout the video, and to SION once he gets confirmation that the other person is interested, contributed to the cuteness aspect of the music video. Though the scene associated with the second half of the bridge took an odd turn, with what I can assume was (but probably isn’t) the members sacrificing one of the charms for a successful date.

The performance for this comeback was quite good. Again, I enjoyed the “pop, pop, pop” move that accompanies the song’s hook, and I also liked the routine that closed out the song. The end is where the routine really picks up and really puts NCT WISH’s skills and talents on par with the rest of NCT for me.

Song – 7/10
Music Video – 8/10
Performance – 8.5/10
Overall Rating – 7.6/10

[Review] Walls Don’t Talk – KAI (EXO)

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A couple of weeks ago, KAI teased his long-awaited return to the stage since Rover and his military enlistment with the single Adult Swim. There are only a couple more sleeps until KAI releases his 4th mini-album, Wait On Me. But ahead of that, KAI unexpectedly dropped another music video for another side track, Walls Don’t Talk, from the new mini-album on Tuesday.

Similar comments regarding Adult Swim can be transferred to Walls Don’t Talk. But I think Walls Don’t Talk has a slight edge over the former song. The minimalistic sound profile that Walls Don’t Talk goes for creates a seamless number. The song’s more consistent and tighter beats made it feel punchy, but I would have loved to hear more in the instrumentation. Repeat listens of Walls Don’t Talk have made, once again, the song’s instrumental feel very linear and neutral. Actually, I might even go to the extent of saying repeated listens have been ‘drying out’ the song for me. There have been a lot of songs with similar effects recently, so Walls Don’t Talk needed something fresh and different for it to stand out. The variety in Walls Don’t Talk actually comes through KAI’s delivery. He showcases nice vocals throughout Walls Don’t Talk, but I liked his rapping and spoken moments more in this song. It added a different tone to the song, which helped it feel a little more engaging.

For a while, I thought Walls Don’t Talk was the actual title track from the upcoming mini-album. I have since realised I was wrong, but this misinformed thought has influenced my perception of the music video. Essentially, I am trying to soften the fact that I still find the home video style the music video goes for disappointing. I have praised this motif previously, but it didn’t feel appropriate for a title track, as that is what I thought Walls Don’t Talk was at the time. It also generally looked incredibly low-budget for SM Entertainment standards. The only element that impressed me was KAI himself, who looked amazingly sexy in a tropical place in Japan.

Song – 7.5/10
Music Video – 6/10
Overall Rating – 6.9/10

[Review] Baby, Not Baby – SEULGI (Red Velvet)

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For some reason, in my mind, I have been reviewing just only SM Entertainment releases. That isn’t true, but I will be continuing this mindset with more SM Entertainment releases from the last couple of weeks to still review. One of them is SEULGI’s long-awaited solo return with Baby, Not Baby, the title track off her 2nd mini-album, Accidentally on Purpose. Her last solo release occurred in 2023, where she debuted with 28 Reasons (title of both her solo debut mini-album and debut single).

Baby, Not Baby is a cool song. It has a complete different aesthetic and sound to SEULGI’s debut single, showcasing variety in her discography and confidence in doing something different. Baby, Not Baby is a pop dance track, with a blend of orchestral and rock elements that come together to give the song a groovy and funky sound profile. I like the boldness that comes from the instrumental, especially when the orchestral elements give off a dramatic flair. This complements well with SEULGI’s sassy and attitude-heavy delivery style. Altogether, Baby, Not Baby has so much oomph and character. In addition to be sassy and attitude heavy, SEULGI manages to infuse a lot of charisma into her vocals, which just makes Baby, Not Baby‘s hooks very appealing and catchy. Personally, I was searching for a rap sequence of some kind, perhaps someone featuring in the song who could have given Baby, Not Baby more edge and heightened that sassiness mentioned earlier. While I did like the vocal-forward approach of the song and SEULGI does slip into a rapping motif at time (although briefly), I just felt that was a missing piece of the puzzle that is Baby, Not Baby.

The song itself is about how someone may appear innocent and pure to their lover, but they might not be in reality. The music video portrays SEULGI doing something innocent and cute, but then she switches it up to show her wild side soon after. For example, at the start of the video, she appears injured and about to be hit by a car. But she ends up smashing the car to get someones attention. In the next scene, she gives out free hugs to people in the mall, but no one wants one. She throws a fit, but uses that to capture the ‘perfect selfie’ and disregards everyone around her. We see her smash up a shop soon after. Overall, SEULGI’s acting was pretty good and I enjoyed watching the bold nature of the music video. The video did well in bringing that edgy factor that I wanted in the song to life in a visual manner.

I liked how engaging the performance from multiple standpoints. SEULGI showed off a very confident and sassy vibe that made the focus on her more exciting. I liked how the dancers added to the stage presence of the performance. And the moves showed off a mature and sexy vibe, without it going into that stereotypical domain of showing skin or looking explicit.

Song – 9/10
Music Video – 9/10
Performance – 9/10
Overall Rating – 9/10

[Review] STUNNER – TEN (NCT)

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Last month, TEN (from NCT and WayV) returned to the stage with his second solo mini-album and title track of the same name, STUNNER. It is his first solo release since his official solo debut last year with Nightwalker (which I never got around to reviewing) and, the mini-album, TEN.

STUNNER is a great R&B pop number that shows off TEN’s mature vibe. The latter is definitely the track’s strongest asset, and the producers definitely took great advantage of this. His vocals and rapping were really nicely done. In addition, I liked the groovy sound profile that comes with STUNNER, which is another reason I found the track to be quite appealing. This just melds so well into the R&B pop genre and TEN’s style. But as the song progressed, I would have liked a little more to the instrumentation. By the time we got to the end of STUNNER, the instrumental sounded the same as everything that proceeded before we got to that bit and felt neutrally geared. Given this is TEN, a likely solution could have been the incorporation of an edgy instrumental break that keeps to the R&B motif, which then could have doubled as a dance break. But where STUNNER felt stagnant, certain parts of the song made up for it. The start of the pre-choruses, when the vocal lines were packed in, were an instantaneous highlight that caught my attention from the first listen. The simply spoken repetition of the song’s title in the post-chorus hook was also super catchy. Overall, STUNNER falls slightly short of being a stunner, but definitely had the potential to reach that status.

The music video sees TEN play a man with a magnetic charm that no one can resist. Everywhere he goes, the people around him are physically drawn to him. Even in the inanimate objects in his home have a hard time copying with his magnetic charming and are also drawn to him. It was quite a cool concept. But while the concept was cool, I did think the visuals could have been a little more complementary to the sound profile of the song. Mature yes, but I felt the music video really understated the groovy nature of STUNNER.

Through his stage performances for STUNNER, I could see TEN’s stage presence and chemistry with his dancers. This made for a strong and captivating performance, which is already powerful thanks to the defined body waves and sharp movements that make up the routine.

Song – 8.5/10
Music Video – 8/10
Performance – 10/10
Overall Rating – 8.7/10

[Album Review] BLESSED (8th Mini Album) – HA SUNG WOON

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The next album for review is HA SUNG WOON’s 8th mini-album, BLESSED. It was released in July 2024 and was his first major music release since finishing his military service. BLESSED features 5 songs, including the title track of the same name. I have always been excited to review his new music and albums, as he had some great solo tracks since his Wanna One days. While I don’t think that sentiment is as strong on this mini-album, there are still a few singles on BLESSED that I quite enjoyed.

The last HA SUNG WOON release I reviewed was his 7th mini-album, Strange World, which featured the title track Focus. It was released prior to his military enlistment in 2022.

BLESSED Album Cover

1.  Blessed (Title Track) – Click here for the full review for Blessed. (7/10)

2. I Wanna – The first side track on the mini-album is I Wanna, which is a softer pop number. I really enjoyed this one, thanks to its pleasant vibe. Even as the song picks up and adds new elements, this was a constant in I Wanna. HA SUNG WOON sounds so nice throughout the track, and the melodies just make this such an appealing number. (9/10)

3. All I Need (ft. ERIC of THE BOYZ) – All I Need is such a vibrant number, stepping up the energy, beat and colour of the mini-album. I like the dominance of the piano in the verses, and the drumming just gives All I Need so much momentum. I wish there was more variety when it comes to the melodies. I liked how brighter HA SUNG WOON’s tone is, but he sounds similar throughout the song. This slightly dampens the liveliness of the song for me. ERIC from THE BOYZ appears briefly in the song during the second verse. His quick delivery does add to the song’s momentum and forward drive. (9/10)

4. I Already Lost You – HA SUNG WOON delves into pop rock for I Already Lost You. This is another strong number from the soloist, and I enjoy it thanks to its pleasant vibe. I Already Lost You is a bittersweet song, reflecting on a partner one likes but knows they cannot be with them. I liked the build-up to the chorus and how profound the chorus sounded once the rock elements kicked in. The resulting energy is perfect and well-balanced for HA SUNG WOON’s vocals. (8.5/10)

5. Mystery – Mystery makes for a decent dance track. This was an impression I got from the song after so long not listening to it. But repeat listens to Mystery made me quickly realise that it is also the mini-album’s most skippable track. I don’t remember much of it since it sounds quite similar instrumentally and vocally through and through. This ends up making Mystery sound very neutral and stagnant. The extra bass that comes into play is a nice touch and gives the song some heft. But it doesn’t do much to make the song more appealing. (6/10)

Overall Album Rating – 7.9/10

BLESSED Teaser Image