Category: KPOP

[Album Review] ETERNAL (5th Mini-Album) – TAEMIN (SHINee)

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As promised, here is the next post – just coming in at the very end of the day, where I am. Anyhow, this next post is the album review for TAEMIN’s 5th mini-album, ETERNAL, which was released in August 2024. A total of 7 songs are featured on this mini-album, including the singles Sexy In The Air and Horizon. The mini-album serves as his first mini-album following his departure from SM Entertainment (but he continues to be attached to SHINee, as evident through his participation in the recently released Poet | Artist) and commemorates the tenth anniversary since his solo debut. The mini-album also follows Guilty from the year before.

Overall, ETERNAL is another strong mini-album from TAEMIN. I mentioned something below as part of my thoughts on one of the songs, but I think it’s a statement that can be applied to the entire album. Put simply, this mini-album showcases TAEMIN’s artistic sense through his diverse range of sound profiles and the aesthetics presented in each track. More on this down below.

ETERNAL Album Cover

1. G.O.A.T – The mini-album starts off with a hip-hop track with some classy instrumentation. The piano and R&B vibes in this track make G.O.A.T feel sophisticated, while the EDM elicits a strong feeling that the accompanying performance would be a killer. TAEMIN has a strong command, and he really shows it off by making the opening single really captivating. (9/10)

2. Sexy In The Air (Title Track) – Click here for the full review for Sexy In The Air. (8/10)

3. Horizon – Horizon is the mini-album’s secondary single. I had initial plans to review it separately (as it does have its own music video – see below). However, if I remember correctly, the music video was briefly taken down, and I never checked if it had been re-uploaded until today. Anyhow, Horizon is a bold single with its punchy synth-pop instrumentation. The bass gives the song extra depth, and the chorus really hits with a strong burst of energy. TAEMIN absolutely shines here, and I liked how he makes the hooks feel so impactful and memorable. (10/10)

4. The Unknown Sea – Midway into the album, TAEMIN treats us to a ballad that speaks to the excitement and nervousness of the unknown. What makes The Unknown Sea more memorable from the onset compared to other ballads is that this song has bite to it, both in a vocal and instrumental sense. TAEMIN puts heft and emotions behind his vocals, which allows him to sound stunning and captivating in The Unknown Sea. The instrumentation is beautifully sparse, and I like how it builds as the song progresses. (8.5/10)

5. Crush – Crush sees TAEMIN venture into retro and electro-pop. TAEMIN also brings some funk to the mix through his vocals, giving the track some MJ flair. The “Na Na Na” is very catchy, and I enjoyed the textures in the background. Everything in this track had me coming back for more. (10/10)

6. Deja vu – Deja vu has this grandness to it that leaves me in awe. The classical side of the instrumental is captivating, while the basic trap beats and the background vocals in the bridge just give Deja vu a modern side to it. Both come together to truly show TAEMIN’s artistic style, though I wish the producers had explored more of that modern side in the background. He has consistently shown his strong vocals throughout this mini-album, but the way he carries himself throughout Deja vu feels elegant and just doesn’t disappoint at any moment. (9/10)

7. Say Less – TAEMIN closes out the mini-album with another non-traditional ballad. Say Less differs from traditional ballads through the presence of synths in its instrumentation. I enjoyed the atmospheric vibe that comes off Say Less’ backing, as well as his ethereal vocals (and accompanying processing) in this track. (8/10)

Overall Album Rating – 8.9/10

Teaser image of TAEMIN for ETERNAL

[Review] Lemon Drop – ATEEZ

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While I have been a bit busy over the last few days (hence my absence from the blog), ATEEZ has been busy releasing their new mini-album, GOLDEN HOUR: Part 3, and the title track Lemon Drop. It follows on from ATEEZ’s last comeback 7 months ago with GOLDEN HOUR: Part 2 (yet to be reviewed) and Ice On My Teeth.

I will admit that Lemon Drop didn’t really catch my attention when it first came out. I’ll get into that more in a second. But after listening to it a few more times over the past couple of days, I am happy to report that Lemon Drop has started to grow on me. The new single is a R&B hip-hop mix with a fresh, laid-back vibe, which is a nice change from ATEEZ’s usual harder-hitting stuff. It works well with the summery season South Korea is currently experiencing (I’m very jealous as I sit in my apartment trying to escape the cold winter weather in Australia). That said, Lemon Drop comes off as too polished, which is the primary reason why it was hard for me to get into the song. The chorus embodies this flaw, and in the absence of a substantial and strong hook, I find it leans a bit too much into that slickness. Thus, it was hard for me to keep coming back to the song without really focusing on it. Vocally and rap-wise, the members did a solid job. But it’s not their most memorable material. I much prefer it when they go bolder, but they handled the style of Lemon Drop well.

It is eye candy galore for fans in Lemon Drop‘s music video. ATEEZ really induces the heat with this ultra sexy video. This alone complements that chilled and refreshing vibe mentioned earlier about the song. Their visual game is powerful – if there is anything to take away from this comeback, it is probably just this observation. I applaud ATEEZ’s stylists for hitting a home run with the way they styled the members throughout the video. I also applaud ATEEZ themselves, whose hard work in physically preparing for this music video has paid off. I do wonder if the groovy and funky instrumented ending we get at the end of the video alludes to a future comeback.

While there is subtle intensity in the routine, I do find the choreography for this comeback to be quite chilled and laidback. This shows that the routine embodies the song well, while also finding a balance with ATEEZ’s usual performance style.

Song – 7.5/10
Music Video – 10/10
Performance – 8/10
Overall Rating – 8.4/10

[Review] Girls Will Be Girls – ITZY

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ITZY also returned on Monday with their 10th mini-album, Girls Will Be Girls, and the title track of the same name. It follows on from their yet-to-be-reviewed 9th mini-album, GOLD, and the also same-named title track and Imaginary Friend released in October last year.

I’ve listened to Girls Will Be Girls a few times now, and it’s a pretty solid track—definitely likeable. I really enjoyed the confident energy the members bring, which they’ve always done well in their title tracks. The dynamic instrumentation lends Girls Will Be Girls a great deal of power, intensity and momentum, and the textures are to die for. A great example of textures can be heard in the instrumental break before the second chorus – it’s so cool. That said, I do feel like Girls Will Be Girls could’ve gone harder. There are moments where Girls Will Be Girls feels like it’s about to hit that next level, but the song holds itself back. The instrumental behind the vocals could’ve been pushed more—it’s already good, but it’s missing that final punch. Girls Will Be Girls‘ chorus also initially felt a bit flat for me; the repetition, follow-through and delivery didn’t quite land, though I will admit it’s starting to grow on me.

The message behind Girls Will Be Girls is about being stronger when together as one (taken from Soompi), and we see that being portrayed in this very cool music video. We see the members come under attack from flying crows in what feels like a dystopian future. At the start, LIA is running away from the attack, and the other members band together to rescue her. From then on, the members stick together to overcome this crisis. In the end, the members face off against the big boss – the giant flying eyeball. I am sure the eyeball itself represents something. I am just not sure what.

The routine that accompanies this comeback hits hard. I really enjoyed the intensity and power of the choreography. The dance break is a definite highlight, with both the song and routine peaking. I also liked the slowdown movement, where the members have their arms/hands behind their backs and are leaning forward, just before the first chorus and dance break. Something is striking about it amid such an intense routine.

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

[Review] Memory – DOYOUNG (NCT)

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Making his solo comeback yesterday was DOYOUNG, with his second studio-length album titled SOAR and the title track Memory (안녕, 우주). This new release follows his official solo debut with YOUTH and the single Little Light, which earned him nominations for Best New Male Soloist and Best Album in the 2024 KPOPREVIEWED Awards.

Cast your minds back to Little Light. The debut track was described as “a band song with powerful guitar riffs”. The new single, Memory, leans further into this sound profile, incorporating more rock energy and drive. This makes the heartfelt song more prolific and intense, which elevates its appeal to a whole different level. Memory also benefits from DOYOUNG’s sweet yet powerful vocals, which complement the rock energy and contribute to the song’s drive. The combination of rock energy and intensity, paired with DOYOUNG’s vocals, in Memory is captivating. The melodies flow beautifully, which contributes significantly to the stunning output that is Memory. Put these pieces together, and I think the best way to describe Memory is “straight-forwardly pure”. I couldn’t find any faults in the song, so it earns a perfect rating from me.

Memory speaks to the hope that even as time passes by, the memories we make will remain forever. In the music video, we see DOYOUNG live a very sterile life. That is until he spots a dead bird. He tries to ‘delete’ the memory of the dead bird. But the memory of the dead bird breaks through and recurs in his mind, leading him to remember memories of a dog he once had. And while the immediate memories he remembers first are the passing of his dog, we later see other happier memories of when his dog was alive. In the end, he considers formatting his memory (i.e., deleting everything to start afresh). However, I think the post-title screen suggests that he chose to preserve those memories with his dog, keeping them forever, as the lyrics express. I liked the touching story within the music video, as well as the summery yet emotional vibes being portrayed. The glitchiness at the start, which was part of the video, did catch me off guard. It made sense conceptually, but I don’t think it added much value to the broader video. Similar comments can be made about that giant creature in the sky.

Song – 10/10
Music Video – 9/10
Overall Rating – 9.6/10

[Album Review] FANTASY (14th Mini Album) – SF9

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In August 2024, SF9 made their comeback with the single Don’t Worry, Be Happy and their 14th mini-album FANTASY. The mini-album is on the shorter side, with just 5 songs (including the title track). Like usual, all my thoughts on the title and side tracks can be found down below.

FANTASY was their first release since January 2024 – their 13th mini-album, SEQUENCE, which featured BIBORA as the title track.

FANTASY Album Cover

1. Don’t Worry, Be Happy (Title Track) – Click here for the full review for Don’t Worry, Be Happy. (7.5/10)

2. Cruel Love – I really enjoyed the sophisticated vibe of Cruel Love—it’s a smooth dance-pop track with a lot going for it. The vocals and rapping both feel polished and classy, and the melodies are catchy in a subtle, pleasant way. You can really feel the members’ emotions come through, which adds depth. The guitar is a constant throughout Cruel Love—it’s an alluring touch that holds everything together, even when other parts of the instrumental drop out. (9/10)

3. Just (그냥) – SF9 goes softer and more mellow, but all in a sensual way, in Just. I liked the venture into R&B, which just draws you in and captivates. The vocalists do a great job of bringing a mature, refined tone to the song, while the rappers add just the right amount of edge to keep things interesting and balanced. Just’s hooks are also catchy, making it a strong song from SF9. (9/10)

4. My Fantasia – FANTASY (the mini-album) changes gears with My Fantasia leaning into funky territory. It’s upbeat and energetic, a definite change in pace for this mini-album. The retro funky elements in the instrumental bring on so much texture, making this track exciting. The vocals and rapping are fine, though I found the melodies and hooks to be slightly lacking. (7.5/10)

5. Melodrama – If you want a chill track to kick back to, Melodrama might be the song for you. This alternative R&B track with retro touches just feels heavenly after my long day today. Everything, ranging from the brassy instrumentation, vocals, rapping and melodies, was all easy-on-the-ears. But I love how each of these contributed to Melodrama’s golden feel. (8/10)  

Overall Album Rating – 8.2/10

FANTASY Teaser Image

[Review] Black Out – CHANYEOL (EXO)

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It has been almost a year since CHANYEOL made his official solo comeback with his debut mini-album, BLACK OUT. Featured on the mini-album are the singles Black Out and Back Again. Today, I am finally getting around to reviewing Black Out, with the review for Back Again to follow soon in the next couple of days.

In Black Out, we get to hear CHANYEOL in a subdued pop-rock environment, with the instrumental leaning more towards an acoustic palette. Though the drumming did add a bit of energy. CHANYEOL’s husky tone is quite soothing throughout the song, and the melodies lend Black Out a mellow exterior. I also liked it when his vocals became emotive, such as during the pre-choruses, which gave the song depth. Overall, Black Out sounds nice and has all the ingredients for a solid song, but it doesn’t really stick. It’s pleasant in the moment, but it didn’t leave a lasting impression, which is a bit disappointing. I think with a bit more growth or variation in the track, Black Out could’ve been more engaging, and perhaps prompted me to write this review sooner.

The lyrics of Black Out depict the aftermath of heartbreak, with some lines and phrases describing feelings of being lost, lonely, despair, and longing. In the music video, we see CHANYEOL wandering and travelling around a city, experiencing those same emotions expressed in the lyrics. At a certain point in the music video, we see him holding onto the tape in the cassette player for dear life, as if he is holding onto the last remnants of his memories of life before the heartbreak. You can feel his desperation during these moments, which is a testament to his acting throughout the video. I also liked the dark and moody atmosphere of the video, which just sets the tone and some of the emotions of the music video.

Song – 7/10
Music Video – 9/10
Overall Rating – 7.8/10

[Review] Bad Desire (With or Without You) – ENHYPEN

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ENHYPEN returns today with their 6th mini-album, Desire: Unleash, and the title track Bad Desire (With or Without You). It is the group’s first Korean release since October 2024, when the group returned with a repackaged version of their ROMANCE: UNTOLD studio album, which was led by the singles XO (Only If You Say Yes), Brought Back The Heat and No Doubt.

Bad Desire (With or Without You) has so much unrealised potential—it feels like it was heading in the right direction, but never fully got there. The verses are great, with the pounding beats and striking vocals that really sell the R&B-pop vibe. The autotune is noticeable but used effectively, adding a cool, crunchy texture that enhances the members’ delivery in “Bad Desire” (With or Without You). NIKI’s husky voice is definitely a standout element in the song. Where the song stumbles is during the chorus. While Bad Desire (With or Without You) flows naturally from the verses and sounds good, it honestly felt more like a pre-chorus, and the real chorus never arrives. Bad Desire (With or Without You) also doesn’t evolve much in the second half—the same verse and chorus repeat without much variation, and the instrumental doesn’t build the way it could have. That lack of development holds back Bad Desire (With or Without You). Overall, I would say Bad Desire (With or Without You) is a decent track. I liked what it offered, but it clearly had a lot of room to be something more substantial and impactful.

The music video explores the idea that desire can be both alluring (good) and destructive (dangerous), with supernatural elements serving as an extension of ENHYPEN’s vampire lore that they revisit once again through this music video. Despite the music video being released 7 hours ago at the time of writing this review, I think a lot of the scenes in the music video are already or will become iconic. From the way the members fall between the heaven and hell clouds, to how HEESEUNG was revealed on that balcony at the start of the video, to vampire NIKI biting not-vampire NIKI, everything feels bold and cinematic in the music video. In addition to those “iconic” moments, I find the members’ visuals and the camerawork in this music video to be very striking.

The choreography for this comeback really stands out, particularly in how strikingly the members execute each move. I especially liked the quick, sharp flicks and the moody vibe they bring to the whole routine—it really matches the song’s tone. I wish there were a more iconic or standout moment to make the performance truly unforgettable, but Bad Desire (With or Without You) still leaves a strong impression.

Song – 7/10
Music Video – 10/10
Performance – 9/10
Overall Rating – 8.3/10

[Review] FREEZE – KickFlip

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Amongst the comebacks (i.e., SEVENTEEN’s THUNDER and Red Velvet – IRENE & SEULGI’s TILT) last Monday was KickFlip’s first comeback single, FREEZE. The new song is featured on their 2nd mini-album, Kick Out, Flip Now!. It follows their debut with the singles Mama Said and Umm Great – both of which I have yet to formally review. However, it is on the cards, so keep an eye out for these reviews. Until then, here are my thoughts on their new single.

FREEZE is a solid track with great energy, but the breakdown at the start of the chorus really throws things off. The verses are decent—nothing amazing—but they do the job, especially with KickFlip’s rappers doing their thing. I think FREEZE could’ve leaned into its upbeat vibe a bit earlier, especially during those rap sections. The pre-choruses do a great job of building up that pop-rock sound that KickFlip pulls off so well in FREEZE. But then the breakdown hits and totally kills the momentum. It has a bit of charm, sure, but it just doesn’t fit there. Luckily, the rest of the chorus bounces back with a strong, vibrant sound that could have worked perfectly following the pre-choruses. The breakdown returns in the bridge, but it feels more natural there, so it’s not a big issue. Vocally, the group really shines—the energy is high, the hooks are catchy, and the melodies are clean. If the song had been more cohesive and that breakdown had been placed better, FREEZE could’ve been a real standout.

I think SOOMPI describes the music video well – “playfully rebellious” feels like a very accurate description for both the song’s message and what we see in the music video. We see the group transition from school to their hangout spot at the skate park. We also see them enjoy their time together hanging out at night. The same description works well with the group, who are youthful and full of energy.

No surprises here – the performance complements the song well with its wholesome energy, super vibrant and upbeat flair. And I freaking like it for that! I do like how things slowed down for that breakdown, which adds a nice contrast and dynamic to the entire performance. But when the song picks up again, the members ramp up the energy and tone of the performance right back.

Song – 8/10
Music Video – 8/10
Performance – 9/10
Overall Rating – 8.2/10

[Review] 2 Months – UAU (Dreamcatcher)

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Back in April, it was announced that JiU, SuA, and Yoohyeon from Dreamcatcher would be forming a subunit. That became official last week when they debuted as UAU with their first single, 2 Months, and mini-album PLAYLIST #You Are You. Their debut came shortly after news that Handong, Gahyun, and Dami had left Dreamcatcher Company (but not the group), while JiU, SuA, Siyeon, and Yoohyeon are now focusing on solo projects for the time being.

Subunits are a great way for groups to explore new sounds, and that’s precisely what UAU tries to do with 2 Months. While Dreamcatcher is usually known for their rock-inspired tracks, UAU switches things up with a more mainstream blend of tropical synths and Afrobeats-style percussion. It’s all kept pretty subdued, creating a nice, groovy vibe—especially in the chorus. That said, 2 Months doesn’t really leave a strong impression. The chorus adopts a minimal, almost spoken delivery that feels somewhat flat and lacking in personality. That same minimalist style also emphasises 2 Months‘ short runtime. I do catch glimpses of the members’ charm in the verses, and the instrumental has a groovy flow (as already mentioned), but overall, it doesn’t do much for me. Overall, I am disappointed, especially knowing what these members are capable of from their Dreamcatcher work.

In the music video, we see a couple enter a photobooth. Throughout the music video, we see the relationship between the two progress in the photobooth, from shy touches to a shoulder grab. As for UAU, they proceed to transform the energy of the dull and classy lounge into a full-on party. At least, that is what I am thinking happened. I liked the little animation montage that occurs just before the second chorus. It was a nice touch to an otherwise standard music video.

The choreography is the most promising part of the UAU’s debut. While the music doesn’t give them much to work with (see my thoughts above about the music), I do like the sexiness they bring to the stage for this routine. It goes well with the tropical synths and Afrobeats-style percussion.

Song – 6/10
Music Video – 7/10
Performance – 8/10
Overall Rating – 6.7/10

[Album Review] Fe3O4: STICK OUT (3rd Mini Album) – NMIXX

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The next album to be reviewed is NMIXX’s Fe3O4: STICK OUT, the group’s third mini-album. This was released back in August last year, alongside the title track See That?. It features an additional five high-quality side tracks, which you can read more about, as well as my thoughts on them, below. Fe3O4: STICK OUT serves as the second instalment of their Fe3O4 series – the first being Fe3O4: Break from early 2024 and the third being Fe3O4: Forward from earlier this year (which I have yet to review – an album review for this mini-album is definitely on the cards).

Fe3O4: STICK OUT Album Cover

1. See That? (별별별) (Title Track) – Click here for the full review for See That?. (7/10)

2. Sickuhh (ft. Kid Milli) – Building on the hip-hop vibe of the title track, Sickuhh takes it even further into the genre. NMIXX and Kid Milli team up through rap to deliver a super chic and sleek track that keeps that classic hip-hop bounce. Everyone’s flow was on point, and I really enjoyed the energy each member—and Kid Milli—brought to the song. The production was cool and solid, making Sickuhh a track that is hard to pass up whenever it comes on. (9/10)

3. Red Light Sign, But We Go – This next track sticks with a hip-hop vibe but leans more into electronic sounds. The instrumental is super bold and intense from start to finish, which makes Red Light Sun, But We Go feel really powerful. The rapping didn’t hit as hard as in the previous song, but the vocals in the pre-chorus definitely made up for it. I just wish the hook wasn’t so repetitive and chant-like, especially toward the end—it felt a bit too safe for such an otherwise daring track. (8/10)

4. BEAT BEAT – NMIXX leans into a more pop sound in BEAT BEAT. I really liked the energetic marching-style beat and the touch of edge in the choruses. Their vocals and rap parts were strong throughout, but what stood out most to me were the ad-libs at the end. Whilst the ad-libs were in play, I especially loved how the music kept driving forward while BAE and LILY kept the energy going with their powerful delivery. (9/10)

5. Moving On – Moving On has NMIXX trying out pop rock on the mini-album, and they really pull it off. It reminds me of the pop-rock from the 2000s that I grew up with. The band instrumentation sounds great and keeps the song engaging. The electric guitar in the chorus is a highlight—it adds a quick but powerful burst of energy. I also enjoyed the warm, bright vibe the members bring with their vocals. They sound refreshing, and this tone helps deliver the song’s uplifting message. A stronger hook could have made Moving On even better, though. (8/10)  

6. Love Is Lonely – Wrapping up the mini-album is the EDM pop track Love Is Lonely. NMIXX’s beautiful vocals immediately pulled me in, and I couldn’t stop thinking about the song after my first listen. I loved the dreamy vibe they bring to the chorus, mixed with the subtle energy of the EDM pop beat. While the hooks and melodies feel a bit muddled at times, it doesn’t take away from how stunning the song is overall. (8/10)

Overall Album Rating – 8.2/10

Fe3O4: STICK OUT Teaser Image

[Review] DROP TOP – MEOVV

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Cast your mind back a few weeks to when MEOVV pre-released the single HANDS UP ahead of their comeback. Well, two weeks after the release of HANDS UP, the group released their first mini-album, MY EYES OPEN VVIDE. It features the title track DROP TOP (the focus of this post), as well as their 2023 singles (MEOVV, TOXIC and BODY).

Admittedly, MEOVV doesn’t have much out at the moment. But the first track that caught my attention was TOXIC, and now DROP TOP is right up there with it. What both songs have in common is how amazing the vocals are. Every time DROP TOP comes on, I’m just in awe. SOOIN’s deep voice at the beginning instantly pulls me in, and the rest of the members sound so clear and stunning throughout. GAWON’s rap in the second verse is super crisp, and I love the extra punch they bring to parts like the chorus—it gives the song a nice lift. Now, I’ll admit, DROP TOP isn’t the most groundbreaking song. The instrumental has its moments – parts were atmospheric and calming. I enjoy the added oomph during the chorus, through the upbeat pop and rock elements. However, it also feels like something we have all heard before. As for the hooks, I thought they were kind of bland at first, but they’ve really grown on me and add some nice texture. All in all, I do wish the song had a bit more going on. But MEOVV’s vocals? Absolutely top-notch in DROP TOP.

The music video initially shows the members in confined spaces or weighed down in one way or another, yearning for freedom. As the music video progresses, we see the locations transition to open skies, and the members appear happier as a result. I do like how the camera becomes unfocused during these moments, or they are not your typical camera shots (in terms of the night vision). This speaks to the idea of not being confined to a single style or being bound by the strict, defined four walls of the screen. All of this aligns well with the song’s lyrics, which convey the message of living in the moment and embracing one’s individuality.

DROP TOP had an edge to it due to the instrumentation, so adding a bit of choreography made sense. I liked that it wasn’t an intense routine—it let the members focus on singing live. The moves were light and relaxed, and the rest of the routine was just MEOVV vibing with the music. This setup really suited the song.

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

[Review] Poet | Artist – SHINee

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Never did I expect we would hear all five members of SHINee again in a new song. I am sure there are numerous songs that the late JONGHYUN had written and recorded as part of SHINee and as a solo artist that will never see the light of day. But to hear him so clearly in SHINee’s latest song, Poet | Artist, is definitely a treat. The new song forms part of SHINee’s first-ever single album of the same name, which was released to celebrate their 17th anniversary together.

Described as an electro-pop song, Poet | Artist is a pleasant listen. There is a fair amount to appreciate in the new song. Let’s start with the most notable element of Poet | Artist – JONGHYUN himself. I liked that he could be heard substantially throughout the song, such as alongside his fellow members in the chorus and ONEW in another part. It showcases their chemistry and how well SHINee complement each other. He has a solo moment in the bridge, where he scat-sings. The vocal processing in the bridge was interesting, adding a modern flair that complements the rest of the electro-pop instrumentation. Whilst on the topic of instrumentation, it was nicely upbeat and robust, but I did wish it had gone further. Obviously, not to the extent that would detract from Poet | Artist‘s intention. The other members showcase strong vocals themselves throughout Poet | Artist. What I also liked is how they added a dose of sentiment and nostalgia throughout Poet | Artist without it gearing towards overly emotional territory. I did feel that Poet | Artist‘s hooks and melodies felt a bit tight, and I wish both were more relaxed. Overall, a nice and pleasant song from SHINee that showcases the group’s bond as a five-member unit.

The music video for Poet | Artist feels relatively simple, but it sends a lovely message alongside the song. I liked the pastel and golden hues of the music video, which, to me, give the music video its ‘artist’ side. These colour palettes also evoke a nostalgic and sentimental feel, which complements the song’s vocals quite well. In the video, we see the members receive letters that pull them together to celebrate their time together. I also liked how they continue to pay homage to JONGHYUN in the video, particularly at the end, where they all jump up and reach for the sky. Both the letters and the final scene feel quite poetic and symbolic.

SHINee recently performed Poet | Artist at their recent fan meeting over the weekend. From the fancam I watched, I appreciated the incorporation of artistic waves and other movements that complement the upbeat nature of the song. I also like the little groove they have together as a group during the chorus. Some refinement in terms of synchronisation, like in the music video, would have made the routine even more impressive.

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

[Review] TILT- Red Velvet – IRENE & SEULGI

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It has been five years since Red Velvet – IRENE & SEULGI made their debut as Red Velvet’s first subunit with Monster. Yesterday, the pair returned for the first time with their second mini-album and title track of the same name, TILT.

The new song Red Velvet – IRENE & SEULGI goes down the club route, but it opts for a subdued vibe. An interesting dynamic, but I am willing to give TILT a chance. For the most part, the song does well. We are presented with an intriguing set of verses that captivate the audience and build suspense leading up to the chorus. I particularly like bass, which is a consistent asset throughout TILT. I liked the elegance brought on through the piano in the pre-choruses, which contrasts with the Tilt’s club energy and creates more of that interesting dynamic. Both IRENE and SEULGI do exceptionally well, vocally, in the song. I love the deeper tone that SEULGI starts TILT with, while IRENE utilised her breathy tones well in the second verse and TILT‘s pre-choruses. Unfortunately, the chorus was a let-down. TILT had good momentum towards that chorus, and I enjoyed how TILT continued the bass-heavy beat with the addition of atmospheric synths. But the softer spoken repetition of the song’s title as the hook just didn’t have that same oomph as the rest of the song. I wish the hook were more robust to give TILT a stronger centrepiece, and potentially edgier to reflect the club energy that TILT does well to encapsulate and extend its appeal.

I really liked the minimalistic aesthetics in the music video. It creates and builds up an intriguing atmosphere that makes me want to know more about it. According to the album’s Wikipedia page, TILT “explores the theme of mutual growth in a relationship, not as a contest of winners and losers, but as a journey toward achieving balance together.” And you can see this through how they hold onto each other when paired up, and through some of the imagery throughout the video, such as the yin and yang. Also, fun fact – the porcelain version of the members frightened me (but that should be no surprise, given porcelain dolls do give me the creeps).

From what I can see in the music video, the choreography for this comeback is logical and makes perfect sense. I enjoyed the tilting moves during the chorus, and I liked how they changed things up for the final chorus. I also appreciate how the concept of “balancing together” is reflected in the routine.

Song – 8/10
Music Video – 9/10
Performance – 9/10
Overall Rating – 8.5/10

[Review] THUNDER – SEVENTEEN

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It has been 10 years to the day since SEVENTEEN kicked off their careers with Adore U. Since then, the group has embarked on a very fruitful career, with multiple album releases (some of which in recent years have been million-album sellers), world tours, and performances on world stages (like Lollapalooza Berlin Glastonbury Festival in 2024). To coincide with their 10th anniversary, the group has released their 5th studio album, HAPPY BURSTDAY, and the title track, THUNDER, today. It is their first release as a group since LOVE, MONEY & FAME (ft. DJ Khaled), the return of BSS with CBZ (Prime Time), the debut of their new subunit HxW (HOSHI x WOOZI) with 96ers, and WONWOO’s military enlistment last month. However, WONWOO and JEONGHAN (who enlisted last year) are also featured in this comeback.

THUNDER is an EDM-based club dance track. From the first second, THUNDER aims to deliver with its bold and dynamic instrumentation. And I can say, they were successful at doing just that. Without a doubt, THUNDER is one of the tracks that will hype up the crowd and maintain that energy to the song’s end. While I am pretty satisfied with how the song turned out, I can’t help but think about what THUNDER could have been like had it been longer. The song officially clocks in at 2:44 minutes, which isn’t bad. But because of its high energy, you can feel the shortness of the song more vividly. As for the members, I was impressed with their vocals and rapping for most of THUNDER. The pre-choruses were well done, while the rapping gave the song an extra kick. The first part of the chorus was catchy and quickly became addictive, thanks to S.COUPS, VERNON, HOSHI and JUN’s delivery of the hook. But I am just not convinced by ending with DK’s softer vocals. Faltering at the end didn’t feel right for such an energy-packed, robust song like THUNDER. I wish they had gone out with a bang (of some kind) instead.

I am not entirely sure what the video’s concept is, but I am glad they are partying throughout the music video. This matches up with the song quite well. There is also a psychedelic theme going on. The underground concept they went with for this comeback looks very urban and cool. Also, every member looked amazing throughout the video. I guess the ending with DK on the gurney shows how explosive SEVENTEEN can be, with the heart monitor showing the line blowing up.

Even after 10 years, SEVENTEEN’s synchronisation has never let up, and their performances have consistently impressed. In THUNDER‘s routine, they do it again by showcasing their impeccable synchronisation and impressing me with their dynamic and energetic flair. I like that the routine has a little wild side, which makes the choreography refreshing. The opening to the chorus (the ‘ALO, ALO‘) part was super cool and is definitely my pick for the highlight of the entire dance.

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

[Review] Elevator – BAEKHYUN (EXO)

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Monday was a big day of releases, with BAEKHYUN also returning to the music scene with his 5th mini-album, Essence of Reverie. The single Elevator is the mini-album’s title track, following the pre-release Chocolate released last week. His previous comeback was Pineapple Slice in September 2024, featuring on his fourth mini-album Hello, World, which I have yet to review (but can confirm it’s coming).

I can hear what people mean when they describe Elevator as another version of Candy (a single BAEKHYUN previously promoted in 2020). Like that song, BAEKHYUN leans into his genre of choice (R&B) and keeps it simple. Elevator features likeable grooviness and a decent pop beat that moves the song along. I did enjoy the subdued percussion and atmospheric touches of the instrumental. BAEKHYUN’s vocals are definitely Elevator‘s highlight. It was nice to hear his vocals again after so long, and the ad-libs at the end came off quite smoothly. But I wish the melodies were more riveting. There was some sleekness and vibrancy to Elevator‘s melodies, but I put this down to BAEKHYUN’s vocals and delivery. Instead, I got a standard and safe feeling that doesn’t scream excitement. Overall, I would describe Elevator as ‘simply pleasant’. As said previously on the blog, pleasantness can be a double-edged sword as it could be code for boring. And I felt like Elevator had fallen victim to just that on this occasion. Plus, knowing that the same artist pulled off a similar song in the past (i.e., Candy – as established at the start of this paragraph) doesn’t bode too well for the new song.

The lyrics liken the desire for someone to fall in love with you to an elevator going up, with the lover at the destination floor. The only problem is that you have no idea what that floor is, which forms the basis of the music video. In the video, BAEKHYUN notices a mysterious lady in the elevator. He doesn’t make a move, but is drawn to her. From then on, he has consistently been thinking of and looking for her. Eventually, he reaches her and successfully moves to be with her, as shown at the end of the video. I like how his shirt says ‘I DID WHAT LAST NIGHT?’, implying other things happened overnight. I liked the animation that is interwoven throughout the video, as well as how great BAEKHYUN continues to look in his 30s.

Like the song, the choreography fits in well with the music. Based on what I can see in the music video, the routine embraces the beat well and showcases BAEKHYUN’s charismatic energy, which he carries over from previous dance performances. While I am not sold on the song, I think I can be on the dance for this comeback.

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

[Review] Good Thing – i-dle

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After rebranding from (G)I-DLE to i-dle earlier this month and pre-releasing the single Girlfriend, i-dle is officially back with their 8th mini-album, We Are. Leading the mini-album is the single Good Thing. It is their first release since July 2024’s Klaxon and their 7th mini-album, I SWAY.

To me, Good Thing is an underbaked version of their top hits. The instrumental behind Good Thing has so much potential and is its best asset, with the synth work and 8-bit sounding reminiscent of second-generation KPOP. The infusion of rock elements was a great way to make Good Thing feel very much in i-dle’s wheelhouse, but I wished the song explored more of this. Perhaps make the song even more electrifying. But it is ultimately the song’s hooks that don’t offer much in terms of robustness and dynamism that let Good Thing down. I liked how they carried their usual sassy feel into the chorus, but the hooks themselves didn’t spark any excitement. Also, “I heard your good thing” isn’t too great of a line. Aside from that, the rest of Good Thing is okay. Their rapping and vocals were nice. YUQI’s rap in the second verse is solid, while the pre-choruses were strong segments from the vocalists. While I don’t usually agree with autotune, I think it fits in with the instrumental of Good Thing and gives off a good effect. Overall, Good Thing has promise but undelivers when it matters the most.

The music video for Good Thing was a blast to watch. While I am not entirely sure what message the group is trying to say through their lyrics, the mix of constant fighting and then vibing with one another actually makes for a fun video. My favourite part involves MIYEON on the train, where she gets her hair pulled by MINNIE and pushes YUQI off the train. As to what this could possibly mean, my best guess (and I want to emphasise that this is a guess since I don’t understand the lyrics) is that the “constant fighting and then vibing with one another” dynamic represents their toxic relationship with a former lover, with the lyrics coming off as sarcastic and making fun of their past lover.

The choreography for this comeback is fantastic. Quite sure I have mentioned this about them in the past, but I love how their routines exude confidence, boldness and sexiness. They are a powerful group, and their choreographies have consistently shown this. The only part that I felt could be cleaner and smoother is the start of the instrumental break at the end.

Song – 7.5/10
Music Video – 9/10
Performance – 9/10
Overall Rating – 8.3/10