Category: KPOP

[Album Review] 1 to 3 (3rd Mini Album) – SUHO (EXO)

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SUHO’s 1 to 3 is nominated for Best Music Video in the 2024 KPOPREVIEWED Awards. Support SUHO’s 1 to 3 music video in the 2024 KPOPREVIEWED Awards by clicking here to vote today!

SUHO’s 1 to 3 is the next album on the reviewing block. He returned with the mini-album in May this year with the title track of the same name. It also features the pre-release of Cheese (which featured label mate WENDY from Red Velvet) and 5 other side tracks.

One of the things I realised upon reviewing SUHO’s album is how rock-focused it is. We are not just speaking of the more traditional forms of rock we often hear in KPOP, like pop rock. Instead, SUHO ventures into alternative and indie territory throughout the album, which is always intriguing and exciting. SUHO does such a good job that I recommended 1 to 3 to those looking to satisfy their rock cravings.

1 to 3 Album Cover

1. Mayday – Mayday softly opens the mini-album, speaking to the idea of looking for someone you thought was on the same path as you. The song taps into the alternative rock genre, with the official description describing it as a ‘dreamy psychedelic’. I liked how approachable Mayday is with its soft aesthetic, easing us into the mini-album. The song’s soft nature also applies to SUHO’s vocals, which are so delicate. But this delicateness gives us that emotion the song’s message wants to convey. (8/10)

2. 1 to 3 (점선면) (Title Track) – Click here for the full review for 1 to 3. (9/10)

3. Cheese (치즈) (ft. WENDY from Red Velvet) (Pre-Release Track) – Click here for the full review for Cheese. (8/10)

4. Wishful Thinking – Wishful Thinking is an intriguing song. The verses feature some groovy yet hushed vocals that appeal to me instantly. But then comes brief and harsh guitar work that shocks the system and breaks up those hushed vocals. The second time it shows up, it generates momentum towards the chorus. But when the choruses comes, SUHO returns to hushed vocals but also makes sure to give it a beautiful twist by smoothing out the melodies. The song doesn’t maintain any particular momentum until after the second chorus, where Wishful Thinking starts to wrap up and ends abruptly (which you may know is not my ideal way to finish a song). (9/10)

5. Moonlight – SUHO continues his exploration of rock with an indie number. Moonlight is a refreshing song for a few reasons. His vocal delivery is very different yet fun, compared to the other songs. The melodies and energy are more cheerful, which had me vibing along. He opts for a ukulele as the primary instrument, which is a unique choice. Moonlight isn’t my usual cup of tea, but I liked it nonetheless. (8/10)

6. Alright Alright (ft. Giriboy) – Alright Alright brings funky rock to the mini-album. And the funkiness and catchiness of Alright Alright makes it a hard song to turn away from. The instrumental gives me surfer vibes, ideal for someone looking to kick it back at a beach this Summer (like me). SUHO’s light yet fulfilling vocals are amazing, and GIRIBOY’s rap fits in perfectly. (10/10)

7. Zero Gravity (무중력) – Wrapping up this seven-song mini-album is Zero Gravity, another alternative rock song. The first verse had me thinking the song was leaning into the balladry side. Beautiful instrumentation and vocal work here. But Zero Gravity picks itself up once it gets to the chorus and maintains that energy into the second verse. Both the instrumentation and SUHO’s vocals remain beautiful and approachable. I really liked the flow of the chorus, which felt like an OST to me, and the passion the bridge exudes. (10/10)

Overall Album Rating – 8.9/10

SUHO’s teaser image for 1 to 3

[Review] hey! hey! – TWS

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TWS is nominated for multiple awards in the 2024 KPOPREVIEWED Awards. These include Best New Male Artist, Rising Star, and Best Dance Performance – Male Group (for plot twist). Support TWS by clicking here to vote for TWS today.

TWS made their first comeback with their second mini-album, SUMMER BEAT! back in June. I reviewed the lead single, If I’m S, Can You Be My N?, at its release and will shortly post my album review for SUMMER BEAT! soon. But before I do that, I will review the pre-release single, hey! hey! in this post.

It has been a while since hey! hey!‘s release. But I still remember its bright and summery vibes. And that is why I am keen to write a separate review for hey! hey! and flagged my intention to do so in If I’m S, Can You Be My N?‘s review. This rock-influenced dance track gives off that energetic and dynamic feel you look for in a summery track. I like the slight roughness some of the rock elements give the song, which adds to that dynamism. TWS’ vocals and the energy the members give hey! hey! is vibrant and infectious, which makes me smile when I listen to it. hey! hey!’s hooks and melodies were catchy and addictive. Now that it is summer where I am (and I am writing this during a heatwave), hey! hey!‘s is a refreshing summer track that I greatly appreciate.

The music video shows the members hanging out and having a fun time with one another after school. They do so much, including playing basketball and going to the beach. Definitely not the fun that I had with my friends after school, but this is a summer video. I like how they keep their coming-of-age/high-schooler concept going in this video. I also enjoyed how bright everything in the video felt and how dynamic the camerawork was, complementing the song well.

The performance really kept the energy flowing throughout and never really stopped. Additionally, it also embodied the youthfulness of both the members and the concept of the release. It is a very satisfying and fulfilling performance to watch. Highly recommend this one!

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

[Review] TASTE – YOUNITE

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YOUNITE is a KPOP male group that you don’t see much on my blog. But they debuted in 2022 with 1 of 9. Since then, I have completely dropped the ball when it comes to YOUNITE. I have not written a single review about their music over the last two years. To any YOUNIZ (YOUNITE’s fandom), I apologise for that. Recently, the group returned with the single TASTE, and I thought I would pick it up for review.

Honestly, I don’t remember much of YOUNITE’s music. I have been listening to their music, but nothing really stuck out. Otherwise, I would have written a review for YOUNITE sooner. As such, I don’t have a baseline to refer to and can only rely on my first impression of TASTE. The first thing that jumped at me was that TASTE is a fine song. It falls into the hip-hop realm, with a funky instrumental and appealing upbeatness. There were these nice yet faint flute sounds in the background. They helped polish the song by giving TASTE a subtle and sophisticated feel amongst the rest of the instrumentation. That being said, the flute sounds were faint and barely audible. I wished they were a little more prolific, as there is opportunity for these flutes to become more of a drawing point for TASTE. As for the vocals, I wished they were more fleshed out in TASTE. The melodies and hooks were just plain and flat, which didn’t help showcase their vocals. They have a good set of vocals to rely on (the bridge is a good indicator of this). But TASTE just wasn’t the material to draw my attention towards the group. However, I did like the whispery lines that followed the first and final choruses.

There isn’t much to the video apart from the members hanging out with one another. I did like the home video concept the music video has. It makes the video feel laid back and casual, complementing TASTE‘s hip-hop influence. It also adds some trendy retro touches to the video, which helped keep the video from being consistent.

The choreography was good, but it could have been better. Nothing stands out to me. The choreography leaned too much into the casual and laid-back side of the song. It should have embraced that upbeatness more. A little more sharpness and dynamic flair would have done wonders to this routine.

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

[Review] Love In My Heart – BABYMONSTER

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BABYMONSTER is nominated for Best New Female Group in the 2024 KPOPREVIEWED Awards. Support BABYMONSTER in the 2024 KPOPREVIEWED Awards by clicking here to vote today!

BABYMONSTER continues their promotions for their first studio album, DRIP, with the music video release for Love In My Heart on Monday. This release follows the pre-release of FOREVER midyear and the release of the entire album and title tracks CLIK CLAK and DRIP in November.

Love In My Heart is a relatively mellow and heartfelt release from the group compared to the title tracks from the studio album. That being said, the producers of Love In My Heart keep the song contemporary by incorporating EDM backing and club beats together. This combination reminds me of the music I enjoyed from the late 2000s to the early 2010s. And with a mellow and heartfelt descriptor, Love In My Heart is vocal-focused, allowing BABYMONSTER to showcase more of that side of themselves. Rami surprised me with her high note. But despite recognising the group’s opportunity to shine vocally and the nostalgia the instrumental brings, I can’t help but also feel a generic vibe coming off Love In My Heart. And this impacts other aspects of the song that I usually look towards. Love In My Heart‘s melodies were not memorable, and the song’s hook (‘Give you ay ay ay‘) was awkwardly flat. The same can be said about their vocals. They were decent but lacked any shine to them. Overall, Love In My Heart is a decent track. But it could have been better executed.

The music video begins with commentary over the radio and news that the weather hasn’t been so great. This has affected the members’ mood, leading to fighting between two members. But despite that, the song expresses the idea that their love for one another is a strong bond. So soon after their fight, we see the members rejoin and run off together to enjoy the post-rain weather and go on a road trip together (just without a vehicle, at first).

Song – 7/10
Music Video – 8/10
Overall Rating – 7.4/10 [Updated on 22/02/2025 due to calculation error]

[Review] Rupert’s Drop – ONEUS

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Support your favourite KPOP artists, songs and performances in the 2024 KPOPREVIEWED Awards by clicking here to vote today!

ONEUS is back? I missed the news of their return with the digital single, Rupert’s Drop, which dropped last Monday. It’s not surprising though, since the official announcement of the release didn’t happen until mid-way last week. Still, keep your eyes out for the special album release dropping early next year. We last saw ONEUS through their Now comeback earlier this year and on Road to Kingdom: Ace of Ace.

Compared to their earlier releases (which have been of the dance variety), Rupert’s Drop is a change of pace for ONEUS. It is a mellow and soothing ballad track, with an acoustic-like pop-leaning instrumental and pleasant, straightfoward and easy-going melodies. It isn’t the most mind-blowing track ever, but it is still a really nice listen. The guitars riff in Rupert’s Drop reminds me of the guitar riffs in IU’s Blueming. This evokes a nostalgic feeling for me, which works in Rupert’s Drop‘s favour. I like how the instrumental builds as it progresses, peaking when the electric guitar comes into play in the bridge. Mellow material like Rupert’s Drop allows the song to focus on the vocals. And in Rupert’s Drop, ONEUS executes the track quite well. All the members sound so good in Rupert’s Drop and I particularly like the oomph they give during the choruses. ONEUS also bring a comforting tone to Rupert’s Drop. This makes the track feel warmer and fitting for the colder season in Korea. Overall, a hearty and likable song from ONEUS.

I am unsure if the music video is relevant to the song. The video only features the members singing amongst some flowers. Aesthetic-wise, it is pretty and works well with the likableness of the song. But my understanding of Rupert’s Drop lyrics is it depicts the idea that a connection is formed between two people when they cry. The tears and associated feelings are likened to Rupert Drop’s, the tadpole-like shaped drop that dripped molten glass solidifieds into when its cooled. Apart from falling snowflakes, which is the closest thing in the video we get to ‘drops’ in this video, I can’t see how else the video is relevant to the song.

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

[Album Review] Armageddon (1st Studio Album) – aespa

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aespa is nominated for several categories in the 2024 KPOPREVIEWED Awards. This includes Best Female Group, Best Dance Performance (Female Group), Best Music Video (for Whiplash) and Best Electronic Song (for Supernova) and more. Support aespa by clicking here to vote today!

After successfully debuting in 2021 and having many hits, aespa released their first studio-length album, Armageddon. This album features 10 songs, including their massive pre-release hit Supernova, and the title track of the same name as the album. ICYMI – Supernova was recently crowned the Song of the Year at the MAMA Awards and the Melon Music Awards. I suspect they will get more of those at the upcoming awards ceremonies. Totally well-deserving!

But obviously, we are here to check out the full Armageddon album. Alongside Supernova, this album has a few great songs. They are concentrated towards the end of the album, while the first part got a lukewarm response from me. Find out which songs fell into which category down below.

Armageddon Album Cover

1. Supernova (Title Track) – Click here for the full review for Supernova. (9/10)

2. Armageddon (Title Track) – Click here for the full review for Armageddon. (6/10)

3. Set The Tone – Set The Tone sees the group venture down the hip-hop route alongside their usual electronic style. The group embraces the hip-hop influence well in their delivery, giving them an edgier vibe than usual. Set The Tone also features a thumping beat, making the song more pronounced. I particularly like the outro of the track. This section really concentrates their own style and tone in the song. (8/10)

4. Mine – Mine feels like Set The Tone thanks to the similar influences in the two songs (i.e., the hip-hop influence with their electronic style, which translates to an edgy vibe). However, there are differences between the two that set them apart. Mine is a lot more paced and features a greater emphasis on vocals, as well as rap-speak. I like the wavy note that appears twice at the start of each chorus. But Mine also lacks anything memorable and was a skippable track in my eyes. (6/10)

5. Licorice – aespa ventures into rock-influence territory with Licorice. Electric guitars are a dominant feature of the instrumentation, alongside a trap backing. If you have been reading this blog for a while, I like songs with a rock influence. However, Licorice feels underwhelming. I was hoping the instrumental would pick up towards the end to break the overly consistent trajectory Licorice has in its current form. There is potential with the rock influence, but it was not realised. There were some good lines in Licorice, enough to make it catchy. But like the instrumental, the vocal work was underwhelming for similar reasons. (7/10)

6. BAHAMA – I am honestly surprised that aespa did not promote BAHAMA. Listening to this song, I see it being a hit this past summer. It is a nice summery pop change that is both chill and fitting for the current ‘beige’ trend. The song has catchy hooks and soothing melodies, delivered with dreamy vocals from the members. Both the bridge and rapping in the bridge were great highlights that pushed this song into upbeat territory. (9/10)

7. Long Chat (#♥) – Long Chat is loaded with an abundance of textures thanks to its use of abrasive synths. It might be overwhelming for some, but I thought it made for a fun dance song. I liked how likeable the pop melodies and vocals (thanks to the members) made Long Chat feel, particularly between the more texturally loaded moments. NINGNING’s high notes were really well done and a highlight for me. (10/10)

8. Prologue – The pop genre continues into Prologue. It a vocal-forward track, with the members sound very clear and nice throughout the length of the track. Prologue also features a warm and comforting melody, which goes nicely with the song’s message of being comfortable with oneself, no matter what others say or who they compare you to. (8/10)

9. Live My Life – aespa turns to pop-punk in Live My Life and I just love reliving the choruses each time I replay the song. The band instrumentation was straightforward but effectively impactful. The members’ vocal work and harmonies were consistently amazing throughout the track. I am blown away by how captivating they made the song sound. An easy 10/10 to me. (10/10)

10. Melody (목소리) – Like all KPOP albums, the final song is usually reserved for a softer number. For aespa’s Armageddon album, that song is Melody, a song dedicated to their fans. The piano, string elements and passionate electric guitar in the background give Melody its softer appeal. Further, Melody is another song with great vocals from the members. (8/10)

Overall Album Rating – 8.1/10

Armageddon Teaser Image

[Review] Walkin On Water – Stray Kids

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Yesterday, Stray Kids made their return to the Korean music scene with the single Walkin on Water and their mixtape album Hop. It is their first Korean release since ATE (led by the single Chk Chk Boom) and their Japanese release GIANT last month.

Unsuprisingly, the track Walkin On Water is a hip-hop centric number. You can hear that within an instant. Personally, I quite like the choruses. I felt they were are good embodiment of old-school hip-hop in terms of the members delivery and instrumental-wise. I do find the members’ “Brrkt Brrkt” to be cringy, but the rest of the choruses were fine. I do like the infusion of rock elements in the end, which freshens up Walkin On Water and intensifies the song as it hurtles towards its finish. The verses containing the more interesting material, with CHANGBIN, HAN, HYUNJIN rapping and vocals from SEUNGMIN and I.N. BANGCHAN and LEE KNOW feature more in the choruses, while FELIX’s deep vocals make a presence during the bridge and the end of the choruses. Given that this is a mixtape, I wished they could have experimented a bit more with FELIX, who I think needs to be better utlisied (i.e., more than his deep vocals) and have his own rap sequence. And no offense to HYUNJIN, but I prefer his vocal work in the first chorus compared to his rapping in the song. Overall, Walkin On Water is a good track from Stray Kids.

Despite Walkin On Water is a different song than usual for Stray Kids, I liked how their music video doesn’t really differ. There are a lot more solo moments between each member, but the misplaced background people (which is a recurring element to Stray Kids videos) feature in the music video once again. We have motorcyclists and jet-skiers at the traditional Korean building. We also have horses eating out of the car engine and a basketball court at the same location. I also liked the arrow surrounded dance locations for this music video. The music video set at the traditional Korean buildings and FELIX’s solo moment in the bridge also gives off Thunderous vibes.

The footwork in the performance is a highlight. They add the bounce and embodies that hip-hop energy quite well. The synchonisation of their upper bodies must also be commended. Altogether, a very cool routine.

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

[Review] Now or Never – CRAVITY

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CRAVITY returned just over a week ago with their new single, Now or Never, their first single since their EVERSHINE comeback (led by the single Love or Die) and their win on Road To Kingdom: Ace of Ace.

Listening to Now or Never over the last week, I consistently thought that the song could have gone further with its rock influence. Now or Never felt like a song that could have been a powerful song that blows you away, especially after the ticking pre-choruses. But that powerful feeling isn’t realised when we reach Now or Never‘s choruses. Now or Never definitely heads in that direction, but a more electrifying or grungy feeling would have made the song more enticing and exciting in my books. We get closer to that realisation at certain points in Now or Never, such as the first half of the bridge. But it wasn’t enough to tip Now or Never over the line into ‘awesome territory’ for me. Similar comments regarding the choruses can be said about the vocals. While they were good and solid throughout (again, the autotuned vocals during the first part of the pre-choruses were great), I think there were some constraints on the members, which probably contributed to the dampening of the choruses. Stronger melodies and hooks would have helped, as well. I did feel the raps were the more promising aspect of Now or Never, as it helped add some extra power and suspense to the song in their own way. Overall, Now or Never was a decent follow-up to their Love or Die comeback from earlier in the year.

My biggest issue with the music video was the pause in the music. The purpose was to give off suspense, but the subsequent launch back into the music should have been more explosive. What ended up happening was a weak return, which just doesn’t do the music video or song justice. But aside from that, I really enjoyed the aesthetics of the video. Now or Never is about ‘boldly seizing opportunities, reflecting [their] ambition and unwavering determination to take on the world’s challenges fearlessly’. In the video, the challenge is an asteroid that comes crashing into Earth, but the members are able to embrace it and live through the impact with one another. I also really liked the clock (I think this is what it is) set in the video. It looked cool and very futuristic.

I liked the powerful vibe from the choreography and the energy the members put into the chorus sections of the routine. It made it feel jam-packed and very intense. The pre-chorus moves and the outro routine were also highlights. CRAVITY did an awesome job with this part of the comeback.

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

[Review] JJAM – Stray Kids

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As part of their ATE album (led by the title track Chk Chk Boom) released earlier this year, Stray Kids released some videos to accompany some of the side tracks on the mini-album (making them eligible for a separate review). Thus far, I have reviewed the side tracks MOUNTAINS and Stray Kids. Today, I am focusing on the final song with a video, JJAM.

JJAM features a strong EDM backing that really defines the song. The EDM, accompanied by the thumping beat, gives JJAM character and personality, similar to how EDM defined and made DOMINO (another Stray Kids track from their NOEASY era). The tight back-and-forth synth in the chorus (which, when paired with the choreography, became the critical point of JJAM) was quite memorable, as was the rest of the chorus. What made JJAM more special was how it features the three units of the group. Following the first chorus, we get solid and refreshing vocals from VOCALRACHA (SEUNGMIN & I.N). This is followed by an instrumental break that allows DANCERACHA (LEE KNOW, HYUNJIN & FELIX) to execute a dance break on stage, while fast-paced EDM that keeps me on my toes each time I listen to JJAM backs 3RACHA’s rap sequence (CHANGBIN & HAN). Leader BANGCHAN gets his own section, bridging the units’ section back to the rest of JJAM. Their delivery elsewhere in JJAM is top-notch. It is an exciting way to present Stray Kids that keeps true to their style and sound.

The music video shows Stray Kids going underground to make some “sticky and attractive” jam, which is probably the code for their music. I did like the killer vibes Stray Kids were giving off, either through vampirism (based on the red substance in the corner of HAN’s mouth or SEUNGMIN/I.N’s scene where they are smashing something up to source the red substance). However, they should have better vetted the place to avoid the ghostly presence that gets them. It is a hodge-podge of a video, but it was a fun and cool concept.

The accompanying choreography proves why Stray Kids’ performances are always something to look forward to. As mentioned above, the vibrating move accompanying the synth in the chorus was the key point of the song. It was such a cool move that it needs to be mentioned again. DANCERACHA’s dance break, as well as the all-member dance break towards the end, was also another highlight in the routine.

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

[Review] Strategy – TWICE ft. Megan Thee Stallion

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Over the last two years, we have only observed TWICE making a Korean comeback once a year. So when the group released their With YOU-th mini-album (led by the single ONE SPARK) in February this year, I thought that was it for the group for 2024. However, the group surprised me with an accouncement of a comeback in December comeback back in October. The comeback, which occurred yesterday, is titled Strategy (both the title track and mini-album release), with the title track featuring Megan Thee Stallion.

After a couple of listens to Strategy, I have settled on the song being ‘alright’. It is a good song that strikes a balance through the various elements within it, but I am not blown away by it as past TWICE songs have previously been. I did like how Strategy brings out a mature sound from TWICE with its early 00s hip-hop influences and synth work. The instrumental is a big highlight of Strategy for me. The vocals are good, but I think there is opportunity for the members to be clearer. This would have lifted the song up in my books. As for Megan Thee Stallion’s part in Strategy, it isn’t jarring. Her music tends to be so for me. But in Strategy, she gives the song some edginess and oomph. Along those lines, I wished the rest of Strategy (i.e. TWICE’s parts) had some of this energy, as well. The closest we do get is MOMO’s part following Megan’s, just before those cowbells came into play (which was an instant turn-off for me). I also wished the melodies and hooks were more fleshed out. Strategy does have some foundation in this department, but what we got didn’t appeal to me as strongly as their past songs did. Perhaps some more definition could have been the answer to this.

The music video shows off the group’s alluring charms, which is all part of their plan to get the person they want as expressed in the lyrics. I really liked their styling throughout the video, which compliments the song well. But let’s be honest, the best part of this music video is Megan Thee Stallion’s presence. Featuring artists don’t always appear in their song’s respective videos for one reason or another. But to see TWICE and Megan Thee Stallion in the same video and room (I hope that was the actual case) was actually quite cool. I would have loved to see all the members with Megan (not just 6 of them), vibing along to Megan’s part. Though I suspect MISAMO’s schedules got in the way of making that possible.

Channelling the message of the song, I do like the confidence that the choreography exudes. I really like the chest pop and back kick during the song’s main hook, as well as MOMO and CHAEYOUNG’s part in the bridge (no matter how much I dislike those cowbells).

Song – 7.5/10
Music Video – 8/10
Performance – 8.5/10
Overall Rating – 7.9/10

[Review] LAST NIGHT – TREASURE

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YG Entertainment promised when TREASURE returned earlier this year, KING KONG (the comeback at the time) would not be their only release this year. And as promised, the group returned with their new single LAST NIGHT yesterday.

LAST NIGHT leans into dance territory, swapping out their usual hip-hop influences for pop melodies. The track is bright, upbeat, and refreshing to my ears. It also has a feel-good energy that makes LAST NIGHT attractive. Vocally and rapping-wise, the members did a great job. I particularly like JIHOON’s fast-paced rapping, which added an interesting element to the middle portion of the song. LAST NIGHT’s hook (‘Ma ma ma my love’) was catchy. The pop melodies were good, and I found them easy to listen to (even as the instrumental blasts its way through). But there is also a side of me that feels the melodies are typical and plain. There could be more flair to make LAST NIGHT even more compelling. Apart from that minor wish, LAST NIGHT was an enjoyable song.

There isn’t too much to the video, but I like the straightforwardness this brings about. The music video shows the members coming together to watch fireworks after a day of having fun and hanging out with one another. Like the song, the video instils feel-good vibes and makes me smile while watching it. It also felt appropriately casual and light-hearted.

Based on what I can see in the music video, the choreography is simple and straightforward. LAST NIGHT doesn’t call for anything too complicated or difficult, so the routine feels fitting for the song. I liked the move that coincides with the hook, which embodies the already mentioned simple and straightforward mantra.

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

[Review] CALL BACK – MINHO (SHINee)

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A month has zipped by since MINHO made his solo comeback with the studio album CALL BACK and the title track of the same name. Today, I will finally get to reviewing the title track. This is MINHO’s first solo comeback since his formal solo debut with Chase in 2022.

Chase received a lukewarm review from me when it was released, and my review questioned whether that song was the ‘best foot forward for MINHO’. While it wasn’t mentioned in that review, I had always expected MINHO to release a dance track. CALL BACK seems to be the answer I was seeking. This pop song, which leans into chill R&B territory for me, was decently good. While it wasn’t as prolific or dynamic as I had hoped for, I appreciate the mid-tempo beat and pleasant instrumentation from the piano and guitar riffs featured in the song. His vocals are good and satisfying in CALL BACK. He doesn’t have the strongest set in SHINee, but he holds up well in CALL BACK. The ‘Will it be, Will it be, Will it be you?‘ hook was quite catchy, and I liked how his vocals carried that line. Similar things can be said with the rest of the choruses. The most disappointing aspect of CALL BACK is the lack of raps. We get some sing-rapping in the second verse, but it didn’t go as hard as we know MINHO could execute. Overall, CALL BACK is a better step in the direction I hoped MINHO would explore for his debut.

My take on the video is that MINHO is both waiting for and looking for the person he loves. In the lyrics, he is talking about his phone lighting up and he is hoping that person is contacting him. In the video, he searches for his lover amongst all the cars in the traffic jam. There is also references to him looking for his missing piece via the puzzle he is completing the video. The choreography scenes looked good. I liked how they weaved some of the choreography shots into the storyline. While it isn’t the best example of so, it is still a decent attempt of making everything feel connected.

As for the choreography, I liked it. But I don’t have much to say about it. I particularly enjoyed how MINHO and the dancers moved around the stage. It gave the choreography a cool flow.

Song – 8/10
Music Video – 7.5/10
Performance – 8/10
Overall Rating – 7.9/10

[Review] PINATA – A.C.E

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It has been a while since I last reviewed a song from A.C.E. The last review was for Changer back in 2021. Since then, the group has enlisted in the military and made a comeback earlier this year with My Girl (which I have yet to review), albeit without Kang Yuchan, who was still enlisted while the group was preparing for the comeback. With Kang Yuchan part of this comeback, the group returned with their 7th mini-album, PINATA, and the title track of the same name last month.

A.C.E is no stranger to EDM (see their earlier singles, Cactus or Callin’, as examples of their venture into EDM). But while PINATA follows in that direction of music, its poor execution leaves me wondering what happened to A.C.E from back then. The EDM that PINATA has gone for lacks that memorable factor. Their previous tracks featured a piercing and dynamic form of EDM that created an unforgettable piece. PINATA retains the bombastic and powerfulness their previous takes on EDM always had. But in PINATA, there was no sharpness and a strong muddled feeling. Then, there was the shouty delivery in the chorus, which somehow felt flat and obnoxious. This was by far the most disappointing aspect of PINATA, in my view. The shouty delivery isn’t anything new, but at least it should be dynamic enough to give the chorus some life. The verses and bridge were decent, but they didn’t have much going on for me to remember the song by. The most impressive part of PINATA was the high note at the end of the song and the lead-up to that high note. But while it was a stronger part of the song, it was too late to salvage PINATA by then.

The music video was okay. The dancers give the music video a wow factor, as do the members during their sexier close-ups. But I do feel like there was a limited budget when watching this, especially since the dancers wore the exact same outfit in all of the choreography shots, regardless of whether the members changed outfits or the set/location changed. Also, I am not exactly sure what the connection is between the tactical gear the dancers donned and the member’s suits/corsets, etc. aside from looking cool. Yeah, it is cool to look cool. But for the sake of it, not really. I wished there was a little more variety regarding the dancers’ outfits.

The performance is the strongest aspect of the comeback, with the music lending well to a powerful routine that A.C.E pulls off in a controlled and intense manner. There were aspects in the music video version which I really liked, such as the lifting of the members at the end and the white powder the dancers spit out just before the second chorus. However, I understand those are complex actions to pull off on stage multiple days a week.

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

[Review] LAST PARADE – BAMBAM (GOT7)

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It has been months since BAMBAM made his solo comeback with the single LAST PARADE and mini-album BAMESIS. I am finally reviewing the title track today, ahead of a future album review post focusing on the mini-album. It is the first solo Korean release of BAMBAM’s since early 2023’s Sour & Sweet comeback.

LAST PARADE sees BAMBAM venture into a much darker vibe than ever before. I like the idea of exploring a new side of the artist when it is done well, and I think LAST PARADE is a good example of it being done well. LAST PARADE opens up with some anthemic choir before settling for a hip-hop-centred sound. But the song catches you by surprise. Instead of a punchy or upbeat production, the track holds itself back – maintaining a sparse instrumental and allowing the tension to simmer and build rather than explode. It is an intriguing way to approach things, but this does give LAST PARADE a memorable to let the song linger in my mind once it is complete. But while the instrumental remains sparse, LAST PARADE does allow itself to turn into a dynamic piece via the electronic follow-through of the choruses. The rush of energy in this part of the song contrasts nicely with the rest and feels quite a satisfying release of the tension mentioned above. BAMBAM does well with his rapping and vocals, with the pre-choruses standing out the most to me. The only part of LAST PARADE that I didn’t like was how it ended, which made the song feel incomplete and unsatisfying.

The music video is split into three chapters. The first chapter features BAMBAM as a leader of a city, in an almost dictator-like manner from the looks of it. He has complete control of an army that defends the city. The second chapter features BAMBAM as the leader of a rebel group who isn’t happy with the leader BAMBAM. The third chapter features the rebellion, where both BAMBAMs meet and fight. I am unsure of the intent of the third BAMBAM, who we see at the start of the video yielding the same flag as the dictator version. But he is definitely away from the action and is very blase about what is happening above him at the end of the video. Perhaps he is a more evil ‘all-knowing’ character who tempts the dictator version of BAMBAM to do his dirty work? Aside from that, I really like the epicness of the city, the darker and creepy vibes channelling through the video, as well as the Hieronymus Bosch presentation style of the music video. Put all this together, and you get a cool music video.

I really like the performance. The verses and first part of the choruses really build intensity in the routine, similar to how the song does the exact same thing. But then, when it comes to the second part of the choruses, BAMBAM and his dancers release the pent-up energy to create a powerful waacking-like piece.

Song – 8.5/10
Music Video – 10/10
Performance – 9/10
Overall Rating – 9.1/10

[Review] Shhh! – VIVIZ

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It has been over a year since VIVIZ made their comeback with MANIAC. Since then, the trio embarked on and completed their first world tour V.hind: Love and Tears. At the start of the month, they returned with the single Shhh! and their 3rd mini-album VOYAGE.

Shhh! sees VIVIZ return with a more mature and edgy vibe. I like the idea of exploring this side of the group, but I wish the material was more engaging. Weeks after its release, the only memorable element of Shhh! is the pronunciation of “Boy Shhh!“, which is clever if it were intentional (I’m unsure if it was). The repetition also helped in this regard. Anyhow, I realize that the song has potential. But as the other elements don’t stand out independently or together, the biggest problem for Shhh! is that it is underbaked. The Latin influence on the instrumental is good and punchy at times. However, there is an apparent lack of it during the choruses. The front end of the choruses was incredibly plain and didn’t entice me enough to return to the song. More colour or flair could have done wonders for this part of the choruses. The concentration and added definition to the follow-through in the second and third runs of the choruses made these sections better and more engaging. My comment about the front end of the choruses being plain can also apply to the members’ vocals, the rapping and Shhh!‘s melodies.

My understanding of the song is that it speaks to their alluring side and how they use that to get the person they want. As such, the other person doesn’t need to waste time and speak – the members can get straight to the point (unlike me…). The music video comprises many solo and choreography shots, all of which look fine. I did like how the producers embraced more of that mature and edgy feeling of the song in the video. But as always, with music videos that only have solo and choreography shots, I would have liked to see more in this video. If right, my interpretation of the lyrics would have lent well to a plot where the members attract people to be with them, but there could be a consequence for anyone who falls for them (i.e., VIVIZ playing serial killers). Just an idea 🙂

The most defining aspect of the comeback is the body and booty shakes in the performance. They definitely take on that mature and edgy side of the song that I mentioned above. I liked how each section is different from the other body and booty shakes throughout the routine, keeping the performance fresh and exciting at all times.

Song – 7/10
Music Video – 7/10
Performance – 9/10
Overall Rating – 7.4/10

[Review] Like A Flower – IRENE (Red Velvet)

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Tuesday saw IRENE from Red Velvet make her solo debut with the mini-album and lead single of the same name, Like A Flower. This is her first release since Red Velvet’s Cosmic and Sweet Dreams, which were released earlier in the year. Fellow member WENDY also made her solo comeback earlier this year.

Like A Flower is another pleasant song. My use of the word ‘pleasant’ in reviews can either be a good or bad thing. But for the first time, I am unsure what side of the spectrum I fall on. Part of me really likes Like A Flower‘s pop-dance instrumental, which has an excellent rhythmic beat. The percussion was soft yet yielded an upbeatness that felt robust and dynamic. The piano melody that peeks through the backing makes it feel pretty and dreamy. There are also some textural vocal chops in the back of the latter parts of the chorus, which I also enjoyed particularly because they help cut the linear nature of the song. The rest of Like A Flower is where my liking of the song weakens. Mostly, the melodies came off as monotonous, and IRENE’s vocals ultimately felt bland. She does a decent job of making herself sound soft, but that comes at the cost of something riveting or captivating. The English lyrics in Like A Flower‘s chorus suffer a similar fate as ATEEZ’s Ice On My Teeth, though not as bad. Overall, Like A Flower is a decent debut track. However, it could have been more enticing.

The following is just my interpretation of the events in the music video. It starts with IRENE recording different sounds in life, including love. It is all shown in a bright and sunny environment, implying her hobby is innocent. I assume that doing this makes her want to experience her love, so she seeks out a guy she met once. She pleads to the internet to help her find the person, going to lengths of using a computer program to find the person and printing out a huge photo of him. But once she does, things turn a little sinister. The mood shifts from innocent to creepy as she chases after him. At one point, he looks up, and she is staring back down at him. This change in the video’s mood shines a different light on the van as she travels in at the start and stores her tapes. It is suspiciously spacious. Scary movie-loving me now thinks IRENE is a serial killer, and the tape recordings represent a victim, with the guy’s tape being titled ‘See The Sun’. I could be very wrong about the dark twist in the story, but that is what I got out of it.

I quite enjoyed the choreography for IRENE’s solo debut. It fully embraces the rhythmic beat I spoke about earlier, and the routine has a contemporary and elegant feel. There were some glitchy-like hand movements in the routine, which I thought was a standout detail.

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