Another single off Stray Kids’ ATE mini-album is the self-titled Stray Kids. It is the seventh track on the mini-album, which includes the title track, Chk Chk Boom, and other side tracks like MOUNTAINS and JJAM.
Stray Kids features a more nostalgic and sentimental tone, much different from the “noisy” side of Stray Kids that many people associate with the group. After all, Stray Kids‘ lyrics speak to their journey as a group thus far. I do like the pleasantness that the song brings to the mini-album. The chorus is easy on the ears (mainly thanks to the all-English lyrics, which makes it easy to follow) and features straightforward melodies that help convey the track’s nostalgic and emotive side. As usual, the rappers did a great job of showcasing the passion behind their delivery and tweaking their style to fit the pop ballad style Stray Kids was going for. What makes Stray Kids extra special is that the song features a few references to some of their old songs. These include lyric references from their old songs that are well-strung to create a cohesive set of lines that encapsulate that nostalgic feel. They include Hellevator, LALALALA, TOPLINE, Blueprint and Lonely St.. The second is that the song references their introduction – Step Out! The third, though I am less sure about this one, is that trap elements in the song are reminiscent of DOMINO, although softened for the direction of Stray Kids. Altogether, I am sure STAYs (Stray Kids’ fans) will find this track touching.
The music video continues referencing their past works, featuring footage from Hellevator, Lonely St., and You Can STAY. It also recreates scenes from the music videos of MIROH and BLUEPRINT or contains elements from their Hellevator and District 9 era. Identifying these references as the video progresses was definitely fun and, once again, nostalgic. We also get footage of the members sitting in a cinema, re-watching all of the above and, figuratively, their journey. But what gets me is seeing the members packed into the elevator, just like they were in their pre-debut era.
Song – 9/10 Music Video – 9/10 Overall Rating – 9/10
STAYC returned last week with the single album …I and the lead single GPT. This follows their previous comeback in July with their first studio album, Metamorphic, and its lead single Cheeky Icy Thang.
The first thing I noticed about GPT is how it strikes a balance between different STAYC eras. The melodic side of GPT reminds me of their BEAUTIFUL MONSTER era, yet the instrumental has the upbeat energy and tone that reminds me of their early days. GPT melds these two styles together to create a cute and positively pleasant track. I liked this combination and enjoyed how well STAYC executes it. The melodies and vocals were pretty, and they glided along quite nicely. The instrumental felt glittery and funky. I liked the whistling behind GPT’s leading hook. The “Baby I Love You, Da da da da” hook, whilst initially plain, has grown on me thanks to its earwormy potential. However, if I had a magic wand to improve GPT, a stronger chorus and an additional hook would have been sought after. While the chorus and main hook present in GPT are fine, the song would benefit from a more robust centrepiece and perhaps another memorable hook. This would have made GPT catchier and stand out more. There is plenty of room for it. But as is, GPT has the potential to grow on me further, and this is definitely a good sign for the new song.
I am unsure if this is the right interpretation of the video, but this is my guess. Essentially, the members find this futuristic machine that, if they interact with it, puts them into dreamland, where they experience unrequited love. This hypnotises the affected members, making them appear in what felt like a cult at one point. However, one member was hesitant to interact with the machine and used a key, which they all mysteriously had, to destroy it. This frees the other members, who all run away and enjoy the fresh air and outdoors. I liked the dreamy aesthetic they were aiming for, but a few more clues would have helped with the interpretation.
I liked how the choreography embraced the upbeatness by featuring several bouncy moves throughout the performance. I also liked the cutesy touch that the routine carried, which made it feel fitting for the performance. But there are two standout elements – the smooth arms over-the-head wave they do at the song’s leading hook and the slo-mo part of the bridge. The latter was quite remarkable!
Song – 8/10 Music Video – 8/10 Performance – 9/10 Overall Rating – 8.2/10
TXT returned at the start of the week with Over The Moon, the lead single from their 6th mini-album, The Star Chapter: Sanctuary. This is the group’s first release since April’s Deja Vu (which led their 5th mini-album, Minisode 3: TOMORROW, and July’s We’ll Never Change.
TXT takes us down a dreamy motif with Over The Moon. It is a good pop track with a decent beat. Several elements in the song are quite subtle, such as the slight oomph the chorus got through the paced electric guitar strum and the groovy bass guitar. However, they stand out in an otherwise simple and straightforward pop song like Over The Moon, though some more than others. The melodies are nice and pleasant throughout Over The Moon, as are the vocals that deliver them. But the song’s key and most memorable point is the “Over The Moon, Over The Star” falsetto. It is smooth and silky, which works well in a song as pleasant and dreamy as Over The Moon. But while Over The Moon is melodic, dreamy, and pleasant, the song doesn’t have much else to stand out in the sea of other KPOP songs out there at the moment. I do have concerns about how the song will linger in our minds past this week after their promotional cycle for Over The Moon is completed. It also doesn’t help that Over The Moon is how short and quick it is, which exacerbates my concern above.
The song expresses the exciting idea and prospect of love. Throughout the music video, we see the members getting ready in various ways, presumably to see their lover. YEONJUN is getting ready in the bathroom (hygiene is important), HEUNINGKAI exercises to look fit, and TAEHYUN prepares flowers for his lover. Beomgyu and Soobin were also doing other things in the music video, but I couldn’t exactly make out what or why they were doing what they were doing. I also like how the video shows how the rainy weather doesn’t dampen their spirits and emphasises their excitement for love. The dreamy colours were also a nice touch.
I like how smooth and upbeat the performance looked. This combination complements the dreamy nature of Over The Moon and the upbeatness of the song. It also made the song feel more substantial than it sounded. I enjoyed this routine and how it boosted the comeback’s appeal.
Song – 7.5/10 Music Video – 8/10 Performance – 9/10 Overall Rating – 8/10
Xdinary Heroes returned with their fifth mini-album, LIVE and FALL, just under a month ago. The lead single is Night Before The End. This comeback follows their Troubleshooting studio album (which I have yet to review—but it is coming!), which is led by the single Little Things.
Night Before The End is an emotional rock ballad. While it is good, it isn’t great, and there are a few reasons for this. While the group hits the nail with the rock ballad genre, I miss the energy and unique flair that Xdinary Heroes have provided with their other comeback singles. I acknowledge that it would be challenging to merge the two while keeping true to both styles. But I think Xdinary Heroes would have found a way to pull it off. As such, Night Before The End does feel a little typical for my liking. Xdinary Heroes did a great job of showcasing the emotions and heartbreak behind the lyrics. Listening to the song in passing, it is hard not to notice the heart-wrenching delivery and passionate emotions the members poured into it. However, hearing something more memorable from Night Before The End would have been nice. It doesn’t necessarily detract from my praise of their vocals, but I think Night Before The End would have spoken louder had it brought on a memorable melody or line. Overall, Night Before The End is good, but it needed something more and/or individualised to make it great.
This is my go at interpreting the video, which I think brings both the heartbreak behind the song and the mini-album’s concept to life. The music video depicts the members as butterflies, representing the mini-album’s ‘live’ concept. However, the video also shows the butterflies burning up as they fly up while the members fall to the ground (the ‘fall’ concept of the mini-album). As shown in the video, the fall also represents falling out of the idea of love, which is mentioned in the lyrics of Night Before The End. This depicts the current state of their relationships, hence the heartbreak and sullen expressions of the members throughout the video. I like the band moments, mainly for the fire, representing the passion and emotion they put out there in my mind. Seeing additional light in the dark music video was also lovely.
Song – 7.5/10 Music Video – 8/10 Overall Rating – 7.7/10
BABYMONSTER returned with their first studio album, DRIP, yesterday. The album is led by the title tracks CLIK CLAK and DRIP. In this post, I will review CLIK CLAK, and a review for DRIP will be published in the coming days. Previously, the group pre-released the single FOREVER in July of this year and is featured on the Drip studio album.
From the get-go, CLIK CLAK presents us with a hip-hop-influenced BABYMONSTER. This was an expected sound or era for a group associated with YG Entertainment. However, this is probably one of the weakest hip-hop tracks out there because CLIK CLAK was so bland for most of the song. The trap-based instrumental was stuck in neutral gear, and I felt drained while listening to the track. While this is just an instrumental problem, it does affect my perception of the members’ delivery. It is good to note that the members were prolific at times. But I wonder if that is because the instrumental was so bone-dry, anything would have come off as prolific. I did not find anything catchy or memorable about CLIK CLAK. It also doesn’t help that CLIK CLAK‘s lyrics are so tacky. As such, I found myself tuning out of the song. However, you get rewarded if you stick through the above and make it to the end. CLIK CLAK changes gears and converts the drain into a dynamic club track. I like this energy and shift, which is much appreciated after all the neutralness. I just wish we didn’t have to sit through the front end of CLIK CLAK to get there.
The music video fits the brief and makes BABYMONSTER appear edgy with its demeanour, outfits, styling, and black-and-white filter. But like the song, I found the video to be a bore. It could be the song affecting the viewing experience, but I don’t register anything in the video to be memorable in a good sense. Rather, two elements stuck out for me in the wrong way. CHIQUITA’s really baggy and long outfit and ASA’s sunnies. Just a no from me. But it could simply be because I don’t understand fashion.
Song – 5/10 Music Video – 5/10 Overall Rating – 5/10
Now, I skip back to the start of the week when THE BOYZ returned with their 9th mini-album, 導火線(TRIGGER). Their lead single also shares the same name. This is their first release since March’s Nectar, which was part of their PHANTASY studio album’s third and final part.
Over the last few weeks, I have delved into the world of theatric and epic instrumental music. This type of music helped me power through my long and tiring day. THE BOYZ’s TRIGGER has the same vibe as the theatric and epic instrumental music, and I can imagine it fitting in neatly into those playlists. TRIGGER’s EDM instrumental has bouncy elements that remind me of SuperM’s Jopping‘s instrumental. It also gives the verses a funkiness, an interesting and trendy dynamic in this otherwise dark dance track. The pre-choruses in TRIGGER switch the EDM for some classical instrumentation, changing gears to build momentum to the song’s choruses by slowing things down. It sounds counter-intuitive, but the producers and THE BOYZ handle it well. They used the short sequence well to simmer TRIGGER’s intensity in a concentrated manner to successfully bridge the EDM in the verses to the epic vibes in the chorus. The choruses double down more on the classical instrumental side, with some trap elements peeking through. This gives the instrumental excellent pompous energy but allows THE BOYZ to deliver their dance performance. I commend THE BOYZ’s delivery throughout the track. They matched the power and energy during each section of TRIGGER, ensuring the cool or epic vibes are carried through. SANGYEON and JACOB’s high notes were amazing. To be honest, vocally and rapping wise, I think this is THE BOYZ’s best effort. They really pulled out all the stops for this comeback.
The music video references the Greeky mythology of Prometheus, who stole a flame from the Gods to give humanity knowledge to develop their civilisation. However, humanity takes the fire and burns the world with it. This angers THE BOYZ, who disagree with humanity’s misuse of the flame. This triggers them, resulting in the events in TRIGGER’s music video. I am not sure if they are agents for the Gods or are humans who are looking to lead a rebellion against the rest of humanity for their misuse. However, I am leaning towards the former based on the imagery we saw towards the end of the video (the lightning might be a reference to Zeus, who was clearly not happy that the flame from the Gods was stolen by Prometheus. I also liked the addition of technology to the video, making it modern and futuristic.
The choreography for this comeback carries through that epicness I mentioned earlier. While there isn’t a standout move, I was in awe watching their performance last night on Music Bank. During the verses, the members show a chic and cool demeanour. As for the choruses, we get intense moves that give off angst and aggressive energy that THE BOYZ pulls off well.
Song – 9/10 Music Video – 9/10 Performance – 9/10 Overall Rating – 9/10
I am finally starting on the new releases for the week. But I am starting at the end of the week because KPOP royalty is back! G-DRAGON has officially returned to the music industry as a solo artist for the first time in seven years with the pre-release single POWER. We last heard solo music from G-DRAGON through Untitled, 2014from 2017. More recently, we heard from G-DRAGON through the release of the BIGBANG single, Still Life, two years ago.
It takes all but 10 seconds for G-DRAGON to launch himself right back into funky hip-hop territory in POWER with a catchy and repetitive refrain. And it took the same 10 seconds for me to feel the beat and nod along to the song’s chorus. I loved how POWER packs a punch and contains so much vigour, which makes logical sense since the song is about power. G-DRAGON’s delivery was very nostalgic and punchy at times, almost jabby. But it wasn’t annoying or obnoxious. Instead, I found it to be calculated and well-timed. But whilst the setup was good, and I liked how it maintained its upbeatness and energy through and through (though this does bring up one issue – more on that in a second), POWER is let down by a few things. Firstly, POWER‘s short length makes it feel like it ends too quickly. I keep wanting more by the time it ends, particularly since POWER does end abruptly. Secondly, POWER is admittedly relatively consistent. I wish G-DRAGON played around more throughout the song. Potentially, POWER could have used some edginess to bring out some additional nostalgia and give us a taste of what we and the KPOP industry have been missing over the last seven years. But even despite those flaws, a returning song like POWER does feel as if G-DRAGON was eager to return after such a long period away.
It is my understanding that the music video references G-DRAGON’s career, including his most recent comeback with his fellow BIGBANG members in Still Life. It has been a while since I have watched G-DRAGON’s music videos, so I cannot tell what elements in this video is a reference to which music video. But I am sure the super sleuths of KPOP have (or will) come up with a list. I quite liked the addition of the hooded figures nodding along to the music. Very cool yet also mysterious and ominous. There is a bit of a dance at the very of the video that works well with the song. It has just enough edge to suit G-DRAGON’s style, but also a little craziness that matches the song.
Song – 8/10 Music Video – 8/10 Overall Rating – 8/10
On the album review front, IVE is next up in the hot seat with their second mini album, IVE SWITCH, released in April 2024. Led by the singles HEYA and Accendio, this mini-album features six songs. IVE SWITCH is quite a strong release for the girl group and is a definite improvement from their last era (Baddie) and mini-album (I’VE MINE, which I never got around to reviewing). More thoughts on this particular mini-album down below!
2. Accendio(Title Track) – Accendio has grown immensely on me since I reviewed it. I have probably listened to the song more times than HEYA and have decided to bump the rating for Accendio to be on par with HEYA. Click here for the full review for Accendio. (9/10)
3. Blue Heart –To me, Blue Heart is the synth-centric cousin of the Accendio. There is something magical about the song, particularly in the charming chorus. The instrumental features fast-paced synth work, giving the song propulsion and a chic exterior. The vocals were nice, and something is captivating about the autotune over the spoken vocals in the choruses that just feels right in this song. The pre-choruses feel effortlessly blissful. There is a lot to like in Blue Heart, so it ranks high in this album. (9/10)
4. Ice Queen – As for Ice Queen, this is the more haunting relative of Accendio. It has all the maturity and mysteriousness that Accendio is characterised by. A difference is the hip-hop influence that the chorus features, which works well. On top of that, I enjoyed the bubbly synth work that adds that mysterious touch to the song and the “Woo Ah Woo” follow-ups in the song. If I wanted anything further, I think Ice Queen would have benefited from some sharpness. But another strong song from the group! (9/10)
5. Wow – Following on from the string of 9/10 songs, Wow does feel more standard than the rest. But that doesn’t mean Wow is not a good song. The pop song features extremely pleasant vocals and a textural chorus that I enjoyed. (8/10)
6. Reset – Reset confirms that this album had no bad songs. I really liked the use of Afrobeats in this track. I was lowkey having a mini dance whilst listening to the song and writing this part of the review. I enjoyed this subtle feel of the song, which makes Reset so good. The vocals were cute and the hooks were catchy. (9/10)
ILLIT is shaping up to be an interesting group. Their debut single,Magnetic, made them widely known in the industry earlier this year, so it comes as no surprise that their expectant comeback single would rival or even surpass their Magnetic beginnings. But Cherish (My Love) was released earlier this weekand has not been able to reach the same heights that Magnetic did. Only time will tell if it does. But for now, it doesn’t look hopeful for ILLIT.
Two things stand out in Cherish (My Love) for me. The first is the “Che-che-che-cherish” hook. It takes that repetitive refrain from their debut track and makes it relevant to the new song. It is simple and straightforward, and the members’ soft delivery of the hook is cute and easy on the ears. The second thing that stood out is… well… nothing else. Aside from the main hook I mentioned above, I don’t remember much else from Cherish (My Love), which speaks volumes to me. The imbalance between the hook and the rest of the song is quite prominent, and this distracted me the first time I listened to Cherish (My Love), and subsequent listens to the song. With Magnetic, the instrumental was buoyant and upbeat. In Cherish (My Love), the instrumental stagnates and doesn’t develop into much. Cherish (My Love) needed much more in the instrumental to make it more memorable. Whilst lovely, the rest of the members’ vocals just don’t have a memorable element to them. I can say the exact same thing about Cherish (My Love)‘s melodies. Unfortunately, Cherish (My Love) doesn’t do it for me. I much prefer Magnetic, which does pop into my head from time to time.
The Korean term for ‘wisdom tooth’ is quite similar to the Korean term for ‘love’. It is so similar that Koreans link love to when your wisdom teeth start to grow. As such, the members are obsessed with their teeth and wish for them to grow to experience love. That makes so much sense and gives context to the cute teeth-themed video. I am glad some people on the Internet have clarified what the music video is about. Otherwise, this part of the review would probably contain some comments on the weird obsession of the members’ teeth, and given the controversy between HYBE and MHJ, this probably would not have boded well for the group.
The performance of Cherish (My Love) is very charming, and I enjoyed it. I am not sure if the “Che-Che-Cherish” move would surpass the likes of Magnetic‘s key dance move, but I think it has the potential to do so!
Song – 7/10 Music Video – 8/10 Performance – 9/10 Overall Rating – 8.4/10
I jump from the start to the end of the week to cover JIN’s solo comeback. JIN is the first BTS member to complete his military enlistment. Soon after being discharged from the military, he is back on the music scene with a pre-release, I’ll Be There, for his upcoming solo album, Happy. This is JIN’s first solo release since The Astronaut in 2022.
I’ll Be There is a song with a hopeful and uplifting message for those alone. Combined with JIN’s vocals and the upbeat band instrumental, this pre-release will surely appeal to many people. While he isn’t BTS’ go-to vocalist, I liked the oomph JIN puts behind his vocals. It gives I’ll Be There so much body and robustness. I also thought the slight huskiness of his vocals worked exceptionally well in this song, establishing a personal and individual sound we don’t get from JIN in BTS releases. The melodies and hooks were catchy, helping keep I’ll Be There buoyant in several ways. As for the instrumental, I’ll Be There‘s pop-rock venture is cheerful and puts a smile on my face. I also observe that it is percussive-heavy, bringing upbeat and great energy. Usually, the guitar or keyboard work gets the limelight in these types of songs. But the percussion (via the drums) definitely speaks louder in I’ll Be There. That said, I’ll Be There could have used more guitar, particularly in the final chorus. We get a guitar showing briefly, but I would have loved to hear more. But overall, I’ll Be There is an excellent return for JIN.
I quite like the premise of the music video, where JIN brings people together with his music. After all, he is sending a message of strength to those alone. JIN also looks like he enjoyed performing in front of a growing audience, which makes sense, given he didn’t have much opportunity to do this over the last two years. Towards the end, JIN is shown to be alone, embracing that side of the message whilst he performs the song and giving those at the subject of I’ll Be There‘s message further representation in the video.
Song – 8/10 Music Video – 8/10 Overall Rating – 8/10
With each comeback, aespa is growing further in popularity. They completely smashed with the pre-release single for their last comeback, Supernova, and followed up similarly with Armageddon. Now, the group is back to do all that again and go even further with their fifth mini-album and title track of the same name, Whiplash.
There are two sides to Whiplash—the exciting and the mild. For me, the exciting side of the song comes through the instrumentation. The catwalk strut energy from the electropop instrumentation (very on-brand for the group) in Whiplash is very prominent and something I cannot get out of my head. There were opportunities for Whiplash to be sharper, but the heavy bass makes up for it. As for the mild side, that was because of the members’ delivery. However, I don’t blame aespa for that. The serious tone from that catwalk strutting energy identified as great earlier probably stifles the material the members could bring forth. It constricts their ability to Whiplash feel robust and dynamic. Instead, that type of energy takes more of a back seat – it is still there, but it isn’t the driving force of Whiplash. As such, I don’t find their spoken delivery of Whiplash‘s title and chorus compelling. However, I am not calling it bad. This delivery does have its moments, particularly since it gives Whiplash a sophisticated and elegant feel. When the members get a chance to deliver some melodic lines, these parts add to that sleek feel. But when you compare their delivery in Whiplash to their delivery in Supernova or even Drama from the end of last year, Whiplash feels a lot drier and more effort to get through.
I have to say that the YouTube algorithm has been really pushing Whiplash since it dropped. However, I am not upset by this, as this music video was a spectacle. The members looked like models, embracing that side of the song. The video had a futuristic vibe that I found very cool, particularly with the camera elements in the beginning and the outdoor scenes. The choreography shots were simple but shot in a manner through camera work and angles that felt unique and different from all other music videos. Even the simple and empty backgrounds and text flashes felt sophisticated and artistic. To top it all off, the editing made what felt like a simple video into a complex masterpiece. Whiplash‘s video is definitely one to watch.
aespa combines their usual performance style with some sexiness to capitalise the music’s catwalk strut energy. And I am all for it. But I think the performance lacks that key defining dance move that I could associate with Whiplash. Nothing screams out strongly enough to be that move, which is disappointing given all of aespa’s title tracks in the last 12 months had a defining move for their given eras.
Song – 7.5/10 Music Video – 10/10 Performance – 8/10 Overall Rating – 8.4/10
Another album review today (standard transmission of song reviews will resume tomorrow and into the weekend). This time, it is for DOYOUNG’s debut solo album, titled 청춘의 포말 or YOUTH. This was released in April and features 10 songs, including the title track Little Light. DOYOUNG is the 3rd member to have an official solo release in NCT, following TAEYONG and MARK.
YOUTH is a remarkable album that shows us a few styles of music, all intersecting with one another through DOYOUNG’s heavenly and stunning vocals. There are literally no bad songs on this album, making it one of the highest-ranked albums of the year thus far. A definite recommend to anyone who is looking for a new artist to delve into.
청춘의 포말 (YOUTH) Album Cover
1. Beginning (새봄의 노래) – Beginning (not an exact reference to the song) the album is a stunner. Beginning (the song) is a beautiful track that starts soft and delicate. As it progresses, it builds into a powerful track that captivates you. The piano is the song’s best part, with the recurring riff being so lovely. DOYOUNG vocals follow the same trajectory as the instrumental and add to that captivation, making it hard to skip this opening song. (10/10)
3. From Little Wave (나의 바다에게) – Rock infuses into the album through From Little Wave. From the start, I liked how DOYOUNG controlled From Little Wave, turning what arguably sounded like strong rock elements into a soft song with his vocals. However, as the song progresses, the rock takes over. But it doesn’t overwhelm DOYOUNG’s vocals, which remain the song’s focal point. Another great song with a strong trajectory. (9/10)
4. Time Machine(ft. TAEYEON (SNSD) & MARK (NCT)) – Of all the tracks on the album aside from the title track, there was a lot of anticipation of Time Machine. After all, it features DOYOUNG, TAEYEON and MARK – all big names from SM Entertainment. I love how dreamy the track was, with beautiful acoustics as part of its mid-tempo instrumentation. All three members sound amazing, but it was best at the end with their harmonies and DOYOUNG and TAEYEON’s ad-libs. (9/10)
5. Serenade (내가 됐으면 해) – Another dreamy vocal track from DOYOUNG. This one taps into R&B and has this jazzy vibe to it. I love how soothing his vocals are on this track at times and how warm the track sounds. However, this song is on more of the typical side than the others on the album. But it still liked how Serenade sounds nonetheless. (8/10)
6. Rewind (끝에서 다시) – Rewind is the type of ballad you must close your eyes to and just let DOYOUNG take you away. I don’t think there is any other plausible way to appreciate the song. The best way I can describe Rewind is using a painting analogy – the piano-only instrumental would serve as a blank and smooth canvas that makes paint easy. In contrast, DOYOUNG vocals (which were so raw and emotive) would serve as the brush strokes that make up the painting on the canvas. Rewind was truly a beautiful listen. (10/10)
7. Warmth (온기) – Ironically, I get chills listening to Warmth, from DOYOUNG’s vocals which are breathtaking in Warmth. He is a lot breathier in the song, making his vocals feel silky and smooth. I also enjoyed how his vocals build in the song. The classical instrumental is really beautiful itself. Another amazing ballad to earn a 10/10. (10/10)
8. Lost In California – Lost in California plays with dynamics, which makes it an interesting song. Lost In California goes almost grungy in the choruses, but the verses are much softer. The bridge takes a balladry turn. DOYOUNG perfected the transitions between each, ensuring the song stays cohesive despite each section being distinct. The launch between verse and chorus was impactful, while he tapers the end of the grungier choruses with a wispy, memorable tone. I also love how he delivers the “Dream in” and the “Leave here” in the outro. (10/10)
9. Rest (쉼표) – Rest is quite likeable thanks to its pop melodies and the overall energy exuded from the song. The band instrumental is quite refreshing and upbeat, while the electric guitars help give the song some zing. I find it a bit standard compared to the string of songs preceding it, but still a good listen. (8/10)
10. Dallas Love Field – Closing out YOUTH is Dallas Love Field, which delves into the pop rock subgenre. I liked how passionate and vibrant DOYOUNG’s vocals were throughout Dallas Love Field. At times, I thought DOYOUNG slipped into a dreamy demeanour, which was an intriguing direction for an upbeat pop-rock track like Dallas Love Field. I loved it when the backing vocals came into play, and DOYOUNG moved into ad-libs territory. I just wished he finished the song by easing out and not being abrupt as it was. But it’s a wonderful end to the album nonetheless. (9/10)
A couple of weeks ago, I finally reviewed the lead single (Is It Love?) off MOON BYUL’s repackaged version of her first studio album, Starlit of Muse, which was retitled to become Starlit of Twinkle. This makes way for an album review for MOON BYUL’s first studio album (which was led by TOUCHIN&MOVIN’) and its repackaged album. As it has been a very long time coming (I mean, the original album was released back in February this year), and there are many more albums to review, let’s get right to it!
Starlit of Muse Album CoverStarlit of Twinkle Album Cover
Starlit of Muse Tracks
1. Intro :WWUD (What Would You Do?) – The album starts with a heavy dose of hip-hop in this intro track. WWUD comprises a hefty beat, an abundance of synths, and MOON BYUL autotuned rapping. I can feel the cohesiveness and the statement being made in WWUD. But personally, this style of hip-hop isn’t my cup of tea. (6/10)
2. Think About(Pre-release Track) – For some reason, I always thought that Think About is a softer track of some kind. This makes no sense, given that I have heard the album before. Think About is a fun yet simple track with some great catchy hooks. I just love the pop vibe of the song, and MOON BYUL did a great job of showcasing that playful side of the song. (8/10)
4. Like a Fool – MOON BYUL taps into R&B for Like a Fool. She sounds very dreamy throughout the song. The instrumental is extremely paced and atmospheric. We also get a saxophone solo in the track that gives an elegant feel. However, I do feel like the song lacks in comparison to the other songs on the album. But overall, it’s a good track. (7/10)
5. Attention Seeker – MOON BYUL goes down the punk rock direction with Attention Seeker. The instrumental is quite bold and dynamic, which makes it stand out in the pack, which is the rest of the album. I found myself nodding along to the song (and, at times, when the track hits the right spots, head-banging along to the song) as it progressed. The energy MOON BYUL puts behind her delivery adds to that dynamism. An easy favourite on the album. (10/10)
6. NOLTO (feat. Hanhae) – The laidback hip-hop vibes come into play for NOLTO. MOON BYUL vocals are airy in this one. Alongside the instrumentation, both create some good rhythm also in this one. Hanhae (who used to be part of the Phantom hip-hop group) gives NOLTO a velvety note, particularly in the his second part. However, this style isn’t my cup of tea, so I haven’t returned to it much since its release. (7/10)
7. After Sunset (그런 밤) – Beginning the latter half of Starlit of Muse is the ballad After Sunset. MOON BYUL sounds heavenly in this song, and the melodies give the song that swaying effect I love in other ballads. On the instrumental front, I enjoyed how the piano in the verses was quite captivating and that some oomph came into it during the chorus. Another great song overall. (9/10)
8. TIMELINE – TIMELINE revisits a Latin influence that reminds me of MAMAMOO’s Egotistic. But it does so with moombahton beats and a much softer touch, an intriguing combination that sounds nice and elegant. While I have praised and spoken highly of MOON BYUL’s vocals in other songs, her high note in TIMELINE takes the cake. (9/10)
9. DARK ROMANCE – As the name alludes, DARK ROMANCE sees MOON BYUL go for darker energy, which does take me back to her solo debut days withEclipse. DARK ROMANCE is a dance track, with the instrumental tapping into that darker vibe. As the song progressed, I wished it was sharper in a few areas, from the beat to the synth work in the instrumental and even MOON BYUL herself. (8/10)
10. GOLD – GOLD brings a pop vibe and a smile. It is a pleasant track, with both instrumentation and vocals maintaining a mid-tempo pace. A much better track than the other GOLD track in KPOP out at the moment. I really liked the hefty beats that make the background sound quite atmospheric. (8/10)
11. Memories (feat. ONEWE) – MOON BYUL collaborates with her label mates ONEWE in Memories, and does so in spectacular style. She brought the vocals, while ONEWE brought the anime-style instrumentation and backing vocals. This anime style always brings forward propulsion that makes such influenced tracks exciting and appealing, and pairing it with MOON BYUL vocals was a great move. (9/10)
12. Without (겁이나) – The final song on the Starlit of Muse album is Without, another ballad. This one features the standard piano, drums, and strings-based instrumental, as well as stunning and emotional vocals from MOON BYUL. I especially like the touch of electric guitar at the end of the choruses, which adds something more to the ballad. (8/10)
Starlit of Twinkle Tracks
1. Backpack – Moving onto the Starlit of Twinkle tracks, first up is Backpack. It starts off as a mellow and soft track, but I liked how the chorus kicks Backpack up a notch in terms of instrumentation and vocals from MOON BYUL. It remains relatively mellow especially with the consistent guitar riffs, but it has some punch so the track isn’t just consistent through and through. (8/10)
3. Dear (어떤 하루에 어떤 시간 속에) – Dear is another ballad in this era of MOON BYUL’s career. The swaying effect of the melodies is profound and easy on the ears. Her vocals are delicate and heartfelt in Dear. The instrumental was a nice accompaniment but standard at best for ballads. But still, it’s a nice listen that makes Starlit of Twinkle quite consistent. (8/10)
4. TOUCHIN&MOVIN (English Version) – Refer to my review for TOUCHIN&MOVIN above.
Overall Starlit of Muse Album Rating – 8.2/10 Overall Starlit of Twinkle Album Rating – 8/10
Overall Album Rating (combined) – 8.1/10
Teaser image for Starlit of Muse & TOUCHIN&MOVIN’Tease image for Starlit of Twinkle & Is It Love?
In 2023, BLACKPINK renewed their contracts with YG Entertainment for group-based activities while taking their solo activities elsewhere. Over this year, the BLACKPINK members have been busy working on solo projects (including song releases). We have heard song releases from LISA and JENNIE, which I have not reviewed yet but will do so in the coming weeks—watch the blog for those reviews. But for now, ROSÉ’s collaboration with Bruno Mars, APT., sneaks in to be the first song I will review from the BLACKPINK members’ solo careers post YG Entertainment.
It should take you less than a listen to feel the fun nature behind APT.. A few signs will help you make this realization. The chant that begins the song and the super catchy and fun “Apteu, Apteu” are familiar drinking games in Korea and have been heard on many Korean variety shows. The chant features giggles from ROSÉ and friends (a clear indication of how fun it should be), and APT.‘s main refrain is addictively catchy. Even the energy that ROSÉ and Bruno Mars exude during the song is playful and whimsical, contributing to that fun sound. And since APT. dropped on Friday, I have been playing it repeatedly because it is so catchy. But while the exterior is entertaining, I also have good things to say about the music of APT. itself. I love the song’s simplicity, with the straightforward pop-punk instrumentation reminding me very much of Arvil Lavinge in the early ’00s. I have also come across people saying it reminds them of Hey Mickey (which is so true), another song from the early ’00s that brings further nostalgia. ROSÉ and Bruno Mars sound amazing when they aren’t repeating “Apteu, Apteu“; the pre-choruses are a testament to that. While a little cringy, I also enjoyed ROSÉ’s bridge in the song. Altogether, APT. is a fun song that is easy to get into but hard to forget.
The music video also contributes to the song’s fun nature. ROSÉ and Bruno Mars are having so much fun playing around and dancing with each other. I can see everyone else (me included) joining in with them to just let loose and have some fun after a long day. Simplicity is also an appealing factor in this video. ROSÉ and Bruno Mars donned black leather motorcyclist jackets and had fun in a pink room. Nothing complicated about this video, which helps make APT. more enjoyable and appealing. Even the visual effects added to the video don’t feel crazy and just channel the same energy that ROSÉ and Bruno Mars bring out in the video.
Song – 9/10 Music Video – 9/10 Overall Rating – 9/10
We haven’t heard CNBLUE’s name for a while. Their last comeback was in 2021 with Love Cut. Earlier this week, CNBLUE made their first comeback in 3 years with their 10th mini-album X and the title track, A Sleepless Night.
A Sleepless Night is a straightforward mid-tempo rock track, and I appreciate its purity. However, it falls short of three minutes, as with many songs in KPOP nowadays. Nothing wrong with this trend (though I did not expect CNBLUE to conform to it), but a recurring complaint I have made this year is that certain songs needed more to feel substantial. That isn’t the case with A SleeplessNight‘s length. The mid-tempo nature of the music keeps it paced, making it feel longer than it is. Vocally, YONGHWA sounds good. It is definitely nice to hear him (and the rest of the band on the instruments) after a long while. A definite trip down memory lane for me. But while the straightforward rock and nostalgic vocals help make A Sleepless Night appealing to me, I think it could have used something to be more defining of itself to attract more and new listeners to this incredible band. After all, it would be great to see them resurge with their classic hits like I’m A Loner, Love, Cinderella, and a personal favourite of mine, Between Us. An argument can definitely be made about A Sleepless Night sounding generic, and I potentially could have passed on A Sleepless Night if I had listened to it in passing without knowing who it was by.
Like the song, the music video for A Sleepless Night is also straightforward. For the most part, the members are trapped in a small room. This depicts the hold that the lingering memories and longing for their past love have on them. In the room is an unkept bed, which highlights their inability to sleep due to these feelings and longing (i.e., a sleepless night). There is probably more to the broken glass, but it expresses their frustration to me. When the group are together, they perform the song. I like the scenes where the trio is performing in a triangle formation, facing each other whilst the camera is spinning around them. It is simple, and the black-and-white filter carries through the video’s tone to the group scenes.
Song – 8/10 Music Video – 8/10 Overall Rating – 8/10
Way back in April, Solar from MAMAMOO made her solo comeback with her second mini-album, Colours, and the title track,But I. Ahead of that release, Solar gave us a snippet of Colors, the first song from the mini-album, as a teaser for the comeback. A performance video for Colors later dropped. Finally, after six months, I am reviewing Colors in the lead-up to the album review for Colours.
Colors is totally different from Solar’s title track. That is one of the things I admire about Colors. It sets out to be bold and delivers in significant style. But I tapped into balladry and rock (the former is what you expect from Solar, but the rock influence wasn’t too far of a reach), whereas Colors delved into the house genre. It is a new sound profile for Solar that admittedly took a few listens to grow on me. Even now, it isn’t the song I would actively search for to listen to, but I still appreciate it. Colors is a suitable track for the club setting with its heavy stomping beat. The instrumental is unapologetic in many regards, and Solar (the sole lyricist and composer of the song) ensures the song is kept that way. All of her vocals in Colors are delivered in a very spoken manner. Definitely an interesting choice for a main vocalist. However, amid the spoken delivery was a stretched-out squeal in the first chorus. It took a few listens for me to enjoy it (and the song in general), but it is one aspect of Colors that I now look forward to when I listen to the song. Overall, Colors shows us a different yet fun side of Solar.
For this review, the music video and performance aspect of the review will be merged together, given the only official video for Colors is a performance video. Described as the first KPOP release with voguing from start to end, I find the video embodies the song quite well. It is both bold and fun in many ways. A big part of the video is the ballroom house aspects (from the House of Love to the choreography), which I enjoyed. Solar did a fantastic job herself – it didn’t feel like a first attempt. I liked how the video was also full of colour via the outfits and club set but was not necessarily in-your-face about it. I liked this refinement; it didn’t make the whole release feel too noisy. I could see the video being just that, had there been too much colour or a dynamic light show (some of the reasons I find clubs too overwhelming).
Song – 8/10 Music Video/Performance – 8.5/10 Overall Rating – 8.2/10
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