Category: KPOP

[Review] Rains In Heaven – NCT DREAM

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Back in August, NCT DREAM released their first original English single, Rains In Heaven. This follows their Korean comeback earlier in the year with Smoothie and DREAM()SCAPE, and their Japanese Moonlight comeback (which I have yet to review and will do so in a future International Song Review post).

If you cast your mind back to before this release, NCT DREAM’s other non-Korean release (Best Friend Ever) was quite subdued. Rains In Heaven continues that subdued trend. Just like how I stated in Best Friend Ever‘s review, there is nothing wrong with the subdued sound and Rains In Heaven is another great example. Sure, it has not reached the same heights as their Korean non-subdued releases, but that doesn’t mean Rains In Heaven should be overlooked. Everything you hear in Rains In Heaven is just so heavenly and pleasant, which complements the song’s comforting and heartfelt message that empathises with those who are hurt or struggling, and being a support to those people. I am sure this song has touched many listener’s hearts – it did so for me. As for the other elements of Rains In Heaven – the atmopsheric and etheral instrumentation delves into 1980s pop, with the synths and beat coming from that era. There are some modern elements in the song, but these are very minute. The subdued nature allows NCT DREAM to explore melodic material, evident by the stunning all-vocal chorus that take the centre stage in Rains In Heaven. Both the harmonies and melodies captivate me each time I listen to the song. It still contains some rapping, which does contrast with the melodic and harmonies. But they strike a really good balance that doesn’t disrupt the energy of the song. The outro is a really good example of this, with the harmonies, melodies and rapping working together to close out the song in a very memorable and strong fashion. it is needless to say, but I really liked Rains In Heaven.

To me, it was still a good video, but there wasn’t a whole heap going on in the video to really comment on. We see the members wander around for majority of the video, but it isn’t clear if they are experiencing struggles of their own. The scene between JENO and JAEMIN does seem to depict that, but I am not sure of the scenes with the other four members. But what the video does convey strongly is the support for one another when they are together and not alone, which complements the song’s lyrics. From the second chorus onwards, choreography scenes are infused into the video and I like that mini wow factor it brings when we see them for the first time in the video.

While there has not been an official performance video for this release, a big portion of the music video is dedicated to the choreography. NCT DREAM has also performed Rains In Heaven as part of their current world tour in America. I like the range of smooth and softer movements, with the sharper and more intense movements in this choreography. By having this range of moves, the performance acknowledges both the emotive sides of the song and the relatively hefty beat of the track. But the best part of the entire routine has to be the outro, where they really go in hard.

Song – 9/10
Music Video – 7/10
Performance – 9/10
Overall Rating – 8.4/10

[Review] Pleasure Shop – KEY (SHINee)

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The other comeback at the start of the week was KEY’s solo comeback with Pleasure Shop, the title of both his latest lead single and mini-album. This is his first solo Korean release since Good & Great released a year ago.

Pleasure Shop starts off with atmospheric synths before it developing into a smooth and groovy house track. I quite enjoyed how seamless this transition sounded. The contrast between atmopsheric and house stands out and has some impact. From there, I really liked the glide the instrumental had. This is particularly emphasised during the choruses, where the melodies and smoothness of the instrumental complement each other nicely. On the topic of the choruses, the most memorable element of the Pleasure Shop‘s centrepiece were the opening line (i.e., the “It’s a, it’s the Pleasure Shop“). I wished the rest of the choruses followed through with a more memorable refrain throughout it. This could have taken Pleasure Shop to a new level, especially since the song retains the smooth and groovy house backing for a large part of the song which raises a potential issue of consistency. What we do get presently is fine, but just not there. Moving on from the choruses, I liked how everything felt a tad heavier in terms of instrumental and KEY’s faster delivery. It doesn’t change up Pleasure Shop a whole lot, but it makes the second verse punchier and cuts through the consistency of the song (resolving that concern mentioned earlier). It also gives KEY some oomph, which pays off. Overall, Pleasure Shop is a good solo track for KEY – it just needed a bit a more to the chorus.

I am not exactly sure is going on in this video. After doing some digging, I found this thread on Reddit, which has this comment (screenshot of the comment below – props to kreasburger!) that explains the video much better than I ever would. Aside from the messaging of the video, I liked the visual effects and post-production of the music video. KEY’s range of outfits is also quite a memorable element in the video. All of these other elements definitely makes for a cool video to watch, even if the story isn’t as intuitive as other videos out there.

As for the performance aspect of the comeback, I really like it. It looks fun and uncomplicated. The moves themselves feel very stylish, which matches the song quite well. The entire second verse portion of the choreography was definitely the highlight. That part definitely goes in hard, on par with how ‘heavy’ that sequence got in Pleasure Shop.

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

[Review] Electric Shock – KANG DANIEL

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It has not been a great week for me. But now that the work week is over, I am jumping back on board to review some new releases from this week. First is KANGDANIEL’s return with Electric Shock and his 5th mini-album ACT. This is the soloist’s first return since SOS mid-last year. It is also his first comeback since closing down KONNECT Entertainment and signing on with Artistic Round Alliance (ARA).

Even when not posting on the blog, I check out all the new releases. Electric Shock was no different when it officially dropped earlier in the week. My first impression was that Electric Shock just didn’t get anywhere. It has the quintessential KANGDANIEL sound, mainly because the track serves as a vessel for KANGDANIEL’s consistent and unfiltered vocals. Personally, I didn’t mind that. He does sound good throughout the song. However, it didn’t help that the rest of Electric Shock (from instrumental to hooks) was weak and lacked… well… electricity. The mid-tempo pop instrumentation was just too consistent from start to end, and this admittedly did drag down KANGDANIEL’s vocals. Sure, it was subdued and laid-back, but I think more oomph could have really boosted Electric Shock to better proportions. With such a title, you expect some spark to the song. But that was noticeably missing from the first pass of Electric Shock. I do detect a slight groove to the instrumental, but it was not enough to compensate for the rest of the song. The melodies and hooks were mildly memorable, but not the song relied on the stock standard hooks that we have heard time and time again. Similar to the instrumental, these also could have used some spark. Overall, Electric Shock comes off as a skippable track. Some of the side tracks on his mini-album definitely could have served better as the title track.

KANGDANIEL looks for something stimulating in the music video. He plays two characters in the video. The primary character is the nerdy and secluded KANGDANIEL, an assistant on the music video shoot. The secondary character is the cooler celebrity, KANG DANIEL, with whom is familiar. The nerdy and secluded KANGDANIEL has this electrical shock ability that makes him feel awkward and isolated from the rest of the world. As part of his job as an assistant, he gets to watch the cooler celebrity KANGDANIEL and wants to be like him. But as the video progresses, the nerdy and secluded KANGDANIEL has his moments that make cooler celebrity KANGDANIEL’s music video shoot more fun and exciting. Through this stimulating experience, he quickly learns that he is unique in his own way and doesn’t need to be cool to be comfortable with himself. As for celebrity KANGDANIEL, his music video looks more exciting, cooler and better.

There is something so clean and with ease about the heart shape KANGDANIEL makes with his hands that makes that part of the choreography stand out for me. As for the rest of the routine, some bounce to it also looks easy and effortless. But altogether, it seems complex and challenging to pull off. His charisma and charm also come through the performance.

Song – 6/10
Music Video – 8/10
Performance – 9/10
Overall Rating – 7.2/10

[Album Review] FOUREVER (8th Mini Album) – DAY6

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Back in March, DAY6 made their long-awaited comeback since April 2021 with Welcome To The Show. This single leads the band’s 8th mini-album, FOUREVER. It also marks the first album release since the departure of former member JAE. FOUREVER consists of seven songs in total, including Welcome To the Show (as mentioned above) and the more recent chart-topping hit HAPPY. The rest of the mini-album also deserves the same glory, becoming one of the highest-rated album releases on my blog for the year. I also highly recommend you check out the entire mini-album, as well. More recently, DAY6 returned with their 9th mini-album, Band Aid, led by the title track Melt Down.

FOUREVER Album Cover

1. Welcome To The Show – Click here for the full review for Welcome To The Show. (10/10)

2. HAPPY – HAPPY is a late bloomer, topping the charts almost 6 months after its release. Congratulations to the band!! HAPPY is a heavier rock track that has a bright melody. But don’t let the brightness fool you. DAY6 sings about their desire to be happy one day, implying that they are not in that current state. Despite not conveying the happiest message, I enjoyed how fulsome the vocals were, which I think is what is currently resonating with listeners. (9/10)

3. The Power of Love – Retro is the name of the game for The Power of Love. While the band has done retro before, it has been a while since we have heard something like this from them. So, it comes off as quite refreshing. Similarly, their vocals also add to that refreshing vibe. I can also see The Power of Love in a parallel universe becoming one of their earlier title tracks. (8/10)

4. Get The Hell Out (널 제외한 나의 뇌) – Get The Hell Out leans into a more punkish vibe, which I really liked. The powerful and energetic tone Get The Hell Out exudes also makes it memorable on this mini-album. The drumming was a highlight in the song (great job to DOWOON!), which I can’t help but foot tap along. I also liked the synthesizer keyboard in the background. SUNGJIN’s rougher texture suits the song so well, while the ‘Get The Hell Out’ refrain is also quite memorable. (9/10)

5. Sad Ending (나만 슬픈 엔딩) – Sad Ending gets my vote for best song on the mini-album. I loved how each member stood out in their own way in the song. The instrumentation for this track was super cool. Particular shout out to WONPIL on the keyboard in Sad Ending, which was very striking and bold. DOWOON on the drums also deserves a shout-out, as he goes into the track hard. YOUNG K and SUNGJIN’s guitar work and vocals round out Sad Ending, creating a track you should simply not skip. (10/10)

6. Let Me Love You (사랑하게 해주라) – When I listen to Let Me Love You, people like Celine Dion flash in my mind. I mean this as a compliment for DAY6. If they release songs that remind me of the Queen of Power ballads, then they are doing something right. While they don’t necessarily hit the wow factor with Let Me Love You, relative to other power ballads, DAY6’s “Let me give you all my love” opening line for the choruses is still quite emotive and heartfelt. The same can be said about the rest of their vocals and melodies in this rock ballad. (9/10)  

7. didn’t know (그게 너의 사랑인지 몰랐어) – Closing out the mini-album is didn’t know, a stunning modern rock track. Alongside the rock and band instrumentation are these beautiful strings that create a blissful and atmospheric combination that captivates. The vocals were superb and felt very emotional, which made complete sense since didn’t know is a song about the regret of not knowing the person you were interested in was also interested in you. This one, aesthetically, earns a 10/10 from me. (10/10)

Overall Album Rating – 9.3/10

[Album Review] DREAM()SCAPE (6th Mini Album) – NCT DREAM

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NCT DREAM’s DREAM()SCAPE is next up for review. Released in March 2024, the mini-album features a total of six songs, including the title track Smoothie. In the lead-up to this comeback, the group released videos that made up the ‘()Scape Film‘ series, which I highly recommend you check out if you have not already. The storytelling and acting of the members were very riveting. It was a solid start to this era of NCT DREAM’s careers. More recently, NCT DREAM made a comeback in Japan with a single titled Moonlight, and an English single titled Rains in Heaven. The group is also on a world tour associated with last year’s ISTJ studio album and DREAM()SCAPE.

Dream()scape Album Cover

1. Icantfeelanything – Icantfeelanything is quite an opener. Can’t say it is the best from the top of my mind, but it would definitely be up there. The track is quite euphoric, with the dreamy start and vocals throughout the track being the main driver. The abrupt EDM switch-up and the pulsing beats give off a psychedelic feel that makes Icantfeelanything so unique. The title is realized, regardless of either side of the song. (10/10)

2. Smoothie (Title Track) – Click here for the full review of Smoothie. (8/10)

3. BOX – BOX’s best part is its chorus. There is something about the members coming together in BOX during the chorus, which feels smooth and blissful. The “Don’t put me in a BOX” is quite memorable. I also like how dramatic the synths get during the central piece. The rest of this R&B dance track featured hip-hop geared rapping from the rap line and alluring vocals. HAECHAN, CHENLE, and RENJUN’s vocals in the bridge were also another highlight in BOX. The etchy synth loop was quite characteristic, as well. (8.5/10)

4. Carat Cake – The Jersey Club mix in Carat Cake’s background makes this track bold and intriguing. The beat hits hard. Some are subtle and soft, while others are short sharp jabs that artistically contrast Carat Cake‘s softness. All of this created an alluring atmosphere that I still find myself become so captivated by. I really like the mix of vocals and rapping in Carat Cake. Some vocals were airy, while others were heavier and more textural through autotune. RENJUN’s part at the 1:15 mark is one of the best in the track which I would be glad to replay. The rapping was slighter than usual, but still punchy. The whispering also gives Carat Cake a lot of character. (10/10)   

5. UNKNOWN – UNKNOWN takes the mini-album down a few notches with this chill R&B track. Again, the song features atmospheric synths in the background, and the trap percussion feels like sprinkles over the top of the synths. What makes UNKNOWN good are the vocals and rapping. The vocals are so delicate and soft throughout UNKNOWN, while the rapping contrasts with the rest of the song by going in hard. I just wished the melodies were a little more memorable. (9/10)

6. Breathing (숨) – The final track on the mini-album is Breathing. It is more of a heart-warming and beautiful track compared to the other tracks before it. The vocals were lovely, as are the melodies and harmonies that NCT DREAM showcases in the song. The instrumentation follows the same vein as the above tracks – atmospheric. But there is a soothing and comforting element to the Breathing that sets it apart from the rest. (8/10)

Overall Album Rating – 8.9/10

Dream()scape / Smoothie Teaser Image

[Review] NA – HWASA (MAMAMOO)

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We last saw HWASA a year ago through her I Love My Body comeback. Yesterday, HWASA made her solo comeback with her second mini-album, O, and the title track NA.

To me, NA takes a page from PSY’s, her current label’s founder, discography. NA‘s choruses have that nonsensical vibe that PSY’s music has. The electronic instrumentation of the chorus (and NA in general) also screams PSY. While it is a different dynamic for HWASA, this practically strips HWASA’s personality from the song. I get the desire to do something different and probably something more energetic than usual, but that shouldn’t come at the expense of the unique and individualistic charm that HWASA has. I am unsure if this was her decision or a company one, but either way, HWASA embraces the song and executes it with her signature raspy vocals. For the most part, she sing-talks her way through NA. It’s not exactly the most riveting delivery, but it works. She sounds best during the pre-choruses, giving us a taste of that vocal flair that the song calls for. The melodies here are striking and give NA some stylistic flair. Elsewhere in the song, when HWASA gets a chance to use her vocals (and less of that sing-talk or rapping motif), they come off incredibly plain. The same can be said about NA‘s hooks, which also fail to capture my attention. I wished this aspect of the song was more dynamic and robust. Even NA‘s outro failed to really spark.

The music video shows HWASA embracing herself and feeling uber confident as she takes in all the attention that is on her. Shooting the music video in Paris provides a lovely and rustic background, and where better to love oneself, but in the city of love. Her fashion throughout the video is on point. Noting above where the song reminded me a lot of PSY’s work, there was a similar yet subtle energy coming from the music video, particularly when it comes to the post-chorus sequences.

The choreography routine for this comeback comes off as fun. I like how it retains a bit of HWASA’s sexy style via those butt lift moves she does in the chorus. It is edgy and bound to spark chatter, something HWASA does not shy away from. The rest of the chorus routine was just as awesome. I liked the little leg lift HWASA and the dancers do. It seems out of place, but it just catches your eye in this routine.

Song – 7/10
Music Video – 8/10
Performance – 9/10
Overall Rating – 7.7/10

[Review] GGUM – YEONJUN (TXT)

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Earlier this month, it was confirmed that YEONJUN would make his solo debut with his first mixtape, GGUM. The mixtape consists of only one song with the same title. Meanwhile, TXT is currently in the midst of their third world tour, ACT: PROMISE.

GGUM will be polarising. At the onset, there is a lot within the track that I can see people being against—the song’s shortness, the chorus’s emptiness, and the lack of YEONJUN in a pure and raw form. GGUM is definitely more of a performance piece than a musical piece. Interestingly, I am part of the group that actually enjoyed GGUM. If you have been a long-time reader of my blog, you probably know I like dynamic tracks. If it has an adrenaline-rushing effect, I tend to enjoy it. GGUM has that effect on me. I put it down to a range of factors. The electronic instrumentation, which leans GGUM into hip-hop territory, doesn’t disappoint. It is full of vibrant and edgy energy. The striking piano that forms part of the choruses definitely makes an impression and I cannot stop playing that part of the song. GGUM‘s refrain is very catchy and has me coming back for more. The track also offers various vocal styles – from high-pitch autotuned vocals to YEONJUN’s lower and breathier tones to the grungier “GGUM chomp chomp“. There is a lot of variety in this two and a half minute length song. The only disappointing aspect of GGUM is that it doesn’t utilise all that we know YEONJUN has to offer. But it still has a fair bit to offer.

GGUM is about YEONJUN’s confidence on stage, and the music video shows that confidence. Spitting gum into other people’s hands, putting his feet on the desk, flipping the bird, taking over the microphone, spitting out water, and cursing into a walkie-talkie shows us YEONJUN’s aggressive confidence. His overly confident self puts people off him, but he continues doing what he does. I feel sorry for that host, who got the wrong end of the deal regarding YEONJUN. He pushes her out of the way to take over the microphone and is the first to be exposed to the bubble that YEONJUN blows from his gum.

Elsewhere in the video, he impressively executes the choreography. As mentioned earlier, GGUM lends itself well as a performance piece. The associated routine proves just that. These parts of the music video leave me super impressed. I look forward to the chorus parts of the routine, which screams out confidence (on par with the concept of his solo debut). Meanwhile, the entirety of the routine really shows us what he has to offer in this department. I mean, come on, he effortlessly pulls off that split during the second chorus.

Song – 8/10
Music Video – 8/10
Performance – 10/10
Overall Rating – 8.4/10 [Updated on 27 October 2024 due to calculation error]

[Album Review] [PHANTASY] Pt. 3 Love Letter (2nd Studio Album – Part 3) – THE BOYZ

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The second album to be reviewed tonight is THE BOYZ’s third and final part of their second studio album, PHANTASY. This part is titled Love Letter and features three songs (hence why I described it as a single album in my previous post), including the title track Nectar and December 2023’s Christmas single Dear. The length of this third part of their second studio album is disappointing, and I wish there was more to it. PHANTASY began with Pt. 1 Christmas in August (led by LIP GLOSS) and Pt. 2 Sixth Sense (led by WATCH IT).

[PHANTASY] Pt. 3 Love Letter Album Cover

1. Nectar (Title Track) – Click here for the full review for Nectar. (8.5/10)

2. Hurt Me Less (환상통) – THE BOYZ turns to pop-rock in Hurt Me Less. I quite like the striking nature of the first line of the song. It was quite memorable and rang in my mind after the song finished. Hurt Me Less also contains strong vocals and rapping from THE BOYZ. SNWOO’s rapping in the second verse just has so much oomph to it (seeing this part in the recent performances on their world tour re-confirms this). The entire bridge and final chorus montage are amazing, especially with the ad-libs and kick to the pop-rock instrumentation. A strong track overall. (9/10)

3. Dear – The ballad Dear was released in December last year, well before this part of the album. If you didn’t know this, I am sure the instrumental should be enough to indicate this. After all, the classical balladry instrumental carries the Christmas twinkling sound. I am sure THE BOYZ’s fans find Dear very soothing and emotional. Listening closely, the members sound very heartfelt. Their harmonies really make this song comforting and warming. (8/10)

Overall Album Rating – 8.5/10

Teaser image for [PHANTASY] Pt. 3 Love Letter / Nectar

[Album Review] Borderline (1st Single Album) – YooA (OH MY GIRL)

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Guess who forgot to schedule a post yesterday! Me! To make up for my forgetfulness (and tiredness) I will be posting two album reviews today. They are on the shorter side of the spectrum, given they are single albums. But I hope that would be sufficent to make up for not posting yesterday! First up is YooA’s solo comeback from earlier in the year with Borderline. It features 3 songs, including the title track Rooftop. Borderline is her first solo comeback since Selfish in November 2022.

Borderline Album Cover

1. Rooftop – Click here for the full review for Rooftop. (8/10)

2. Love Myself – Relistening to the single album for this review, I found myself getting lost in Love Myself. The groovy vibe and the chorus’s fast-paced nature are two reasons I got so into the song. YooA’s delivery throughout the song in both the vocals and rapping styles was very cool and chic. I particularly like the ‘Louder louder’ that launches us into the chorus. Talking about the chorus, it was catchy, and I loved the thrill it gives off. Love Myself is a solid side track from YooA! (10/10)

3. Shooting Star – Shooting Star is pleasantly fine. I don’t have much to say about the song besides noting that it is very consistent. Her vocals and instrumental were all similar throughout. I liked the cosmic effect the instrumental had, and YooA’s vocals were nice. But I would have liked something more to the Shooting Star to make it more engaging and appealing to the wider audience. (7/10)

Overall Album Rating – 8.3/10

Teaser Image for Borderline / Rooftop

[Review] POSE! – LIGHTSUM

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LIGHTSUM made their comeback at the start of August with POSE!. It is their first comeback since last year’s Honey or Spice.

POSE! goes for a subdued groove. It is nice and pleasant, but it isn’t striking, which LIGHTSUM really needs in its discography. Personally, LIGHTSUM’s comebacks come and go, and I have never remembered much from them. This track, unfortunately, comes and goes in the same manner. When I find it, I liked it. But when it finishes, and I have moved on to the next song, POSE! becomes a very distant memory. Anyhow, back to the actual song. In addition to its subdued grooviness, the melodies and hooks are playful yet soothing and have a lot of potential. These melodies also showcase the members’ vocal abilities. As a result, all the members sounded good throughout POSE!. There is an excellent house beat within the verses, which comes in hard. It was brief, but it was probably my favourite bit of POSE!. I wished there was more of this in POSE!. This would have given the song a bit of edge and further complexity. It also could have doubled up as an element to give POSE! its strikingness that I mentioned was not evident in the song at the start.

The entire video of POSE! was shot in a house. I understand the simplicity side of it (though it does look like CUBE Entertainment gave this comeback a tiny budget based on this video). The song itself doesn’t call for anything complicated. However, I wished there was a bit more than just the house. Maybe some good old choreography scenes would have worked fine as that additional element. As much as I find the standard closeup and choreography formula to be typical, it would have at least would have given the video a little more to mention. At least the colour scheme they had going on was muted, which suits the song’s subdued nature.

The choreography for the comeback is okay. It was not their best, but it was still pleasant to watch. I did wish there was a memorable key move in the routine to remember the performance by. This could have made the routine more appealing and pulled more of my attention towards the performance (which usually would help build up the song’s appeal for me).

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

[Review] Nutty Nutty – BAEKHO ft. JESSI

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Next up on the blog for review is BAEKHO and JESSI’s collaborative single Nutty Nutty. It was performed for the first time at the recent Waterbomb Festival in Yeosu, and BAEKHO officially released the single earlier this month as the third single from his ‘the [bæd] time’ Project.

BAEKHO and JESSI knew what music would excite the crowd at the Waterbomb Festival, and they delivered that unfiltered in Nutty Nutty. It has been an addictive song for me over the last few days, with the chorus playing in my head repeatedly. The track’s party anthem nature draws me in. The beat is super punchy, the energy is wild, and the intensity makes the track so thrilling. The heavy beat gives Nutty Nutty drive, while the EDM and flutey synths add a lot of flair to the song that bumps the excitement. The metallic and tinny percussion throughout the track adds texture and helps make the track feel fast-paced. The length of the track might be a problem if it were another song. Nutty Nutty is admittedly repetitive, though this is what makes the track memorable for me. Anything longer might not have worked out in Nutty Nutty‘s favour and appeal. Plus it is short and sweet for the concert format. BAEKHO performed solidly throughout the track, though I wished he was a little louder during the choruses. The instrumentation drowned him out in the first portion of the chorus. He fairs better in the second part of the choruses, where he is noticeably louder. JESSI was definitely the more prolific half of the pair and gave Nutty Nutty a lot of her personality. But I felt like this is expected of JESSI, who tends to have loud hip-hop tracks that really grabs your attention. Overall, Nutty Nutty is a short yet strong collaboration between the pair.

There isn’t a music video for this release. Instead, BAEKHO released a performance version (below) featuring GABEE and a live performance version filmed at the Waterbomb Festival in YEOSU (where he performed the song twice—once without JESSI and a second time with JESSI). The performance version below is fairly simple, with BAEKHO, GABEE and the dancers performing in a dark room with some lighting to give the set some dynamic flair. The camera angles capture BAEKHO and GABEE’s expressions and the performance that makes the video. The performance is sexy and punchy, depending on which point you are tuning in. It plays to BAEKHO’s strength and shows off his appeal, which has been on point throughout his entire Waterbomb Festival campaign. GABEE was very charismatic and bold throughout the routine.

Song – 9/10
Music Video/Performance – 8/10
Overall Rating – 8.6/10

[Review] Is This Love? – Moon Byul (MAMAMOO)

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In February, Moon Byul released her first studio album, Starlit of Muse, and the title track TOUCHIN&MOVIN. Last month, the MAMAMOO rapper made her solo comeback with a repackaged version of Starlit of Muse, renamed Starlit of Twinkle. Leading the repackaged album is the title track Is This Love?. And now that I have reviewed the new single, keep your eyes open for the upcoming album review of Starlit of Muse/Starlit of Twinkle.

Is This Love? is a fun and bright pop track. Moon Byul has previously released pop-centric songs before, and Is This Love? follows in the same vein. However, while my thoughts on the song are generally positive, I think Is This Love? does fall short in some regards as it doesn’t steal the throne from Moon Byul’s other pop tracks, such as C.I.T.T (Cheese In The Trap) or LUNATIC (I know I gave the latter an 8/10 in the song department, that can be bumped up to 9/10 upon reflection). My initial impression about the song always featured a passing thought about a slight plainness cloud of some sort is lingering around the song. The chorus is when the music is bubbly and exciting, where you expect it to be. I liked how punchy the central piece was, how the upbeat energy exuded made me smile, and Moon Byul’s vocals pierced through the synths and instrumentation. It was a catchy and well-constructed part of the song, but I think the material could have been more robust. Is This Love?‘s verses were plainer, but they did give the song some variety. Compared to the rest of the song, the pre-chorus does slow things down. But I liked how the song ramped back up to the exciting chorus from the slowed moments. The only thing that I think Is This Love? could have done more fulfilling was the shouty backing that leads into the final chorus. I know – a really super minor detail. But how they cut it off felt incomplete and left me hanging. I wished that wasn’t the case.

Is This Love?’s lyrics speak to the feeling of falling in love, but Moon Byul asks about it ‘for a friend’. With such lyrics, this sounds like quite a cute video. In the music video, we see Moon Byul ‘asking around for that friend’ in a public way – think of a news broadcast, music show, sports, drama, commercial, or home shopping channel. In any media on TV, Moon Byul asks the question about falling in love ‘for her friend’. Towards the end of the video, the public recognises her and chases after her; all the while, she still says it is a misunderstanding and that she isn’t the one asking. It is definitely a fun, eventful and colourful video to watch.

Now that I am watching the performance in detail for this review, I have realized that it has some similarities to TWS: plot twist, which dominated at the start of the year. The song definitely has that plot twist influence, as well, now that I think about it. Moon Byul’s stage adds a slight cutesiness and bubbliness to the routine, making it fun to watch. I wonder what story she is trying to tell on stage, given that she is basically flirting with a male and female dancer as part of the routine.

Song – 8/10
Music Video – 8.5/10
Performance – 8.5/10
Overall Rating – 8.3/10

[Review] LALALI – SEVENTEEN’s Hip Hop Team

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As part of SEVENTEEN’s compilation album, 17 is RIGHT HERE, which dropped in April of this year. The album consisted of the title track MAESTRO, 3 unit tracks (which I will finally start reviewing today) per the group’s hip-hop, performance, and vocal units, Korean versions of all their Japanese singles, and all their title tracks since their debut. The first unit track I will focus on is the Hip-Hop Team’s LALALI.

I will say it now – the Hip-Hop Team’s track is the best of the 3 unit tracks featured on 17 is RIGHT HERE. Maybe I am finally warming up to hip-hop tracks, as there have been some outstanding releases this year. But that might be a discussion for another day. Back to LALALI. I can’t remember if there has been a track from the Hip-Hop Team where each member exuded so much confidence, and their respective deliveries were packed with so much energy. Each member was super engaging in LALALI, and I find myself trying very hard to resist joining the team in a little impromptu concert wherever I am listening to LALALI. If I had to pick a particular unit member who really surprised me, it has to be WONWOO, who went super hard in the second verse. In addition to the members themselves, LALALI wouldn’t be as successful if it hadn’t been for the instrumentation. It was definitely super energetic and loud, but in a fun and dynamic way. The chorus was also super catchy and addictive. I found the more simmering-like sound to be an interesting centrepiece in LALALI. It was suspenseful and created some tension in its own way, but it also made the members stand out when they amped it right back by shouting the song’s title. Honestly, LALALI is a very smashing and memorable track in my books.

LALALI expresses the message that you can do anything you want. They depict this in the music video through the Hip-Hop Team being rebellious and carefree. The quartet breaks the rules and social norms and gets wild throughout the video. I loved how VERNON had the old senior ladies vibing with him, while WONWOO won an arm wrestling contest against a digger. MINGYU was butting into the game that the old men were playing (but earning praise for making the right move), while S.COUPS was busy not sweltering in the sauna with the other men. They are energetic and hyper when they are together, reflecting the energy of the song’s choruses super well.

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

[Review] Dangerous – BOYNEXTDOOR

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Earlier this week, we saw BOYNEXTDOOR return with their 3rd mini-album, 19.99, and the title track Nice Guy. But last week, BOYNEXTDOOR pre-released the single Dangerous. This review focuses on the pre-release single, which also got the music video treatment. As noted in Nice Guy‘s review, we last saw BOYNEXTDOOR through their Earth, Wind & Fire comeback earlier this year.

Right off the bat, I instantly get a sense of goofiness from Dangerous. This is re-confirmed when you read the lyrics, which speak to their rebellious phase, which they do not want their parents to know. Very relatable! The pre-release focuses on the hip-hop genre, a slight deviation from their regular work. But not an extreme deviation – after all, they are produced by ZICO, a well-known hip-hop artist in the KPOP industry. Since Dangerous‘ release, I have been nodding along to the song’s beat. The synths are a bit slinky, but they are backed up with some good bass that makes the beats more pronounced. The members delivered the song with a goofy and playful demeanour, giving Dangerous that personable and relatable feel I mentioned above. Their rapping was solid. However, they could have made Dangerous even more playful if there were a few serious melodies. Again, like most songs released this year, Dangerous is severely short. But I think this plays in BOYNEXTDOOR’s favour. Dangerous is not meant to be taken seriously in any way, and a short pre-release is a good vector for that. It keeps the song short and sweet without directing too much attention towards it, which may be perceived as very immature, which has implications for the artist.

The music video shows one of the members stealing their parents’ car keys (as they sleep) so they can go out and have some fun with the rest of the group at the karaoke. However, they lose the keys in a rubbish skip, leading to a frantic search to find them (otherwise, the poor guy has to return home and explain why the keys are missing). And the night wraps up with a welcomed breakfast featuring some meat. We see some memes in the video, and the members try on their parents’ belongings (which I am sure we all had a snoop around before). It is a fun video, and I like how straightforward and literal they interpreted the lyrics. I also like how the video ends with the parents none the wiser, allowing BOYNEXTDOOR to continue their rebellious phase the next night.

Despite being a pre-release, BOYNEXTDOOR hit the weekly music shows this past week to perform their pre-release single. The members ensure they show just how fun the routine is throughout the performance. I liked the ending the most, with their odd shuffle around the stage.

Song – 8/10
Music Video – 9/10
Performance – 8/10
Overall Rating – 8.3/10

[Review] Combo – RIIZE

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Making their comeback earlier this month was RIIZE, who returned with the repackaged version of their 1st mini-album. Titled Riizing: Epilogue, the new mini-album consists of all the songs from their Riizing mini-album (released back in June of this year), the latest single Combo (the focus of this review) and an orchestral version of Boom Boom Bass (to be released on 13 September 2024).

You only need to listen to Combo once to understand why it stands out among the many newly released KPOP songs. The vocal delivery in this track, particularly in the chorus, differentiates itself from the pack and makes Combo feel so prolific. Particular shoutout to SOHEE and WONBIN, whose hoarse and raspy vocals in Combo made the song memorable and attention-grabbing. Truthfully, it is rather unexpected and might be too much for some. But I appreciated the earthiness and grunginess the pair brought to the song. The rest of RIIZE did exceptionally well. I also really enjoyed the insertion of rap-speak or relatively softer vocals in the choruses, which brought forth some exciting depth and gave the rest of the members a chance to add to the already expressive choruses. As for the instrumentation, Combo takes on a grungy 90s punk-rock genre. The crunchy texture for the guitar work and the heavy drumming just sound so good and give Combo so much oomph, just like the vocals in the choruses. Together, you have a winning Combo. Pity that this isn’t being promoted (as far as I am aware) because they totally should!

According to Soompi, Combo‘s lyrics tell the story of an extraordinary love in which two different people turn each other’s worlds upside down but ultimately complete one another. In the music video, the idea of the lyrics is represented by the bond RIIZE shares. Alone, they are sad, lonely and bored. Together, they have fun, light up and are full of energy. What makes this comeback extra special is that Combo and this ‘special video’ (as it is called) was released on their 1st debut anniversary. And a story about their friendship and bond carries much meaning on such a day.

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

[Album Review] ENTITY (1st Mini Album) – CHA EUN WOO (ASTRO)

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Cast your mind back to February, when CHA EUN WOO made his solo debut with the mini-album ENTITY. The single STAY led the mini-album, which consisted of five songs in total (Six if you bought the physical version, but I only have access to the digital version). Today, I will finally put words to the page for the album review for ENTITY.

ENTITY Album Cover

1. U&I (너와 단둘이) – CHA EUN WOO eases us into his mini-album with the mellow U&I. It is quite a dreamy track with a jazzy influence coming through. CHA EUN WOO’s vocals are sweet and soothing, and the melodies have that sought-after swaying effect that I like. Altogether, it is a warm opening. (8/10)

2. Fu*king Great Time – The next song is a smooth R&B track, led by an electric guitar and some synth bass. Fu*king Great Time is definitely one of the bolder tracks on this mini-album for several reasons. One of them is the f-bombs that CHA EUN WOO drops so smoothly as part of the song delivery. It is definitely unexpected for CHA EUN WOO, who is well known for his boy-next-door charms in the KPOP industry. His deeper vocals are also highlighted so well in the song. F*cking Great Time is also the only track on the mini-album with a choreography routine. (9/10)

3. STAY (Title Track) – Click here for the review of STAY. (8/10)

4. WHERE AM I – Click here for the review for WHERE AM I. (10/10)

5. You’re The Best – The final track on the mini-album is You’re The Best, an indie folk ballad. The track is rather simple, with just an acoustic guitar at the helm of the background and CHA EUN WOO’s soft yet delicate vocals. Just like the first song, the swaying melodies are present in this song, and the lyrics of You’re The Best gives off warm vibes. This is also reflected in the music video below. (8/10)

Overall Album Rating – 8.6/10

ENTITY Teaser Image