IU made her comeback months ago in February. It began withLove Wins All, with a music video featuring both IU herself and V from BTS. A couple days prior to the formal release of her new mini-album came the music video for the single Holssi (the focus of this review). After that, IU released her 6th mini-album The Winning and the main title track Shopper. And a couple of days after the release and comeback, a music video for side track Shh… was also released. This final release will be reviewed in its own separate review in the near future. For now, here are my thoughts on Holssi.
Holssi never really stood out to me when it was first released. Coming back to the song for the purposes of this review, I can see why that was the case. Apart from some interesting vocals and rap-singing in the verses, which you have to really pay attention for in order to draw it out of Holssi as a takeaway, the track mostly felt empty and skippable to me. There was a constant drum ‘n’ bass presence in Holssi, which does bring on a slight groovy flair to the table. Some of it ended up reverting towards a more dramatic flair towards the end. But neither were enough to give Holssi bite, leaving the softer tones of Holssi to prevail. The rest of the instrumentation was atmospheric, which doesn’t do much to fill in the track. Similarly, the vocals work don’t give much of an anchor to the song. IU’s vocals are solid, as usual. But they just didn’t have a strong enough effect to hold my attention to the song. All of this ends up making Holssi feel wispy and feathery for the most part. Given the lyrics are about letting go and being free, contextually it made sense for the song to be this way. But the way the song was presented just didn’t help Holssi hold its ground, especially when listening to songs casually or in passing.
Just like the messaging behind the lyrics of Holssi, the music video sees other people following IU’s lead in letting go and be free. IU likens herself to dandelions in the lyrics, and she separates into thousands of dandelion pappus (yes, I searched up the exact wording) as she hit the ground at one point in the music video. We also see her perform with kids later in the video, which speaks to the ongoing freedom and lack of worries these kids feel. Finally, the video features a Looney Tunes like version of IU floating above the clouds. A giant Tweedy Bird also makes an appearance in the video, which might be due to the innocent child energy it widely known for, which is appropriate and relevant to the song’s underlying message. There is also a slight appearance of choreography in the music video, which looks fun and carefree.
Song – 6.5/10 Music Video – 8.5/10 Overall Rating – 7/10
Also returning yesterday was Jimin (from BTS). He is currently enlisted in the military, just like the rest of his group (except for JIN who recently finished his enlistment). But he joins fellow members Jung Kook, RM, j-hope and V who have released music whilst enlisted – a rare occurrence when dealing with military enlistments. Jimin’s new single, Who (an all-English track) is featured on his second studio album Muse. It follows on from the pre-release single Smeraldo Garden Marching Band (which I have yet to review), which was released at the end of last month.
Who could have been a great song. It was literally let down by one element. I will reveal what that was in a moment (though if you know me, you probably guess what it is). But let’s start off with the positive aspects of the song, which was literally everything else in Who. I really liked the instrumentation behind the track. The guitar brought great rhythm to the song, and the bouncy beat kept Who dynamic. The keyboard in the bridge was also a nice touch, providing a logical delicate moment as Jimin sings about his desire for a lover whom he has yet to meet. This instrumental combination (with the song’s melodies) reminded me of songs from the early 00s, such as those by Justin Timberlake. The synths gave Who a fair bit of texture. I particularly really like that descending flute-like synth that occurs during the chorus. The melodies had a nice flow to them and I liked the way Jimin’s vocals purposely pierce through the threshold. This allows him to keep his vocals upfront in both the song and our minds. Unfortunately, this is also where Who stumbles. Having Jimin’s upfront is not the issue here, but rather the excessive vocal processing that Jimin’s vocals go through. And since it was upfront, this places autotune at the very front of my mind. Instead, it brings very little substance to the song, felt particularly scratchy (especially when Jimin’s vocals go into those high notes) and undid some of the greatness that the instrumentation, the melodies and Jimin himself had put into the song. Had there been less autotune and more raw vocals, I think Who would have really hit it home and become a much bigger hit in my books.
I like the casual and urban vibes for the music video. The newspaper that we fly across the screen at the start of the video hints at the video’s concept of a Tornado of Love, which isn’t realized until towards the end of the video. Jimin is dressed very coolly as he dances and walks on the street, presumably looking for his love as expressed in the lyrics. I like how each female dancer is introduced into the video, matching with the lyrics “So many people to see“. I liked how the home video aesthetic comes through throughout the video video, also matching the era in which the song draws its main influence from. Finally, the Tornado of Love that appears at the end gives the video some explosive flair to end off the video and highlights his powerful desire to meet his lover. Altogether, I thought this was a great music video.
Unfortunately, with Jimin in the military, it is very unlikely we will be able to see a live performance for this release in the near future. I am quite disappointed by that, as what we do see in the music video definitely looks worthwhile to watch on stage. I commend his strong demonstration of his performance skills throughout his routine, with his moves looking very clean and smooth. We all know that he is a very capable dancer, but I liked how it was all showcased in this routine. I particularly like the chemistry he has with the dancers, which made the routine look very complete and satisfying to watch.
Song – 7.5/10 Music Video – 9/10 Performance – 9/10 Overall Rating – 7.8/10
Following the announcement that Stray Kids will be sticking around for a little while longer (Stray Kids renewed their contracts with JYP Entertainment earlier this week), they have made their long awaited return with their latest mini-album, ATE, and the lead single Chk Chk Boom. This comeback follows the release of ROCK-STAR (lead by LALALALA) and their first English single Lose My Breath with Charlie Puth. Into the future, the group will be embarking on their third world tour and featuring in the soundtrack for the latest Deadpool movie.
Going back and forth over the song, my main critique about Chk Chk Boom is around the song’s imbalance in some areas. The autotune in Chk Chk Boom felt heavy-handed and excessive. I wish this was toned down in the studio version of the song. The live performance does tone this down to make way for their actual vocals, and it makes Chk Chk Boom sound so much better. On the flip side, the vocals sequences in the verses failed to stand out. Listening back, they lacked intensity that the title promises, and I wished that was turned up. I felt the chorus warranted similar comments, but with a more explosive effect. Additional listens has helped warm me up to the chorus and made it sound more explosive, but I felt the members could have turned up their delivery to give the centrepiece more oomph and reflect the Chk Chk Boom‘s title better. But there were some definite strong elements in Chk Chk Boom. I do like the groovy undertones in the instrumentation, especially during the chorus and in the chanty end of the song (which is actually my favourite part of Chk Chk Boom). It came through prominently during these sections and fits in with the current trends whilst also maintaining Stray Kids’ signature synth-heavy dance sound. CHANGBIN and JISUNG’s rapping was definitely intriguing and different from how they usually present themselves in the title tracks, but in a good way. They are my pick for the standout members in Chk Chk Boom. The inclusion of Spanish in the lyrics made the song interesting, though some refinement in their delivery (i.e., less slurring) would have made this stand out stronger. Overall, Chk Chk Boom is a great track, with certain parts needing some tweaks to be even better.
Unexpected cameos from Ryan Reynolds (as himself and Deadpool) and Hugh Jackman (as Wolverine) are definite highlights to the music video. Not sure if anyone saw this coming, but this definitely showcases Stray Kids’ reach worldwide. I do think a fair amount of the budget was spent on getting both of these famous actors in the music video, as the visual effects in the video did not feel as bold and memorable as in past music videos. We still get some, but they just do not amaze me as much. That being said, Stray Kids hold the ground with their charismatic and intense looks and choreography, which do make up for lesser presence and prominence of visual effects. I did like the comedic flair that the cameos brought, as well as the Deadpool-like theme the music video had.
I was excited for the choreography from when the music video teasers were released. While the song could have used more intensity and explosive energy, the members make it all up in execution on the stage. I have already mentioned their live vocals in the song section of the review. Now, it is time to shout out the members’ kicks, jerky and synchronised execution of the choreography routine, which just had so much of that intensity and explosive built into it. I really like the chorus routine, in particular.
Song – 7.5/10 Music Video – 8/10 Performance – 9/10 Overall Rating – 8/10
TWICE’s 13th mini-album, With YOU-th, is the next album to be reviewed on my blog. Not to cause any alarm, I am pushing ahead with writing album reviews for those albums where I have already reviewed all the tracks that have a music video (or decide not to review those tracks with music videos separately as planned) to hopefully reduce the backlog of albums that I need to review. I will return to reviewing other albums that I skip once I have review the additional tracks that got music videos (such as IU and CHA EUN WOO’s respectively mini-albums). For With YOU-th, I have already reviewed TWICE’s pre-release single I GOT YOU and the title track ONE SPARK previously. That leaves me with four additional songs to touch on in this post.
3. RUSH – TWICE ventures into drum ‘n’ bass territory with RUSH. Personally, I didn’t care much for the song when I listened to the album in passing when it was first release. But when I really pay attention to RUSH for the purposes of this review, I notice the best aspects of the song are actually the most subtle details. The combination of the drum ‘n’ bass and the harp gives RUSH its greatest asset – flow. The vocals match up with the lightness by adopting a dreamy motif. And this dreamy motif contrasts with the little details and synth work in the background, where the latter also gave RUSH some much appreciated texture. (8/10)
4. NEW NEW – Maybe it is because I am reviewing NEW NEW during an influx of summery tracks, but NEW NEW feels quite suitable for the summery season. It has that dynamism that I associate with this season. The instrumental feels suitable for the club, especially if it is on blast. I like the vibrancy the members bring to NEW NEW and the melodic hook in the chorus was very catchy. The verses could be stronger and perhaps the beat could have been slowed down as we reach the end to not have it feel as rushed and abrupt as it were. (8.5/10)
5. BLOOM – BLOOM is my pick for most impressive track on this album. I really liked the textural instrumental that features in the song’s background. I did wish they played with the funky guitar a bit more, but I did like what its presence did to the background (i.e., provide an intriguing element that keeps me interested). The vocal work in BLOOM was amazing. The vocals during the verses held their ground at a more normal level quite well. But it was the use of the higher register yet slightly harsh vocals from NAYEON and JIHYO in the chorus that was very striking and helped make BLOOM stand out. (9/10)
6. YOU GET ME – TWICE ends the mini-album with the beautiful YOU GET ME. Despite it being more EDM based instrumentally, I still found YOU GET ME to be very pleasant to listen to. The twinkling synth work that features predominately in the background feels very much like a twinkling night sky to me. The clear and crisp vocals, which bring a heartfelt touch to the song, alongside the clean melody helped make the track feel beautiful. Definitely a stunning way to end the album. (9/10)
Back in February of this year, LE SSERAFIM made their comeback with the single EASY and mini-album of the same name. As part of the same mini-album is the side track titled Smart, which was re-released as a follow-up single a couple week after the primary release. Today, I will finally get around to reviewing the likes of Smart, which emerged as a very popular side track and another hit song for the group.
The chorus of Smart is probably one of the most recognisable elements in KPOP this year, for me at least. It is actually even more recognisable than LE SSERAFIM’s main song from the mini-album! But beyond from the chorus, I don’t remember that much from Smart. Listening back, I think I know why. To help articulate my thoughts, I pull out my linear line analogy that I have used in previously to describe these type of songs. If you travel along the linear line only, everything is relatively flat. If a song keeps to the same all throughout (just like the linear line), it too can be quite uneventful. And that is what I perceive to be the case in Smart. Smart was very consistent throughout and didn’t have enough variety to make it memorable. Smart‘s instrumentation has been described as an Afropop-inspired Amapiano sound. I think there is also a slight tropical vibe from it. While the beat and rhythm was good, the background was also quite light and didn’t have an anchor of some kind for me to grab onto. Similarly, the vocal work from LE SSERAFIM was pleasant and the melodies do have a ring to them. But there wasn’t much difference from how the song started and all throughout to the end. Also, I couldn’t tell the members apart. There were touches of autotune in Smart, but they weren’t used in a manner that really brought attention to the song. Overall, Smart does have a slight edge over EASY, thanks to its catchy chorus and melodies. But the rest of the song becomes lost, for the reasons I have described above.
For a light and simple track like Smart, a corresponding simple music video is justified. For the music video, we see LE SSERAFIM perform in a singular warehouse, with different pieces of tapestries of art hung up and lighting used to highlight the art pieces. The lighting also gives the music video some life and colour. In some parts of the music video, dancers dressed as students (or are they students that are dancers) feature in the background. They do not do much at first, but they help full the space towards the end of the video by also dancing to the song alongside the LE SSERAFIM members. Altogether, it feels very artistic and looks very sophisticated at the same time.
For both EASY and Smart, the choreographies stand out the most in their respective releases (relative to the music video and song itself). I actually can’t tell which I like more, nor do I have much else to say about Smart‘s performance that I didn’t say for EASY‘s performance. So here is a quote from the former’s review that I think applies here: “… the choreography is light and rather smooth, while also striking a balance to keep up with the rhythm and beat of the song.”
Song – 7/10 Music Video – 8/10 Performance – 9/10 Overall Rating – 7.7/10
NCT 127 returned with their new single and 6th studio album, both titled Walk, yesterday. This is their first comeback following their Fact Check single and their 5th studio album of the same name from last year. The group Leader TAEYONG will not be participating in the comeback promotions for Walk as he is carrying out his military enlistment.
NCT 127 taps into the groovy side of early ’00 hip-hop with Walk. To me, NCT 127 executed this style very coolly. This allows them to stand out instantly from the other currently trending releases and highlights NCT 127’s versatility. One of the most strongest aspects of Walk is its production. It felt very clean and crisp. I really liked the bouncy beat of the song, which is synonymous to the ’00 hip-hop style. I also liked the accents and detailing in Walk‘s instrumental, particularly the emphasised beats in the choruses. They gave off a slight dramatic effect to the song and added a little something different to Walk to keep it from being overly consistent. The instrumental break brings the 90’s disc scratching effect into play, in combination with the pre-existing instrumentation, and this was a very cool change up. I was actually wishing for something dynamic in Walk, and they gave me just that with this segment. In terms of the delivery, this is was definitely another strength of Walk. I really liked the vibe NCT 127 exuded with their lower and deeper rapping. It definitely fits in with the style of music in Walk. The vocals were very clean and the high note ad-libs contrasts with the lower/deeper tones well. Following the instrumental break, I really liked how the vocals had a little more oomph to it. I personally would have liked a little less repetition in Walk, just to further promote a more dynamic flair in the song. A touch more could have really transformed the song for me. But in its current form, Walk is already a top-notch song.
The music video shows the member showing off their foot wear as they sing about walking their own path in life. Very fitting. They also show off their passion, burning the rubber on the soles of their feet as they walk and run down their path. It does appear that TAEIL is still unable to participate in the choreography for this comeback as he is notably absent from the music video’s choreography scenes. But I did like how they managed to still incorporate him into the music video aside from his standalone solo shots. For example, they kept TAEIL in the car as the driver and showed the choreography shot from the driver seat window. In later scenes when he crashes the car into the restaurant, you can see him vibing in the driver seat as the other members dance. I also commend their casual and urban style they had going on in the video. Again, looks very cool.
From what I can see in the music video, the choreography looks to be as cool as the song and the group’s style in the music video. It embodies the hip-hop genre, bouncy beats and low registers of the song quite well. When the song speeds up for the instrumental, the corresponding dance break definitely hastens up and gives the routine some complexity. The footwork is a constant feature in the routine, and I am most excited to see that in the stage performances.
Song – 9/10 Music Video – 8/10 Performance – 9/10 Overall Rating – 8.7/10
Way back at the start of this year, HUI (the leader of PENTAGON) made his official solo debut after debuting almost 8 years ago as part of PENTAGON. His solo debut consisted of the mini-album titled Whu Is Me: Complex (I can confirm there is an album review coming) and the title track Hmm BOP. My review on Hmm BOP is definitely overdue. The latter was recently named as the best KPOP song of 2024 so far by Billboard. HUI has also been active in the KPOP industry since debuting as a successful music producer (with works such as WANNA ONE’s Energetic and PENTAGON’s hits like Shine and Daisy to his name), and more recently as a trainee on Boys Planet (where he finished 13th).
The song has been out for almost 6 months now and I don’t have a reason as to why I have been putting off reviewing Hmm BOP. I just have. Listening to it today for this review, the song remains just as funky and groovy as I have perceived it back in January. Funky and groovy always translates to fun in my mind, which is undoubtedly hard to deny isn’t the case with Hmm BOP. The beat has foot-tapping energy and the brass just hits right in this retro inspired number. The electric guitar that features in the background blends in effortlessly and gives the track some much needed grit, keeping Hmm BOP from going overboard and feeling unbalanced. As for HUI himself, I still enjoy his expressive, dynamic and exciting delivery in Hmm BOP. His ad-libs throughout the earlier parts of the song were very impressive, but he definitely peaked towards the end when Hmm BOP goes down a chanty anthemic direction. He really shows off his vocal abilities with these ad-libs and it was all captivating to listen to. That chanty line “jiphap the jip to hap the jipjiphap we don’t stop“, which means “Assemble, The A-S-S-E-M To B-L-E The a-assemble, We don’t stop“, is super catchy and an addictive hook. So was the “Hmm BOP” that HUI repeats throughout the song.Altogether, I can see why people have raved about Hmm BOP. And if my praise of the song is saying something, I am most likely there with them.
It would be a complete injustice if the music video did not channel the fun of the song. Good thing that there is no sign of bad news for this release. The whole video is full of fun and colour. No matter what he is doing (ordering a burger in a diner, being the centrepiece at a formal dinner, singing on stage, playing an off-brand Grudge, participating in an aerobics video, controlling puppets, walking on the moon or just having a party), he is bringing the fun to everyone. As it was fun, HUI managed to get away with a few things that I didn’t like – such as the shiny fake tooth, that beanie etc. I mean, the video is intended not to be taken as seriously.
The choreography also promotes that fun, expressive and dynamic side of the song. I actually think it does so in a much better way than the music video does. HUI and his dancer’s expressions were very engaging. The moves were also of the similar nature and I liked the energy that both HUI and the dancers put behind them. I couldn’t remember how many abs reveal he does in the choreography, but rewatching the performance I am glad he didn’t over do it. Too much of them would have raised some questions and lessen the rating of the performance for me. Glad that wasn’t the case. However, I will definitely say that they look great and probably took a lot of work to get it to look like that for this release (which I will applaud him for).
Song – 10/10 Music Video – 8/10 Performance – 10/10 Overall Rating – 9.4/10
ENHYPEN is another group to return this week with their second studio album ROMANCE : UNTOLD and the lead single XO (Only If You Say Yes). Throughout the rest of this review, I will be referring to the song as just XO for simplicity reasons. This release follows from ENHYPEN’s ORANGE BLOOD mini-album (lead by Sweet Venom) and a special mini-album titled Memorabilia (lead by the single Fatal Trouble for their Dark Moon: The Blood Altar webtoon). The group has also been busy embarking on their second world tour, which started back mid-last year and will continue to September of this year.
Despite being just dropped a day ago, I can feel the definite potential behind ENHYPEN’s latest song, XO. It is probably one of their most mellow and fluid title tracks yet. The best part of XO for me is its catchy hook – the “XO, Kiss Me, Don’t Say No“. It is repeated a number of times throughout the track and is delivered in two ways – a smoother and fluid delivery and the slightly bolder version with the vocal chop that feels elongated and prolific. The latter definitely sticks around in my mind after the song wraps up, and this pulls me back to the song (though I am not sure how this will play out with further listens and the fast pace nature of the current KPOP industry – more on this in a bit). The rest of XO does fairly well. There was a decent beat and rhythm that contributes to the flow of XO, with the overall groovy and R&B instrumental feeling very pleasant. There was just enough bounce and charm to the backing of XO to make it feel suitable for the current upbeat and dynamic season. The members sound nice all throughout XO, but I would prefer less autotune during the verses, so that the members do sound clearer. Stronger melodies during the verses would also make them more memorable, with the chorus stealing the limelight from majority of the song. The one other thing I worry about XO is how long the song will stick in my own and the audience’s mind. Despite the song’s catchy hook, XO doesn’t make much else to serve as an anchor, which is a recurring problem for ‘pleasant’ songs. This is particularly true for a song like XO, which I have also described as mellow and fluid earlier on in this section. Sure, the hooks will get XO some repeat listens. But over time as catchier and grabbier songs come out, XO can become lost in the pack. For the time being, I do like XO and will continue to enjoy as much as I can before something better inevitably does come out.
XO’s lyrics tell us of a story of a boy that is willing to do anything for the one he loves. But the story in the music video that accompanies the new release speaks to a slightly different story, according to viewers in the YouTube section. The members play characters who are willing to do anything for the one they love. However, when SUNGHOON mouths “I Like You” to his lover, the world stops and it is presumed that his lover did not hear his love confession (hence why the album is titled ROMANCE : UNTOLD). Similarly, JUNGWON imagines the walk he has with his lover, snapping back to when he was with the rest of ENHYPEN at the start of the video. As for the other members (i.e., JAKE, HEESEUNG and NIKI’s), there are a lot of looks of fondness but no confession, which probably meant their romance remains untold. And for the members were there was some sort of confession (i.e., JAY and SUNOO’s), these scenes might also be imagined like JUNGWON’s. I am not entirely sure what the darker scenes of the video represents. Though it might be a connection to the cool concept trailer that was released a few weeks back where the members were vampires being hunted by the authorities, but they took a risk to return to save the one person who got them. This video in itself also represents that idea of someone willing to do anything for the person they love.
The choreography for this comeback was good. Once again (and it might because of my mood this week) but I personally did not see anything that really stood out to me. But there was a lot to like. The X and O’s moves made sense. I also vividly remember the charismatic (and cuter, depending on the member in question) smiles on ENHYPEN’s faces. These felt fitting for this comeback and resulted in some of the same energy being transferred to the audience. I also liked the various outfits that they donned on stage and during the choreography shots in the music video. The casual one was the best, as it complemented the lightheartedness of the song.
Song – 8/10 Music Video – 8/10 Performance – 8/10 Overall Rating – 8/10
Making their comeback just yesterday was Dreamcatcher, with their 10th mini-album titled Virtuous and the lead single JUSTICE. This new release follows on from their 9th mini-album VillainS and the single OOTD, which was released back in November last year.
My final comments in the song section of my OOTD review was that it lacked the spark that makes it feel like a Dreamcatcher song. The first thing that came to my mind when I listened to JUSTICE yesterday was that they regained that missing spark. When you compare the two songs side by side, the main difference (for me, at least) is a powerful force. And JUSTICE is indeed a powerful track. Like all Dreamcatcher title tracks, JUSTICE definitely finds its roots in the rock genre. But the producers do a little more to the edges of the song to make it feel unique, and not a have JUSTICE repeat or rehash the rock genre again and again. The dramatic and sinister percussion that features as the main backing of the verses felt very theatric. There was also a touch of electronic influence in the chorus, as a result of the autotune that made the high notes of the song choppy. The pre-chorus of JUSTICE also brought forth a ‘We Will Rock You‘ type of vibe. All of these were really cool elements in JUSTICE and helps exude that powerful nature I mentioned the song having. Alongside all of that, the successive high notes that make up the chorus also aligns and allows the members (yes, they were pulled off by multiple members, not just one!) to contribute towards that same powerful force that makes JUSTICE empowering. Given the song’s use of high notes in the choruses, I did wonder how the the producers would top them as part of the final chorus, as just maintaining the same chorus without much change have been an injustice (ha!) to the song. But the ad-libs high note on top of the usual high notes in the final chorus worked like a charm and definitely helped sign off the song in a satisfying manner. Overall, I really liked JUSTICE and the return to form it brought along with it.
JUSTICE (the song) conveys the message that all people are heroes, if they fight for their beliefs and idea of justice (taken from SOOMPI). And while the music video doesn’t have much of an explicit plotline, the video does portray the members being limited in the beginning, breaking free and fighting for themselves (and others). We see SIYEON throw away the dark crown, which was shown at the start alongside the words “For the souls swallowed by the abyss of malevolence“, which makes it represent the idea that some people’s souls become corrupt and this cause them to become ‘evil’ people. I did think the video was a little light on the individual shots, which could have portrayed a bit more of that implicit storyline. Also thought the choreography scenes were a little bare, as they were mainly in that big art gallery-like room.
Days before the comeback, it was announced that SIYEON would be sitting out of promotions due to health reasons. That does leaving a gaping hole for the promotions, given SIYEON’s position as main vocalist. However, SUA and HANDONG step to take over SIYEON’s high note without any problems. Good on them! As for the dance, I thought it looked good. Nothing really stood out to me, but it definitely showcased some artistic flair and a powerful side to the group.
Song – 9/10 Music Video – 8/10 Performance – 8/10 Overall Rating – 8.5/10
TAEYEON made her comeback on Monday with her latest single Heaven. This latest release follows on from her November 2023 comeback with the single To. X and the mini-album of the same name.
Heaven is a groovy dance pop track, with the synth work giving off a disco pop groove. The upbeat nature, which comes as part of the disco pop groove, gives Heaven a brightness that feels positive (despite the sinister and creepy visuals of the music video – more on that in the next section of the review). This brightness goes well with the lyrics, which speaks to the feeling of heaven when desires and wants are fulfilled. I also liked the lightness of the arrangement, which makes Heaven an easy-on-the-ears listen. And Heaven glides along with TAEYEON’s effortless and smooth vocals and melodies. Overall, I enjoyed the song. But I think there are ways to make the track stronger. Making it longer could do some wonders to the song. Heaven is over before you realize, spanning just over 2:30 minutes long. It doesn’t help that a light arrangement and smoothness comes with some disadvantages, such as potentially making a song forgettable. You ought to really pay attention to the song to register that it is Heaven. And a short length doesn’t really help with that. I do think Heaven could also benefit from something to anchor us with, such as stronger melodies, given the light/smooth/short approach. The way TAEYEON starts off Heaven‘s chorus was amazing, but I don’t get that same energy through the rest of the chorus.
Despite the song itself showcasing a positive message of what heaven feels like, the music video goes in a different and much darker direction. The contrast is interesting, but worth exploring. In the video, we see TAEYEON prepare food for her lover, so they can experience the same feeling of heaven that she has experienced. The dish in question does involve a few interesting ingredients (she is holding an apple that skin is made from hair, and she chases down a bear) and preparation methods (such as chopping ingredients with an axe). She cooks up a storm, present the dish to her partner, who she watches over whilst they eat her creation. In the end, the partner does experience the same heaven she experiences, but for some reason neither have that same euphoria that she experienced earlier in the video. It does make me wonder if TAEYEON’s character is some sort of serial killer, who gets a high off killing (i.e. the feeling of heaven). And the victim is the lover, who is unable to provide the same high anymore after they are dead, so she moves onto the next person. This theory might explain the final scenes of the music video.
Song – 8/10 Music Video – 9/10 Overall Rating – 8.4/10
(G)I-DLE started the year strong with their 2nd studio album, 2, lead by the pre-release single Wife, title track Super Lady and the unexpecting hit single Fate. The group has now returned with a new mini-album titled I Sway, which is lead by the single Klaxon. Following promotions for Klaxon, the group will embark on their third world tour, as announced back in May.
I am a bit torn as to whether I like Klaxon. It has potential to be a hit and there are some likeable elements in the song, but it doesn’t surpass the likes of DUMDi DUMDi (a (G)I-DLE summer time hit from 2020). The track itself had brightness and energy. But it felt held back and Klaxon didn’t fully embrace these summer time essentials. On the other hand, Klaxon also features brass elements and upbeatness, and these definitely helped sell Klaxon as a summer time song. But beyond that, the backing of Klaxon does still feel rather basic and not as bold as (G)I-DLE’s more recent tracks. Had Klaxon embraced some boldness (perhaps accented the background a bit better) and maintained the current summery vibes, the song would have a lot more bite to it and it could have rivaled the other Summer time hit (G)I-DLE already have under their belt. As for their vocals and rapping, I thought they were good. Again, basic melodies. But the members delivered those well. An awkward aspect of Klaxon are the hooks. The song’s two main hooks were rather lackluster and not as enticing as in the past. These dry out the song, though I have to admit the randomness of the “Hon hon hon hon hon honk” hook does keep things a bit interesting. Without any context (like how Klaxon is another word for horn), it feels like an odd choice. I just wished it was delivered with a little more emotion. The other hook in the song, the “Oo, Oo, Wa-Oo“, was indeed much better in terms of effect and delivery, but also lacked innovation and felt typical. Overall, another song that has resulted in mixed feelings.
As for the music video, the members fully embraced the summer heat and made it into a sexy summery music video. I liked that, especially the fact the members did not shy away from donning the outfits throughout the video. SHUSHUA definitely stole my attention with her looks throughout the video, with MINNIE’s curls being a close second. However, I am not keen on whatever the hair situation YUQI had on the beach. Elsewhere in the video, it appears the members are chasing someone. But it only becomes apparent towards the end of the video during the desert scenes. The connection here with the song is that the members have fallen for this mystery person and are driving after them to get their attention (presumably by honking the horn of the car they are in).
The choreography for this comeback looks relatively simple. And I quite liked that. It works well with the basic profile of the song, and sometimes simplicity is indeed better. I liked the various key moves that accompany the hooks of the song (not matter how basic and typical they sounded), as well as the cascading bit in the bridge of Klaxon led by Minnie.
Song – 7/10 Music Video – 8/10 Performance – 8/10 Overall Rating – 7.5/10
Believe it or not, but P1Harmony only released their first studio album in February of this year*. For some reason, I have it in my mind that they have already reached this feat ages ago. Titled Killin’ It, the album is lead by the single of the same name. In addition to the title track, the album also features 9 tracks on it (some of which I am dubbing as hidden gems). Continue reading to find out which of the 10 songs on the album have been rated 10/10.
Overall, this studio album garners a very positive review from me. P1Harmony is not one that springs to mind when I think a KPOP artist who has the strong albums or even repertoire of side tracks. But I am impressed with P1Harmony’s fairly consistent output over the last year on the mini-album front and Killin’ It proves that once again. I do recommend you check out this album (per the recommended sticker at the bottom of the page) and hopefully you finding something cool and engaging that only P1Harmony can put out!
*While I have moved onto February 2024 albums, I will be swinging back to a couple more January 2024 albums on this blog in the near future.
2. Late Night Calls – Following the title track is a R&B based track, which features a more mellowed mix of acoustic guitar and electronic percussion in its instrumentation. I liked the melodic and vocal focus of Late Night Calls, which is a different motif than what P1Harmony puts out usually. KEEHO’s vocals were distinct and showcased well in the song. While the way Late Night Calls comes together makes for a pleasant listen, a stronger hook would have made Late Night Calls better, but what we got was pretty good in itself. (8/10)
3. Everybody Clap – Despite not being as heavy handed as their title track, Everybody Clap returns the album to what P1Harmony is most known for – hip-hop dance tracks. That being said, Everybody Clap is quite a lively and well-balanced hype track. I quite enjoyed Everybody Clap’s chorus, particularly how it delivers the eventuating hip-hop and hype energy. From the electric guitar that accompanies the song’s catchy and playful descending melody, to the clean vocals and energetic rapping from the group. I found a lot to like in Everybody Clap. (9/10)
4. Love Story (꿍꿍이) – Love Story is the closest we get to a ballad on this album. It falls into the pop realm, but also exudes a soft profile that is synonymous to ballads and incorporates an acoustic touch. This was a good direction for P1Harmony, fitting in better with their sound profile than compared to the more usual slower and classical route. Their vocals also sound very nice in the track. I liked how they elongated the ‘Love Story’ references in the choruses, which helps makes it dreamier and more delicate. The sing-song rapping was also perfect for this motif, and is an excellent way for the rappers to twist themselves to fit into Love Story. (8/10)
5. Countdown to Love – The hip-hop returned in Countdown to Love. But this time around, the track features an impressive backdrop of electronic guitars and drums that gets the adrenaline rushing. It isn’t necessary a rock track, but it is similar to that realm. Countdown to Love does diverge into hip-hop through some trap synths and characteristic rapping from the group. Despite the changes in the background, I liked how the song maintains a consistent energy. This made the song exciting and thrilling to listen to. I do think a more memorable hook would have sealed the deal on the song, however. (9/10)
6. Emergency – Emergency pushes things further than the previous song, thanks to its more dynamic flair. The instrumental maintains the rock-like sound and hip-hop affair from the previous and title track, but also features a much punchier synth work. I like the small 90s detailing in the background, as well. The vocals and rapping definitely has this excitement to them, which makes Emergency prolific and carries us through the song’s intensity. I am always excited to listen to Emergency, as I know it will be a blast each time. And I have listened to it so much that it has become one of my favourite side tracks from P1Harmony. (10/10)
7. 2Nite – Another side track that attracted my attention is 2Nite. This one brings some funk and groovy energy into the album. No matter how many times I listen to 2Nite, the funky and groovy direction makes P1Harmony sound classier and upgraded. Nothing against the hip-hop dance style P1Harmony is known for (as that can be exciting on occasion), but it isn’t my personal style. The bridge was probably strong evidence of this additional class, as I found that part to be oozing with style. Again, the vocals were well polished and clean, while the rapping adds intensity. I also find the “Oh No!” at the start of the chorus to be super punchy and catchy. (9/10)
8. Let Me Love You – Let Me Love You maintains the funk and groove in this electronic track. The instrumental already captures my attention, but there are a few additional elements that makes Let Me Love You stand out to me. The first has to be the choruses’ crunchy harmonisation with the backing vocals. The second is JIUNG and KEEHO’s singular hoarse line in the pre-chorus (that really took my breath away). And the third is SOUL’s smooth and flowy line in the bridge. These three elements alone was able to bump Let Me Love You to a perfect rating. (10/10)
9. Street Star – Hip-hop comes back into play in Street Star. It is the first song on the album where I didn’t feel the instrumentation. I felt there was a lot going on in it and this made it distracting for me. I did like the attitude and angst the members infused into the song via their respective deliveries, particularly the rap line of P1Harmony. I also enjoyed the fast and forward trajectory of the song. Just wished the instrumental was more palatable for me. (7/10)
10. I See U – Wrapping up this 10-track studio album is I See U, a hip-hop track that is dedicated to the fans. I like the happier and upbeat motif this number has. The way the members delivery the “You” in the chorus was actually quite earwormy and catchy. I also enjoyed the pace delivery of the rapping, which matches up with the slower beat of the song and also eases us off the album quite nicely. (8/10)
Another group who made their comeback earlier in the week was KISS OF LIFE, who returns with their second single album Sticky. The title track also shares the same name. This summer comeback follows on from their Midas Touch comeback earlier in the year.
While KISS OF LIFE have stuck to more powerful pieces in the past, Sticky offers something a little different. Sticky is still a summer track, but it is more flowy, melodic and lowkey than other summer-time tracks that we have heard in the past. And it is this distinction that makes Sticky stand out and feel extremely charming to me. I usually think of something more dynamic and energetic for this season, but the laid-back vibes of this song is ideal for moments in Summer when you do not want to be moving about as much. The Afrobeats instrumentation felt extremely peaceful and soothing, and the percussion was nicely light but prominent enough to ensure Sticky‘s upbeat motif. I also quite liked the violins present throughout the track as well. The melodies and hooks were well delivered by KISS OF LIFE, and they ring in my head even after the song finishes. And needlessly to say, their vocals were quite good, putting Sticky on par with the rest of their discography. That brief touch of rapping just prior to the final chorus was also well executed and placed in the track. I guess the only weakness in Sticky (and it is negligible given what I had already described about the song), and is the case with other subdued songs, is that all parts of the song really need to be compelling to avoid the song being forgotten. While the choruses does hold Sticky‘s ground, it could be argued that the verses didn’t hit the mark as well as they could have. But I am not as fussed by this and think Sticky managed to push through as a memorable track.
It would have been really cool if this music video was shot in a one-camera shot style. This could have really boosted the music video’s profile and earned a lot of praise from me (and probably a lot of the viewers). What we got was more of a faux version of that one camera shot style. It is not the same, but we got a similar product in the end. I really liked how KISS OF LIFE really pushed the boundaries in the video, making it sexier to what KPOP is used to. I also like how they made sure to portray the lightness of the song through the video as well, which was much appreciated by me. We don’t see anything too harsh in terms of lighting or colours. Everything felt easy on the eyes and looked good. I would like to know what the ending means. It felt like a cliffhanger, perhaps to their next release.
KISS OF LIFE really turns up the heat with the accompanying routine for Sticky. A fair bit of twerking and a lot of sexiness is delivered by the group. I like that they are not afraid and definitely pushes the boundaries in this regard. I did think dancers could have made this performance a bit more dynamic and showed off some additional chemistry that we saw in the music video.
Song – 9/10 Music Video – 8.5/10 Performance – 8/10 Overall Rating – 8.7/10
After a string of successful title tracks on mini and single albums since their debut in 2020 (such as last year’s Teddy Bear, RUN2U and ASAP), STAYC has returned with their first studio album Metamorphic. Leading the charge on this album is the title track Cheeky Icy Thang.
Cheeky Icy Thang receives mixed feelings from me. I liked some parts of Cheeky Icy Thang, but other parts felt questionable (at best). Let’s start off with the positives of Cheeky Icy Thang. The electronic strutting instrumental had good drive and forward momentum. There was also this attitude to it, which I wished the song explored a bit more. This could have made Cheeky Icy Thang into something else. I also enjoyed the detailing in the background. This added a layer of the playful STAYC colour that we all know and enjoy, and also kept the backing as a compelling listen. Very brief parts of Cheeky Icy Thang, such as the second half of the verses, had this vibrancy from the members’ vocals, which adds more STAYC colour to the song. I am not exactly sure if it fits in, but considering the other weaker points Cheeky Icy Thang which I am about to speak to, I am labelling this vibrancy as a positive. I also find the concept of the some of the delivery to be quite good, such as the autotune that bridges the verses and choruses. Now onto the weaker parts of the song. The lyrics were definitely questionable and felt more like gibberish. “Whisky ring a ring ding dong” just doesn’t do it for me. While I did like some of the vocals and concept of some of the delivery (as mentioned above), the silliness of the lyrics made the delivery and execution awkward. The use of rap-singing felt overused in the song, as well. Lastly, the abrupt ending (and lack of a bridge and final chorus) meant Cheeky Icy Thang didn’t close in a satisfying way. Cheeky Icy Thang has its charms and it could be a matter of further listens to really have the song grab me. But for now, mixed feelings is the best way to describe my thoughts on the song.
While that the above is how I think about the song, the music video fairs a bit better. I liked watching the accompanying video to Cheeky Icy Thang. That strutting vibe that I mentioned above is reflected in the music video, when the members cause chaos behind the scenes at a modelling shoot. I think this is supposed to demonstrate a “cool” side of the group. Elsewhere, the chaos continues on outside on the streets. What I saw reflects the summery season with the bright sunlight, cheerful smiles from the members and a casual vibe. The music video was designed to be light-hearted and fit in with the dynamism of the song, which I personally think worked.
Choreography wise, it looked okay. I am not sure what would be a better way to show Cheeky Icy Thang in some dance moves, but I am not sure what we saw in the routine was that. I did like the part of the routine for the instrumental break, however. The ending pose is growing on me, but looked a little awkward at first.
Song – 7/10 Music Video – 8/10 Performance – 7/10 Overall Rating – 7.3/10
Back in May, YG Entertainment announced plans for BABYMONSTER to return later in the year with their first studio album, and that a single would be released in July as a pre-release. Well, it is now July and YG Entertainment confirmed BABYMONSTER release officially dropped on Monday as promised! Hahaha… Remember those days? The pre-release single is titled FOREVER and follows on from the release of STUCK IN THE MIDDLE and SHEESH from earlier on in the year.
I am genuinely surprised with FOREVER, particularly when we hit the choruses. BABYMONSTER’s songs have not really pulled me in thus far, but FOREVER is the first to catch my attention and bring out a positive reaction from me (for the most part). The pop vibes in the chorus are different from what YG usually produces and releases for their artists. For the instrumentation, FOREVER‘s club-like background during chorus hits the mark, for me. The vocal work in the pre-chorus and choruses of FOREVER were nicely executed and further demonstrates that there is promise for the group. Even I received the rapping throughout the track positively. But while I do appreciate all of this, FOREVER does have a few issues that limits the song’s potential collectively. Firstly, I felt FOREVER was disjointed due to the various pauses between different segments of the song. If the song was ‘tighter’ on many fronts, I felt this would have made FOREVER more cohesive as one piece. Secondly, FOREVER suffers due to the presence of the not-so-innovative second verse. It isn’t the rapping that gets me (per my earlier comments), but rather it is the breakdown that has to accompany the second verse rap in every YG song. I don’t see the need to stick to a breakdown every single time. Surely, someone would have realized this by now. I also think this sequence features the same (or extremely similar) synths to what we heard in SHEESH, which confirms to me there is a lack of innovation at the company. Thirdly, not keen on the soft utterances of “Like I’mma live forever” and “Like I’mma like I’mma” in the background of the chorus. They felt needless and don’t add anything to the song. Overall, FOREVER is a refreshing turn for BABYMONSTER (and their company), but there are some issues meddling its overall potential.
With KPOP’s growing presence at the big fashion shows, we see BABYMONSTER get ready for one of them in the music video for FOREVER. And following that, they have fun in each other’s company, what is assume, is following that fashion show. I liked the classy yet modern looks they had on throughout the video, and the sets were pretty cool. However, I do feel like there is a slip in standards. YG Entertainment videos always scream out to me for its high quality, but I don’t feel that here.
FOREVER has one of those routines that looks goods and feels fitting for the song. But it didn’t have anything in it that really stands out.
Song – 8/10 Music Video – 8/10 Performance – 7/10 Overall Rating – 7.8/10
One of the first posts after 30 June each year is my ‘Personal Favourite’ post. Each year, to help round out the first half of the year, I post a list of my personal favourite songs from the 1st half of the year. As we are now in July 2024, it is time to post my personal favourite songs from the 1st half of 2024 (with a few extra tidbits).
For this year’s post, I am following what I did last (and the year before that) year, as I quite liked how that turned out. In addition to the usual list of 10 songs (which are in no particular order and not related to my reviews as songs do grow immensely on me) for the first half of 2023, I will also be posting two songs from the November – December 2022 period I personally liked and 3 non-Korean songs (i.e. English, Japanese etc.) by Korean artists that caught my attention so far this year. So without further delays, here are the list of my personal favourite songs of the year thus far (in no particular order, of course).
From November – December 2023
Personal favourite non-Korean songs of 2024 thus far
Personal favourite KPOP songs of the year so far (January – June 2024)
KPOPREVIEWED 