I am a bit late to start the new week. But as the saying goes, better late than never. Doh Kyung Soo (otherwise known as D.O from EXO) made his solo comeback today with a new single titled Mars and his 3rd mini-album Blossom. This follows his pre-release single Popcorn (which I will return to review in the future) last week, and his 2nd mini-album Expectation from last year (led by the single Somebody).
Mars is a song about loving someone so different to you, it is as if you and that someone are from two different planets. From that little reflection on the song, you can imagine how heartfelt and comforting the track is. I felt that Doh Kyung Soo portrays that messaging and tone very well in Mars, through all aspects of the track. I enjoyed the simplicity and straightforwardness of the medium-tempo pop track from the very first listen. The acoustic and band instrumentation was profound, with the guitar work being a big driver towards Mars‘ bright and meaningful outlook. Similarly, I felt the sincerity and affection behind Doh Kyung Soo’s vocals. The melodies were great. And altogether, Mars does bring a smile to my face when I listen to the track. I think a slight challenge to the song are the hooks. And this challenge isn’t necessarily unique to Mars, but more so to all ‘simple and ‘straight forward’ songs. To ensure longevity of a song like Mars, the song itself needs to be memorable and the melodies/hooks play a big part in this. Personally, I find Mars‘ hooks to be okay, but I think this aspect of Mars is also a little lacking. I am not too sure how Mars can hold its ground amongst the stiff competition. But as it stands, the song is still a great listen.
I found the music video to be a very cute watch and works well with the simple nature of the song. We see Doh Kyung Soo in his own little world throughout the video as he attempts to communicate with his special someone who is on a completely different planet to his. We see him get ready for the day ahead and ride his bike to the primary site in which he has set up to communicate with the world beyond his. On his bike are all the flowers he could find, which he later uses to write ‘I Miss You‘ on the ground in a bold colour for the other someone to see. In the end, his attempts to communicate work, with the special someone leaving simple and literally small messages for him. At the very end of the video, we see the different messages left behind for Doh Kyung Soo, that he has kept as little momentos. The outro sees him do it all again the next day (the presence of the rain helps us differentiate it is a new day), excited to extend the communications even further.
Song – 9/10 Music Video – 9/10 Overall Rating – 9/10
Moving along with the albums released this year, I am reviewing ITZY’s second studio-album BORN TO BE today. It was released back on 8 January 2024 and follows on from their KILL MY DOUBT mini-album (which features CAKE as the lead single). BORN TO BE features a total of 10 tracks, including the pre-release with the same name as the album, the title track UNTOUCHABLE and five solo tracks from each member of ITZY (including LIA, who has been on a hiatus since September 2023). Regarding the solo tracks, I have not reviewed them separately ahead of time despite them having a short video released to promote them for a few reasons, but I have included each video down below.
Overall, BORN TO BE is strongest in the solo tracks and most of the side tracks. UNTOUCHABLE has grown on me a bit and was definitely a highlight. But there were some other tracks on the album that had more potential and I personally felt had more of an edge over the title track. Continue reading to find out which songs they are.
4. Dynamite – Dynamite lifts the song quality on the album back up with a very upbeat and loaded dance track. It is super engaging and I personally felt that was a lot of ITZY energy coming off it. The percussion keeps Dynamite dynamic and bouncy. I did think the members’ vocals were pushed a little too far, but there was some nice control on the members’ part. I am also not a massive fan of the abrupt ending. It didn’t finish Dynamite off satisfyingly. (8/10)
5. Crown on My Head (YEJI Solo) – We now turn to the solo songs and first up is YEJI. Crown On My Head is a rock track. I liked the different ways the electric guitar was employed in the song. In the first verse, the guitar work is exhilarating and electrifying, and I constantly wonder why it wasn’t continued in the more typical synth-based second verse. In the chorus, the guitar work takes on more of a grungy vibe. But the best use of the guitar comes in the instrumental break, where we get a shreddy effect. As for YEJI, her vocals definitely soared throughout and upped the intensity of Crown On My Head. She had full command of the track and delivered it superbly. (9/10)
6. Blossom (LIA Solo) – Despite being on hiatus, LIA does feature in this album through her solo track Blossom. The song takes us down an alternative R&B route, thanks to its more experimental instrumentation. This EDM-based adds a lot of energy and the synth work gives off a dreamy affair. LIA’s vocals fit the R&B style really well, especially with the slight rasp to her vocals. There are a few varying vocal styles in Blossom from LIA, all of which makes it an engaging solo track. (9/10)
7. Run Away (RYUJIN Solo) – Out of all the solo tracks, Run Away was the one that I instantly liked when I first checked out the album back when it was released. I remember it was the chorus that caught my attention, which brings together a passionate delivery from RYUJIN and some amazing guitar work that reminds me of pop-rock from the early 00s. I also like the mellow direction the bridge took, which was a nice yet brief break from the pop-rock energy. If I had to pick, RYUJIN’s Run Away is my top pick from the solo tracks on this album. (9/10)
8. Mine (CHAERYEONG Solo) – CHAERYEONG has the shortest solo track of the bunch, spanning less than 2 minutes. Mine is a synth pop track with a groovy tinge. CHAERYEONG brings a very sensual and sultry vibe to the song, which makes it very alluring. Of the five solo tracks, I think Mine was one that stood out the least. Not on the merits that it was bad song, but rather not reaching its full potential. An easy way to do this in Mine is to give CHAERYEONG’s vocals more definition and boldness. This would have helped oomph up her parts to give them more depth amongst the instrumentation. (8/10)
9. Yet, But (YUNA Solo) – Yet, But is YUNA’s solo contribution to the album. It is a rather straight forward track that feels like a good embodiment of what KPOP is. It brings a fun and playful energy to the album. This pairs with YUNA’s youthful vocals. Personally, I do feel like Yet, But is a little too sweet for my liking. It also stays within the lines and feels rather ‘safe’. But I enjoyed the exploration into the light-hearted territory of pop. (7.5/10)
10. Escalator – Bringing the members (sans LIA) back together for the final song is Escalator. It is an experimental dance track, that features a fierce demeanour from the members and loud synth work. It was definitely a blast on all fronts. I did like the way the vocals were processed at the start, panning from either side. I also like the shouty motif the members went for the chorus, which felt right for such a loud and strong song. Lastly, I also like the techno synth work at the end, adding a lot more flair and bombast to the song. (9/10)
Last week, LEE JIN HYUK made his solo comeback with his 6th mini-album, New Quest: Jungle, and the lead single Relax. This comeback serves as LEE JIN HYUK’s first solo comeback since leaving UP10TION (officially) and TOP Media over a year ago. He signed with Bill Entertainment, which is the home of other soloists – Yerin and Minseo. His last comeback was Crack, released back in 2022.
The new single Relax is an urban dance-pop anthem that has charm. It has taken me a few listens to the song to get into it, with the instrumentation growing on me considerably. The tinny-sounding chorus registered as interesting at first. But I find it quite appealing now. It is different and it draws your attention in. LEE JIN HYUK’s really gritty and raspy rap-sing vocals in the chorus felt plain at first. But upon reflection and more listens, I find that his deep vocal delivery actually pulls the chorus together to create a overall trance. While LEE JIN HYUK’s rapping and pre-chorus vocals were engaging and well-delivered, it wasn’t enough to make the rest of Relax memorable, unfortunately. The chorus definitely took centre stage and serves as Relax‘s strongest sequence. I do think Relax could have been punchier is all aspects. This potentially could have taken the rest of Relax to the next level and gave the song a stronger presence amongst its competition.
Unsurprisingly, Relax conveys the simple message of taking some time to take a break in our busy world. The video is set in a Korean bathhouse, which is probably an optimal location to take that break to relax. The video begins with a fight inside the bathhouse. But with LEE JIN HYUK’s presence and message, the fight turns into more of a chill party. We also see him get a massage in later parts of the video and hang around the ladies who are looking very comfortable. The dance break part of the music video sees what looked like the bathhouse set break apart, which is probably a symbolic way of reaching that peak relaxation, as if you are floating away. Overall, a neat music video.
The choreography for Relax strikes a fine balance between being energetic and relaxing. There are some moves that represents the relaxing side of it, while the rest of the choreography focuses on some more energetic moves without feeling too intense or complicated. I really liked the bouncy vibe of the choreography and also the footwork in the routine.
Song – 7/10 Music Video – 8/10 Performance – 9/10 Overall Rating – 7.7/10
Also making her solo comeback on Tuesday this week was Solar from MAMAMOO. We last saw her promote on stage two years ago via her HONEY comeback and her first mini-album, 容 : Face. Tuesday saw her release her second mini-album COLOURS and the title track But I.
Despite the music video teasers released in the lead up to But I hinting at the two very different sound profiles, But I still managed to surprise me upon release. The song starts off soft as a ballad, with beautiful vocals from Solar herself, and a delicate and stilling piano backdrop. But that balladry motif quickly changes once we reach the choruses. The drumming and guitar work morphs But I into a rock track. It blasts us with some strong energy and Solar really kicks it up a few notches with her passionate and intense delivery. The melodies and hooks here are quite easy to get into. I particularly cannot get the “Your body, your money, your face, your vibe” out of my head. Following the first chorus, But I keeps the rock presence in the second verse, but tones it down considerably from the chorus. So, once the chorus returns for the final time, the strong energy still feels like a blast. The outro of But I does returns the song to its balladry beginnings and it drew the song to a wonderful end, as if she is now at peace with the hatred that she sings passionately about in But I. No doubt, But I is surprising. But it does so in a balanced and captivating manner that I personally enjoyed very much.
The lyrics of But I depicts one’s hatred for their a bad ex, which comes off crystal clear in the lyrics. But I (ha!) found it interesting that the pre-chorus for the song includes a line of what people external to the relationship had expected of Solar when she was part of the dead relationship (“Everybody thinks I was happy, happy but I I I I“) vs. when she was supposed to be heartbroken post-relationship (“Everybody thinks I’m not happy, happy but I I I“). I bring these two lines up in question for a particular reason. While not directly linked to what I am saying next, the two lines shows a contrasting expectation on Solar, and the video depicts a different two contrasting sides to Solar related to this post-breakup. On one hand, she is seen to be in mourning and is heartbroken following her failed relationship. And on the other hand, we see how vivid and freeing she truly feels after leaving the bad ex.
Song – 9/10 Music Video – 8/10 Overall Rating – 8.6/10
Xdinary Heroes officially returned on Tuesday with their first studio length album Troubleshooting. Leading the charge on this new album is the title track Little Things (어리고 부끄럽고 바보 같은). This release is their first since October 2023’s Livelock (their 4th mini-album) and the single Break The Brake, which earned them a win for Best Band Performance in the 2023 KPOPREVIEWED Awards.
Little Things is Xdinary Heroes’ most straight forward rock title track since their debut. And I feel my comments on the song are relatively similar. Xdinary Heroes have promoted some wacky tracks and also some intense ones previously. But nothing feels as ‘simple’ or ‘safe’ as Little Things. There isn’t anything wrong going down this path (but it does come with its own flaws), especially when it invokes an early 2000s pop-punk nostalgia. If you have not yet caught on, this is the era of music that I grew up on. The nostalgia and execution of band’s vocal and instrumental delivery appeals to me. The punchiness of the instrumental is well-liked. I also liked the emotional tinge Little Things features. Xdinary Heroes really made sure that was heard from the get-go with the autotuned intro. I think the downside of going down the ‘simple’ and ‘safe’ road, and I do feel it as part of this release, is that Little Things feels inherently plain. The lack of innovation and excitement does hold it back slightly. But nostalgia and Xdinary Heroes’ ongoing consistent high-quality execution/delivery trumps in Little Things.
Little Things expresses the message to one’s younger self that no matter how lost you become, you will always find a way out of that lost feeling. In the music video, we see the members perform in a side-walk drain, representing their lost mindset. I am presuming the feeling of lost is liken to how we think certain items becomes ‘lost’ once you drop it down a sidewalk drain (as those items become hard to reach and it is difficult to recover them). In other close-up of the members, we see them alone and surrounded by darkness. Mid-way into the video, we see the drain closes in on the members and water/paper falls down, which might represent that pressure of ‘being lost’ on the members. However, in the end of the video, the members do escape the drain, which ultimately emphasises the message of the song.
Song – 8/10 Music Video – 8/10 Overall Rating – 8/10
The second Monday comeback that I want to focus on today is SEVENTEEN’s grand return with their 2nd compilation album 17 Is Right Here and the title track MAESTRO. It is SEVENTEEN’s first release since October’s SEVENTEENTH HEAVEN and GOD OF MUSIC.
MAESTRO leans the group back into their darker sound profile, which has always been a positive experience for me. And MAESTRO lives up to that expectation. The title MAESTRO instantly makes you think of classical music, and the song begins with a brief appearance (and sees a recurrence in the choruses) of piano. But we see the song quickly revert into its true form – a R&B dance track. A touch of funky guitar work, fast-paced rapping from S.COUPS and VERNON, and sleek vocals from MINGYU and JOSHUA gets MAESTRO moving along before we hear a stunning WOOZI and DK vocal-focused pre-chorus that builds the anticipation towards the chorus. The chorus that follows, and that we return to throughout MAESTRO, felt logical and charming to an extent. But I was disappointed with the reliance on the ‘La La La‘ as the hook. It definitely has potential to catch on, but it also feels empty and doesn’t really have as strong of a command as did latter parts of MAESTRO had. We do get a second half of the chorus, but that doesn’t ping me as memorable. MAESTRO then changes gears slightly with a techno beat feels unexpecting, yet so charismatic and pummels the song forward. It is paired with WONWOO’s rapping and JUN’s vocals – the former creates a perfect sense of intensity with said beat, while the latter felt a little lost in the beat. We return to another amazing pre-chorus (brought to you by DK and SEUNGKWAN this time around) and another run at the chorus. Then comes the bridge, which I think is one of the best moments of MAESTRO. THE8’s delicate vocals was supreme, as well as the follow-up rapping from S.COUPS and DINO. In the final moments of MAESTRO, the techno beat returns as a mini instrumental break and WONWOO’s deep and gripping vocals closes out the song nicely. Overall, a few minor flaws, but MAESTRO still comes off as an epic song for SEVENTEEN.
MAESTRO‘s music video has officially become the first contender for Best Music Video for 2024. You heard it first here! The editing, the concepts and even just the amazing closeup of the members just captivates me from the get-go and takes my breath away. The video sees SEVENTEEN have total command just like how a maestro would have control of an orchestra, and the intensity that comes off SEVENTEEN’s portrayal of this has me spellbound. More specifically, we see them control the narrative of events in the video, such as the car crashes and WONWOO’s fight scene (which has been engraved into my memory bank). We see them also control the AI bots, who mimic the members. Even the massive metronome building in the end alludes to the idea of commanding the citizens of the city around them.
No surprises here, but the choreography overall showcases the song’s intensity quite well. If I had to name an example moment of that intensity, my vote is for the instrumental break, which translates into a dance break in the performance. The presence of the baton in the performance makes sense and is a great way of bringing the concept of the comeback into the performance, as well. And as usual SEVENTEEN’s synchronisation always has me in awe.
Song – 8/10 Music Video – 10/10 Performance – 10/10 Overall Rating – 9/10
As mentioned yesterday, this week is going to be a busy one. And it all begins with Monday’s comebacks. One of these comebacks belongs to IVE, who is returning for the first time since the release of Baddie. Their new single HEYA (해야) is the title track off their 2nd mini-album, Ive Switch.
HEYA continues IVE’s exploration of the hip-hop genre. However, unlike Baddie, I instantly found IVE’s delivery of HEYA to feel a lot more vivid, exciting and colourful. These are all words that I associate with IVE’s earlier releases, so I personally think this is an improvement from Baddie already. HEYA may not be as pop-coded as their earlier releases, but it definitely heads in that direction a bit. So aside from feeling different, what has the group done differently in HEYA? I like that the instrumentation did not feel as weighted, and so HEYA did not feel heavy. Going into Summer, a heavy song doesn’t usually bode well, so the producers were really clever in using flourishes in its percussion to help liven up the backing. Rei, Leeseo and Yujin’s rapping in the verses feels equally as lively and engaging, bringing out a more dynamic tone in HEYA. This pays off in dividends for the group, as it highlights a newfound edginess and powerful delivery. HEYA also features more vocal parts, which makes way for more melodic touches in the song. The bridge was extremely successful in championing this (which is my second best moment within HEYA, following the choruses). I also like how they extended the melodic touch into the opening hook of HEYA, setting up the catchy and chanty chorus quite well. The extra layer in the instrumentation for the final chorus did a really good job of signaling the end, in my mind. Overall, IVE and HEYA‘s producers did a really great job improving upon the previous song, making for IVE’s next hit.
The lyrics and music video of HEYA sees the group reference a traditional Korean folklore known as ‘The Tiger Who Loved the Sun‘, which is a story that speaks to the formation of the sun and the moon. In the video, we see the members appear as the tiger in the story, dancing in front of the sun and moon to enchant us, before leaving their mark on us. Just like how the tiger did so to the mother, just a lot less gruesome in our case. Keeping to the traditional influence, I really like traditional Korean elements in the sets and post-production. The colours and lighting made everything look very pretty and aesthetic. I also really like IVE’s look throughout the music video, as it adds a bit of a modern flair in the midst of all of the traditional Korean elements present in the video.
From what I can see in the music video, the performance for this comeback is going to look great. The start of the chorus already looks like it is going to be a catchy key point of the choreography, and the rest of the routine looks robust and dynamic.
Song – 9/10 Music Video – 9/10 Performance – 9/10 Overall Rating – 9/10
It has been a while since I reviewed a B1A4 album. The last album review was for their 5th mini-album, Solo Day (released in 2015, but reviewed in 2020). They are a group that is very much still around, but you don’t hear of them as much nowadays compared to in the past. Their last official release (Adore You) was over 2 years ago! Well, that changed in January of this year, when B1A4 made their long awaited comeback with REWIND (the title track – link down below) and CONNECT (the title of their latest mini-album a.k.a. the focus of this post). Overall, I found CONNECT to be a solid 5 track mini-album that is consistent across the board, with one particular track getting a 10/10 for me. Continue reading to find out which song that is).
2. BACK TO YOU (시간을 지나 마주한 너) – BACK TO YOU is a simple yet pleasant pop track, with the ‘pleasant’ descriptor being a positive aspect of the song. The simplicity comes through via how straight forward BACK TO YOU came across. It had good rhythm and a solid upbeatness that kept the song going. The melodies were comforting and made the song flow along nicely. The vocals were good, but I could have done with lesser autotune. The vocal processing made the members sound a little tinny. And if I am being honest, I don’t think B1A4 needed that autotune in the first place. (8/10)
3. PAUSE– For me, the most fun song on the album has to go to PAUSE. The UK-garage and retro influence on the instrumental is very interesting and dynamic, but I also like how the song maintains B1A4’s maturity. Despite that maturity, I always find myself bobbing along to the song. The softer vocal approach felt contrasting with the instrumentation and this makes the PAUSE intriguing. While I felt the autotune was unnecessary in the previous song, I welcome the autotune’s contribution to the fun in this song, especially how those vocals pan from ear to ear to make it feel like you are in the centre of the fun. An easy 10/10 for me. (10/10)
4. WHEN YOU CALL MY NAME (네가내이름을부를때) – Truthfully, WHEN YOU CALL MY NAME is the sound I associate with B1A4 nowadays. They stepped away from the fun and dance style that they released and promoted with as a quintet. But that felt lost when B1A4 was reduced to their current lineup. This is in no way intended to be criticism of the members who left or the current sound of B1A4. WHEN YOU CALL MY NAME definitely proves this, as the trio sounds very lovely throughout the number. The heartwarming band instrumentation and tone of the song is also extremely nice. (8/10)
5. STILL IN MY HEART (이별은없는거야) – Bringing the mini-album to a close is STILL IN MY HEART, which goes down both an acoustic balladry and also fan song route. That usual swaying melody that I like in ballads is very much present in STILL IN MY HEART. I also enjoyed the soulful touch that is present in the background of the track. Once again, the members sound really nice and captivating in the ballad, with the roughness in Sanduel’s vocals at the end being a beautiful moment in the track. (8/10)
If you have not been following my blog lately, I ended finished up my reviews of 2023 albums (for the time being) last weekend. That means that I will be finally making a start on the 2024 albums. While it will be a slow process to catch up four months worth of albums, I do appreciate your patience as I get through them. But I will start from the beginning, meaning SF9’s 13th mini-album Sequence (released on 8 January 2024) is the first one up for review. Sequence features a total of 6 tracks, including the title BIBORA. It also is the first album release by SF9 since ROWOON’s departure from the group to focus on his acting career.
2. Midnight Sun – The rush of energy from the instrumentation, the familiarity of the synths and the solid vocals made Midnight Sun quite likeable. When you dig a little deeper, this pop song is for their fans – FANTASY. While fan songs are usually reserved for the end of an album, the placement of Midnight Sun towards the beginning of the mini-album is rather reassuring, especially since how SF9 doesn’t get regular comebacks anymore (which is a complete farce) and the departure of ROWOON from the group last year. Just by listening to the vocals, anyone can hear the sincerity behind the SF9 members toward their fans. (8/10)
3. DOMINO – I thought the vocal processing in this song made TAEYANG sound a little awkward at the start. But after that, the rest of DOMINO makes it a very strong dance track. The rap sequences made the song feel very dynamic. The same rappers brought us the cool descending and dramatic bridge, which gives off that vivid imagery of falling dominos. Definitely a memorable moment in the song. Pity the vocalists didn’t get much of an opportunity to shine in DOMINO, particularly since INSEONG and DAWON’s small part in the pre-choruses were my second favourite moments in the song. (9/10)
4. Strings – The brighter pop sound, the chanty hooks and the fact you can feel the members are smiling at you as they sing makes Strings another ideal fan song. Strings talks about their unbreakable bond with their fans. I like how after a rap dominant song, SF9 turned their focus to vocals. But ZUHO’s rapping in the second verse was also quite cool. I like how deep he went and the seamless flow he delivered. My only complaint about Strings is that the instrumental could have been lowered slightly so we can hear the members more clearly. At certain parts, the backing was loud that it was drowning out the members. (8/10)
5. Morning Coffee – Continuing the bright motif is the funky tinged Morning Coffee. This subtle energy in the song is bound to get you awake in the morning, just like a morning coffee. I particularly like how the funkiness isn’t in your face, which makes the song an ideal track to start your day off. It doesn’t catch you off guard, but rather eases you into its bright motif. ZUHO’s rapping was good, but I think his part doesn’t suit the rest of Morning Coffee as much. I just feel like his style was a little too harsh for this track. (8/10)
6. Superconductor (DAWON Solo) – The final song on the album a solo song from DAWON. He has a unique set of vocals, so I am glad he gets his own song to shine. However, I would also like to have heard solo songs from the rest of SF9, as well. While Superconductor does a nice job of showing us his vocals and style, the instrumental sounded like it was sped up. Maybe this was deliberate and is meant to be a musical representation of a superconductor or even an aesthetic. But I personally thought it was rather distracting and doesn’t give us much opportunity to appreciate it or DAWON. Had it been slowed down, even by a small bit, there would have been more of a chance of that appreciation happening and that would have boded well for Superconductor. (7/10)
In the midst of the ongoing dispute between Min Hee Jin (the CEO of ADOR – the home of NewJeans) and HYBE Corporation (including Bang Si Hyuk), NewJeans is moving ahead with their May comeback. This comeback will feature two songs – Bubble Gum (which is the focus of this particular review with the music video dropping yesterday) and How Sweet next month. The group is also due to release two new Japanese original singles in June. Bubble Gum also marks their first release since their Get Up (which features Super Shy, Cool With You and ETA) comeback from last year.
Bubble Gum serves as both the soundtrack for a Japanese shampoo commercial and a side track for NewJeans’ upcoming How Sweet release. While I do not review commercial music often, I am interested in the latter. And as a side track, Bubble Gum is a decent release. It definitely is not ‘title track’ material, with the overall airy and breezy profile of the song feeling too delicate for my liking. The song features groovy beat and retro elements that grounds Bubble Gum to a degree, but I find the rest of the song (i.e., vocals, melodies, hooks) to be a bit too feathery. Don’t get me wrong, everything works in harmony with one another and is executed well across the board. I also like the flute-like piece that we hear in the background of the verses. But I am unsure of the song’s longevity given all of the lightness going on within Bubble Gum (and the ongoing dispute is definitely taking attention away from the new release – for me, at least). There were definitely some attempts to ‘ground’ the song further, with some deeper vocals at certain parts and the paced rap-sing vocals (which was the exact ending I was hoping for). But again, I only come out of Bubble Gum remembering the higher pitched (sometimes falsetto) vocals and flowy melodies. Overall, I do like the song, but I am not sure how long I will be replaying Bubble Gum.
The music video sees NewJeans hanging out and having fun with one another. To complement the song’s breezy sound profile, NewJeans takes a trip to the beach. Keeping true to the ‘retro is making a comeback’ concept, some of the video (including the intro and outro shot of Hyein and her bubbles) is shot in a home video style. It is an aesthetic that I didn’t like as much when it first appeared in KPOP, but NewJeans does it well. I also like the call back to old technology that appears throughout the video, such as the VHS tape, the camcorder and that old computer. On the modern side, we see one of the members hold an iPhone and the members carry their official light stick.
Song – 8/10 Music Video – 8/10 Overall Rating – 8/10
THE NEW SIX smashed it with their last comeback (Kick It 4 Now), so I am excited to see what they are offering in their latest comeback that occurred on 20 March 2024. The new song is titled FUEGO and is the first comeback where THE NEW SIX has a full line-up in over a year, with Junhyeok returning from his hiatus.
THE NEW SIX trades out the retro that made Kick It 4 Now shine and opted for a more bombastic sound in FUEGO. While the former comeback was a hit out of the park, this new release isn’t. FUEGO falls into the more generic side of male group music nowadays. But it is not bad. The instrumental features a bass house sound that feels angsty and intense. The anti-drop actually hits hard in the chorus and makes for a bold central piece. Pity it is something else that weakens the chorus for me – more on that in a moment. The vocals in the verses were good. The melodic charm of the former comeback is definitely gone, but the vocals still manage to hold themselves well in FUEGO. I must give a commendation to Junhyeok and his vocals in the pre-choruses. His vocals delivery adds charisma and power of FUEGO. The rapping also feels brings an edgy dynamic to the song. I found the rappers’ delivery to be very clean and polished in FUEGO. There was a bit of shouty motif at times in FUEGO, but I felt they came in at the right times to drive up the song. Now, I did mention something earlier that weakens the chorus for me, and it is the one element that I haven’t mentioned yet – the hooks. While the instrumental in the chorus had club-banger potential, the hooks cancelled that out that potential. They felt boring, uneventful and dragged the energy that the instrumental was trying to get across to the audience. If I had one wish for FUEGO, it would be the members’ parts in the chorus were expanded (and not limited to 3 lines) and they are given some lively and exciting material to heighten the energy of the chorus and thus FUEGO.
Watching it a few times for the purposes of this review, I can see why I never really returned to the video following its release. There just wasn’t anything in the video that is memorable. Primarily set in a tunnel and on a wooden stage surrounded by doors, nothing really sparks in this video. We do get some additional backgrounds for the members’ closeups in the video. But nothing spectacular. For a song with the Spanish word for ‘fire’, there is also a lack of fires in this video. I am not expecting the place to be burning down (though there is a lot of precedent to that in KPOP music videos). But I expected a bit more flames than the few isolated CGI flames throughout the video.
The routine for FUEGO is one where the members kept on moving with little to no breaks in between each move. This drives up the intensity of the routine and kept the dynamism up high in the choreography. The dance routine also made sure the hooks didn’t get in the way of a good performance. There wasn’t a key moment to remember in this routine, but I liked the members’ style and charisma. Parts looked very sleek, especially the side way movements in the second verse and the forward movement that kicked off the second chorus.
Song – 8/10 Music Video – 5/10 Performance – 9/10 Overall Rating – 7.3/10
As mentioned in my last KISS OF LIFE review for Bad News, this is one of the groups we all got to watch out for. And their latest comeback a couple of weeks back at the start of the month proves just that once again. The new single is titled Midas Touch and is featured on the group’s first single album of the same name.
Taking us back to the late 90’s/early ’00s pop era (think Britney Spears) with Midas Touch, KISS OF LIFE delivers another smashing track. The instrumental is just one of the highlights of the song. They touch on a very nostalgic period of pop and hip-hop music video for me. The combination feels very robust and dynamic, with the swinging beats and squirl synths coming together to make a very flirtatious and rousing backing for Midas Touch. The members makes Midas Touch super engaging with their singing and rapping. The way they deliver the verses and pre-choruses felt very elaborate and classy, which boosts up the song to a higher level. As for the choruses, the members infuse a little bit more of that flirty energy into their vocals to make the sing-talk melodies and hooks super catchy and addictive. The combination of the instrumentation and sing-talk in the chorus in Midas Touch‘s chorus is very hard to get out of my head. The bridge was a very nice switch up that feels effortless and clean, with the ‘Brace Brace‘ and usage of whistles being a direct homage to the 90s hip-hop era. The bridge is then followed up with a really clean high note from Belle. The final chorus also sees a small extension to give Midas Touch to fully conclude in a satisfying manner. All of the above is a lot to achieve in such a short period of time, and I agree with the comments that say Midas Touch is a prime example of how a song that spans less that 3 minutes can still feel fulfilling and complete. I think we can move from ‘KISS OF LIFE is a group to watch out for’ to ‘KISS OF LIFE is permanently on my radar’ thanks to Midas Touch.
Midas Touch is a reference towards the Greek mythology of King Midas and how he turned things he touched into gold. But instead of gold, whatever the members touched in the music video turned into stone. Now, there is a reason for that. Turning people into stone represents the grip and charm the members have on these people. And to further to support the idea of turning people into stone, we we actually see some Medusa (the Greek mythological creature that turned whomever that makes eye contact with her into stone) imagery around the members at around the midpoint of the video. So the concept of the video is a very reimagined version of the story of King Midas and Medusa. I really like the elaborate CGI setting they have going on. I also really enjoyed the stunning looks the members’ had donned in the video.
The choreography for this comeback is great! I really like the swinging motions they have going on in the chorus and the routine is super cool to watch as a whole piece. I also like their chemistry with one another on stage. It really makes the whole routine feel cohesive.
Song – 9/10 Music Video – 9/10 Performance – 9/10 Overall Rating – 9/10
ZEROBASEONE is due back in a couple of weeks on 13 May 2024 with their second comeback (mini-album titled You Had Me At Hello) since their debut last year. Ahead of the new comeback, ZEROBASEONE pre-released a single yesterday to tease us with. The single is titled SWEAT and marks the beginning of an early Summer. We last saw ZEROBASEONE through CRUSH in Korea and (more recently) through YURA YURA in Japan.
SWEAT is a solid pre-release track, though it does lacks a ZEROBASEONE personality. SWEAT doesn’t feel like it falls on a spectrum with the two extremes being In Bloom or CRUSH. However, I do think it is a bit on a pleasant side of another spectrum, whichisn’t a bad thing. I do think SWEAT could have been more robust in its house-based instrumental to drive up the energy and excitement. Maybe that could have given SWEAT a ZEROBASEONE feel. That being said, SWEAT does still have a beat and kick to it that made it enjoyable and chill. The song displays a good showing of vocals from the members, though nothing mind-blowing to really attract attention. That was delegated to the catchy hook which got my attention at the first pass when I checked out the track yesterday. Interestingly, the producers opted to not include a rap sequence. I think SWEAT could have benefited from a punchy and edgy rap sequence to, once again, drive up the energy and excitement even further. Wrapping up my thoughts on the song, it looks like SWEAT could have been more. But as it is, it is fine track.
While there is a music video for the release, the title of the video categorise it to be more of a ‘SPECIAL SUMMER VIDEO’. They definitely got the Summer bit down, with an overall very sunny music video that sees the group perform on stage at a beach, in the middle of a long road surrounded by breezy long grass and during a shower, and in a field with a sunset background. I also like the easygoing and chill vibes of the video. In addition to all of that, I am sure fans are enjoying the plentiful closeup of the members in the video.
Released a couple of hours after SWEAT, the performance video on the M2 YouTube channel was actually quite engaging thanks to the camera angles and how the members made a connection with the camera at these angles. As for the choreography, there was a slight sensual vibe to it, which interestingly didn’t make it into the music video. Other than that, a solid routine.
Song – 8/10 Music Video – 8/10 Performance – 8/10 Overall Rating – 8/10
It is a new week. And that comes with new comebacks and debuts. Kicking it off this week is DOYOUNG’s solo debut with the single Little Light and his first studio length album YOUTH. DOYOUNG becomes the fifth member of NCT after TAEYONG, MARK, TEN and JAEHYUN to have some sort of a solo career outside of their NCT works, which spans across NCT, NCT U and NCT 127 discography. If I also read correctly, we will be expecting more NCT solo works this year. We already have TAEYONG’s TAP and TEN’s Nightwalker (which I have yet to review) this year, and JAEHYUN is preparing a solo album himself.
But today’s focus is on DOYOUNG’s Little Light. The track is described as a band song with powerful guitar riffs (according to SOOMPI), which is an accurate description for Little Light. I would have also thrown in a ‘refreshing’, ‘revitalising’ and/or ‘uplifting’ descriptor into the mix when describing Little Light. When I first heard the song, I thought how nice some strings would have been in the background (particularly at the end of Little Light) and that led me to think of LUCY’s work (a South Korean band that I have reviewed before who is known for their use of strings in their band tracks). It turns out that Little Light is co-written by Cho Won Sang from LUCY! As for DOYOUNG, he sounds really nice. Not only does his vocal tone showcases those extra descriptive words I mentioned at the start of this section, I like how he presents himself throughout Little Light. There is a bit of a range with some some powerful notes, high notes and even some falsetto. Each were well used and at the right time, furthering Little Light as a captivating track. I do wish there was a bit more consistency within the melodies in Little Light to make it feel more cohesive. But as it stands, Little Light ticks off many boxes for me, especially the idea of it being a band track with a refreshing vibe.
The lyrics to Little Light talks about how a little light can lead someone to their hopes and dreams . Certain lines of the song speak about how it needs to be lit, is it can be the dimmest light you can ever find, or even be a star in the sky that is miles away etc. It is all quite clever imagery and presents to us the idea that little light can be something different for all of us. In the video, DOYOUNG goes searching for his little light, which he does come across a number of times. He goes chasing after it, but he loses sight of it just as many times as he spots it. But as it is his little light, it does come back to him to lead him forward. DOYOUNG went through windy conditions at one point, and also trips and grazes his face/hand. At one point, he almost gives up on his search. All of this represents the tribulations and journey we all must go on that is life. But in a happy ending, he finds his light and follows it to a hidden area that has even more little lights. While not shown, these lights somehow take him home. But before we think it all a dream, DOYOUNG notices his hands (and we can see his face) are still scraped, which alludes to the fact that journey he went through the previous night (i.e., life) still occurred. I also notice that the little light in the video is green in colour, which is also NCT’s colour. And I have a feeling that all those little lights that become one big light might be reference to the NCT fanclub. I also enjoyed the scenery and the aesthetic of band instruments behind him in the scenes where he is singing into a microphone. What a stunning backdrop.
Song – 9.5/10 Music Video – 9/10 Overall Rating – 9.3/10
I present to you my thoughts on ATEEZ’s second studio album THE WORLD EP.FIN: WILL, which dropped back on 1 December 2023. I know I have been mentioning this review for quite a bit as I have been reviewing some side tracks in preparation for this album review over the last few weeks. A total of 12 tracks, including the title track Crazy Form, four unit and solo tracks and 2 interlude/outro tracks, feature on this album. Also in some unexpected news that I just found out whilst writing up this album review, ATEEZ literally announced their next Korean comeback yesterday with GOLDEN HOUR Part. 1 and a May 31 release date. So with this album review out of the way, it is also time to prepare for ATEEZ’s next comeback (if you have already recovered from their 2 epic Coachella performances). But first, my thoughts on THE WORLD EP.FIN: WILL.
Please note that this album review also marks my final album review for a 2023 album for now. Apologies if you were awaiting for another 2023 album to be reviewed. They will form part of the list of albums that I will look to review in my spare time on an ad-hoc basis from previous years.
THE WORLD EP.FIN: WILL Album Cover
1. WE KNOW – WE KNOW builds the intensity for what is to come on this studio album. It feels suspenseful and maintains that vibe for majority of the song, which makes for an interesting opener. There is a fair bit I like in WE KNOW, such as the refrained rapping and the use of the autotune to help further that suspense and intensity. However, I feel WE KNOW’s vocals (excluding JONGHO’s impressive ad-libs) were sub-par and the instrumentation (I expected some sort of peak and not a linear trajectory to this song) was lackluster, and the hooks and melodies felt too underbaked. (7/10)
2. Emergency – Emergency steps the energy up a notch, but it takes a while for me to actually get into the track. I like the infusion of a more “epic vibe” into the instrumentation. The bass and synths definitely make the song bolder, while the members bring a certain hype energy to the table in Emergency. The best part of the song has to be the bridge – from JONGHO’s vocals to slight inclination of the instrumental to the rappers bringing up the energy in a similar manner. While the melodies do sound better in Emergency compared to the previous song, it could have gone further. The hooks were also a weak element. Had both picked up sooner, I think I would have gotten into the track a lot faster and not wait until we got near to the end to realize I like the song. (7.5/10)
4. ARRIBA – I like the exotic tinge to ARRIBA’s instrumental. It instantly attracts attention and appeals to me. In addition to the instrumentation, the energy that the members channel felt promising. The ending was the most exciting sequence of the song, thanks to the layering of ad-libs and chorus. The hooks were catchy and the melodies were almost sleek-like. I did think there was opportunity for the members to go even further and make ARRIBA feel even more of a hype track. But there is already a lot more to enjoy in ARRIBA compared to the other side tracks thus far on the mini-album. (8/10)
5. Silver Light – Silver Light’s electronic and synth-based instrumentation reminds me of Cyberpunk – a very infamous side track of ATEEZ’s. However, instead of being as intense and hard-hitting as Cyberpunk, Silver Light opts for a softer profile. I quite like Silver Light as it feels very ATEEZ, but the delicate sound profile and simmering/held back intensity is very unique and different for the group. The members’ vocals and rapping work extremely well in Silver Light, with the vocal work bringing out a more elegant sound. The rappers hold themselves back to complement the soundscape but I did like the roughness they have to offer in Silver Light. Best part of the song has to be YEOSANG and YUNHO’s English line in the choruses – their deep vocals adds to that simmering intensity that makes Silver Light so entrancing for me. (9/10)
6. Crescent Part.2 – Serving as an unofficial interlude to the album is Crescent Part.2. We heard something quite similar in TREASURE EP.3 : One To All, where Crescent (Part 1) served as an interlude with a similar soundscape of ocean waves crashing and birds in the distance. In Crescent Part.2, the instrumental piece is also quite riveting and stunning. It literally felt like nature all around me when I listen to this track. Extremely atmospheric. But it ends with a foreboding sound of a ship horn going off in the distance.
7. Dreamy Day (꿈날) – Bringing in some light to the album is Dreamy Day. I don’t have much thoughts on the instrumentation, but the brighter tone to the instrumentation did bring a smile to my face. As does the melodies. The vocals are much softer and it really did feel like the vocal line in this song took full advantage of the softer tone of the song to bring out those melodies thoroughly. The rappers are contained to just the second verse and kept to the softer brief that is Dreamy Day. Altogether, it was a very pleasant and enjoyable track. (8/10)
12. FIN : WILL – Closing out this studio album and THE WORLD era is FIN : WILL. There are some really nice narrations to the song. It starts off with questions about having painful memories and moments in the past. After a short focus on those, the questions start to become more hopeful and positive, which felt fitting for the uplifting tone that the music goes for. The backing piece is atmospheric and reflective, reminding me of a walk where you are lost in your own thoughts that are positively influenced by the nice sunny and breezy surroundings.
Over the last few weeks, I have been reviewing the solo and unit tracks from ATEEZ’s The World EP.Fin: Will that had an accompanying music video. Thus far, I have reviewed HONGJOONG & SEONGHWA’s MATZ, YEOSANG, SAN & WOOYOUNG’s IT’s You and YUNHO & MINGI’s Youth. That leaves JONGHO, who was the only member of the group to have a solo track on the studio album. The song is titled Everything. With the review completed, I can finally turn my attention to the album review – which will be posted tomorrow!
Once again, it should come as no surprise that the main vocalist of a group has gone down a balladry route for their solo track. But with JONGHO at the helm of Everything, you can definitely tell that this one is going to be an amazing one. Everything sees JONGHO and the piano start off quite soft, aligning with the lyrics that tells us that he is beginning to remember his former lover again (and on a regular occurrence). Once he approaches the chorus, the lyrics reflects his struggle with his inactions in the past and his soaring vocals in this part signifies the passion he personally feels that he would have done things differently in the past. The instrumental remains fairly neutral here. For the second verse of Everything, we get a bit more to the instrumentation and we hear JONGHO reflect how the unsuccessful relationship has affected him. We get another run at the chorus, before JONGHO really picks it up with some stunning high notes and oomph to his vocals. The lyrics here tells us he really wants to get back with his former lover. The power and emotion behind his vocals in this part tells us that he is very willing to do anything to get what he wants. But the final moments of Everything (and this interpretation also aligns with what we see in the music video – more on that in a moment) brings the story-telling to a semi-sharp ending, probably with the realisation that while his partner was everything to him, it won’t be that way anymore. Everything is definitely quite captivating and I liked how his lyrics told us a story. You can also definitely feel the emotions from his vocals and delivery. My only hesitation about the song is that the melodies aren’t as prevalent. But another great ballad for JONGHO and ATEEZ.
Similar to the song above, the music video shows us how JONGHO wants to do more in the past with his now ex-lover. At the start of the video, we see him alone, remembering about his former lover. He wanders to places where he has fond memories of her and can’t bring himself to go home. We then see his memories of the relationship and the subsequent breakdown of the relationship. The storyline and emotions in the video peaks as the song does with JONGHO’s final chorus of Everything. As mentioned above, the song finishes finishes semi-sharply (i.e., no instrumentation and final word from JONGHO). In the video, we see the partner’s presence disappear into the darkness and JONGHO only remaining at the end. From there, post-music, we see JONGHO sit around by himself and everything that gave him good memories (i.e., the basketball ring and their home) alight, which probably represents the reality that those memories shouldn’t linger but be forgotten (or else he would not be able to move on). It is a good video and I like how it works in tandem with the song and lyrics.
Song – 9/10 Music Video – 9/10 Overall Rating – 9/10
KPOPREVIEWED 