Category: KPOP

[Review] BAD – Kim Nam Joo (APINK)

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After 3 years and the release of Bird in September 2020, Kim Nam Joo made her solo comeback this week with the new single BAD. In addition to Bird, this solo comeback follows Kim Nam Joo’s departure from IST Entertainment – her home company for for 12 years. Kim Nam Joo is now signed on as an artist under Choi Creative Lab (with 3 other APINK members) and is still apart of APINK. In matter of a fact, APINK will be returning soon as a group!

Like her solo debut, BAD fails to excite me. However, it doesn’t ‘fail to excite’ me in a similar manner that Bird did, but that is my overall conclusion of the new song as it stands. I particularly wanted to clarify that as BAD contains a few elements that levels up the song (relative to her solo debut). Firstly, the instrumentation for BAD is definitely a vibrant take on pop with a brass-heavy instrumentation that gives the track boldness and flair in its background. Secondly, I felt that Kim Nam Joo herself delivered some really strong vocals throughout the track (particularly in the verses), which really complemented BAD‘s instrumentation well. I also like the melodic bridge of the song, thanks to her vocals. Thirdly, I liked the shouty approach to the outro, which summed up the better parts of BAD well. The downfall of BAD is a mixture of an alternative delivery style to what I have highlighted as a positive aspect above and that fact it occurs in the choruses of BAD. The choruses was quite unimaginative thanks to the rap-speak style of delivery opted for. It also dulled all of that energy from the powerfulness of the vocals and instrumentation in the verses. And as the choruses are the central piece to BAD, this dulling effect and dissipating energy is a huge impact on BAD, leading to that ‘fail to excitement’ outcome I mentioned earlier. It did sound like there were attempts to go into an inclining trajectory towards the end of the choruses, which I personally think could have made BAD better and recover from such dulling. But it never got anywhere. Had the choruses been better, BAD could have been a strong comeback and definite improvement from 2020.

When I look at the official English translation of the lyrics of BAD, I can’t help but think they are a messy jumble of one-liners pieced together to hopefully get a message across. It might simply be a lost in translation type of thing, but I can’t figure out what the song is about and what influence it could have the music video. So relying just on the music video, it looks like the video is showing two sides of Kim Nam Joo – both of which are ready to be bad or show off a bad side. Other than that, there was nothing that interesting elemental wise.

Choreography wise, it looked good. It went bold in the bolder parts of the song, such as during that shouty outro. This segment also highlighted stable live vocals from Kim Nam Joo at the same time. The choreography for the duller moments of the song still had attitude to it, and this helped make the performance feel and look well-rounded.

Song – 7/10
Music Video – 7/10
Performance – 8/10
Overall Rating – 7.2/10

[Review] Welcome To The Show – DAY6

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Another comeback from the day is a long awaited one. DAY6 returns for the first time since April 2021 with a new single and mini-album, titled Welcome To The Show and Fourever, respectively. Since their last comeback with You Make Me and The Book of Us: Negentropy, the band had focused on unit releases (via Even of Day); solo work for Young K, Wonpil and Dowoon; and their individual military enlistments. This is also the group’s first official release as a quartet, following the departure of Jae from the band in 2021.

To me, Welcome To The Show hits the right spots. As a return to the industry following a 3 year hiatus, Welcome To The Show is an appropriately titled single for the occasion. The lyrics, penned by Young K, is about a serenade to those who have been on one’s side on the stage that is the world (taken from SOOMPI), and I felt the lyrics themselves were quite relatable and meaningful. Welcome To The Show‘s ‘post-Britpop and progressive house elements’ (taken from SOOMPI) instrumentation was amazingly executed by the band. I liked the lively and refreshing feeling all throughout Welcome To The Show, but a really defining element of the song is that it had impact and punch, which really sold the track to me. I also really like the exclamatory of the choruses, and how it felt like DAY6 was relaunching themselves at us – all of which felt endearing when you consider the lyrics and messaging behind the song. And this ‘relaunch’ and liveliness reminds me very much of my favourite DAY6 song of all time – Time Of Our Life. Welcome To My Show also shows off the band’s vocal work splendidly. At the start, the band starts off low and almost raspy-like. By the time the chorus kicks in, we are getting upward flicks in tone and high notes that adds more to that impact and punch mentioned earlier. The melodies are also great. I found it very hard to turn away from Welcome To The Show, and I think that will be my ongoing experience with this track.

In addition to DAY6 practicing and performing on a stage in the video, we also see a love story play out. The video features Yoo Seung Ho and Choi Hee Jin, as the main and established couple. Both are part of a stage production, with Yoo Seung Ho’s character being the tech person behind the stage and Choi Hee Jin’s character is a background stage performer. At the end of a rehearsal, Choi Hee Jin stays behind to feel what it is like to be the main character of the play, and Yoo Seung Ho notices this. He stays back to help make that feeling come alive with his technical expertise with the lights and joins her on stage. As part of this main character moment, the couple sees their happy and loving future flash before their eyes, before (and back in reality) Yoo Seung Ho gets down on one knee to propose to Choi Hee Jin. The shots and focus on the characters reminded me a lot of DAY6’s past music videos, and I thought the ending was quite cute.

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

[Review] Nectar – THE BOYZ

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New week means new comebacks. And we start off this week with a big day of comebacks. One of these comebacks is THE BOYZ’s return with the third (and final, I believe) part of their second studio album PHANTASY. This portion of the album is more specifically titled [PHANTASY] Pt.3 Love Letter. Leading the third part is the title track Nectar. This comeback follows on from LIP GLOSS and WATCH IT, the lead single from Pt.1 and Pt.2 of PHANTASY.

In a previous THE BOYZ review, I made a comment that the group tends to switch between dark and bright comebacks. And I feel this album fuels this pattern, with Nectar bringing us back to the brighter sound that LIP GLOSS channeled following the darker and serious tone WATCH IT. While Nectar isn’t as vibrant and upbeat as per the former track, the track does opt for a softer and more pleasant tone compared to their more recent release. The instrumentation for Nectar is ‘mid-tempo pop track with sentimental guitar sounds’ (taken from SOOMPI) and some prominent synth work that turns Nectar into a blast when we reach the choruses. The group backs up the instrumentation, particularly that sentimental vibe, with easy on the ear and tender vocals that fit the realm of pop music. Even the rapping was toned down to be more complementary to the sound profile of Nectar. This also helps push the song’s warm and comforting messaging about ‘putting the past behind and running toward a radiant future’ (also taken from SOOMPI). The melodies were great. I also think the hooks turned out good, but I feel like the shoutier motif (relative to the rest of delivery in the song) muddled the potential for it to really feel clean and crisp, which could ultimately have taken Nectar to the next level.

What I really want to touch was the music video, which I felt embodies the song’s messaging mentioned above. But the approach the members take is a bit unconventional. The video begins with a cult-like vibe, with the group performing a ritual to take themselves back to the past (I think). I also think the time they chosen to return to was a time before some sort of tragedy struck the group, based on how there were a little memorial earlier on in the video. In their own way, they are moving away from past (i.e., when the tragedy struck) towards a brighter future (i.e., their life before the tragedy). But their approach goes against the convention that time is moving from past to future, and can only go in that one direction, as mentioned in the books we see early on in the video. With that in mind, I think the video implies that there is implications to their movements in time – such as Hyunjae donning clothing similar to the outfits the members were wearing when they were performing that ritual at the end of the video and why there were some scenes where some of the members were members are pensive or emotional during their high school days. I guess it implies that the past is still part of you no matter where you go. Anyhow, that is my personal take on the video and I would love to read about other theories you may have about the video above.

[Updated on 22/03/2024] Despite it being a softer song than usual for THE BOYZ, the choreography for this song still manages to strike a balance to showcase a little bit of intensity, but not enough to overpower or overtake the routine. This is in addition to its graceful feeling, which definitely complements the song. While there really isn’t a memorable move in the routine, II still quite enjoyed the choreography as a whole, per usual.

Song – 8.5/10
Music Video – 9/10
Performance – 8/10 [Updated on 22/03/2024]
Overall Rating – 8.6/10 [Updated on 22/03/2024]

[Review] Rooftop – YooA (OH MY GIRL)

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Making her first solo comeback in 15 months is YooA from OH MY GIRL. She returned on Thursday this week with the new single Rooftop, which is the lead single off her Borderline single album. Her last solo release was Selfish from November 2022.

Rooftop is YooA’s answer to a mature sound. This is uncharted territory for YooA, who hasn’t really explored the likes of this darker and edgy pop sound before in either of her solo or group work. I particularly like the presence of the string synths in the song. To further delve into this sound profile, Rooftop also sees YooA complement the mature sound with some bold delivery approaches – some of which pays off and others doesn’t. The first verse for Rooftop was forgettable for me. Nothing really stuck out of me during these parts, which does create a void that I cannot fill once the song ends. The choruses, on the other hand, were definitely more memorable. I liked the boldness and confidence that YooA exudes during the central piece of Rooftop. I also liked the rhythm that the instrumental had. Her sing talk delivery motif was good when the chorus started, but it became dull fast as its dragged on. The most engaging part of Rooftop was when YooA gave us melodies that felt substantial. There were other parts in the song that had melodies, but they were brief and passed over quite quickly. The takeaway here is that Rooftop should have incorporated more melodies in place of the sing talk motif to make the track more engaging. Some of the sing talk was justified, but the song didn’t need too much of it.

The music video sees YooA transform into a black bird, based on the feathers we see her leave behind in her wake. This make sense, as in the lyrics to Rooftop, YooA likens herself to a bird who’s life is being held back (like in a bird cage) and expresses her feelings as she leaves that life for another. I like the concept of YooA being a black bird, since black birds have strong symbolism. A black bird can represents one’s inner self and transformation, which is what we see is desire expressed in the lyrics and what we see YooA do in the music video, respectively. Concept-wise, it lends well to the idea of that darker, edgier and more mature vibe she has going on in the song.

YooA is known for her performance skills, and so it comes as no surprise that she flourishes on stage for Rooftop. As mentioned earlier, the performance gives YooA opportunity to tap into that mature side, bringing out a confident and sensual (at times) routine. I really like the impact she has during the chorus, particularly with the opening move with the aggressive hip sways.

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

[Review] MATZ – HONGJOONG & SEONGHWA (ATEEZ)

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As part of the ATEEZ’s latest album, The World EP.Fin: Will (which was released on 1 December 2023; album review coming soon), unit and solo tracks were featured on the tracklist alongside the title track Crazy Form. Each of these unit and solo tracks have a music video, thus making them eligible for a standard song review on my blog. Hence, in the lead up to the album review for The World EP.Fin: Will, I will be reviewing each of these unit and solo tracks separately. Naturally, the place to begin is the track with the first music video – HONGJOONG and SEONGHWA’s duo track MATZ.

With both HONGJOONG AND SEONGHWA being rappers in the group, it again comes as no surprise to me that the pair focuses on rapping and hip-hop in MATZ. While tracks like MATZ aren’t my instant go-to on any album, I can’t help but nod along to the song every time it comes up on the album or my playlists. I like how the pair does not hold back in any way or form – production or delivery aspects included. It feels like an onslaught of energy and intensity. The electronic and synths that were chosen to form the backing of MATZ is extremely textured and grungy-like. The intensity and robustness of the instrumental keeps us (the listeners on our toes). I particularly was caught off guard by the change in sound for the final sequence of the song. But the more I listen to MATZ, the more I feel it ties and sums up the song quite well by extending the aforementioned onslaught further. On the delivery side, both HONGJOONG and SEONGHWA bring a little something different to MATZ, which contributes to the heightened nature of the song. HONGJOONG sounds very expressive with his delivery, bringing energy and dynamism to the mix. On the other hand, SEONGHWA mumbles and slurs some of his words together, which I find adds a bit of personality and character to the song. I also find that he holds back the track – in the sense that it keeps MATZ grounded and not necessarily anything negative.

The music video sees the pair get kidnapped after a performance and held hostage. Later on they escape, only after they make a statement out of their escape. Further to that, HONGJOONG and SEONGHWA’s song is about their chemistry together, so the music video is definitely sending a message that nothing can hold them back when the two are together. Aside from that, I like the darker vibes of the music video, which matches up with that grungy feeling I was getting from the song. The only part that I didn’t like in the video is the use of the grills as part of their styling. Never liked them and probably never will.

As far as I am aware, MATZ is the only unit track from the latest ATEEZ album to actually have a ‘performance video‘ (i.e., there is choreography). Just like the song, the routine is super intense and the pair (along with the dancers) make sure to reflect this in the performance. I also like their chemistry and their individual expressions, which adds to the energy and vigor of the performance.

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

[Review] Wish You Hell – WENDY (Red Velvet)

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WENDY made her solo debut back in 2021 with Like Water. Almost three years on, WENDY returns as a solo artist with her second mini-album and title track of the same name – Wish You Hell.

Wish You Hell is a simple pop track, with a nice bright profile that sounds fitting for WENDY and rhythmic guitar work that helps keep the track moving along. I really like the punky start to the song and wish that was carried on throughout Wish You Hell a bit more. The song stays firmly in the pop genre, and I think is a missed opportunity for Wish You Hell to have more bite and oomph, especially since I felt the groundwork and foundation for exploration of that genre to already be there in the song. That being said, WENDY does sound great in Wish You Hell and the ad-libs we hear at the end definitely brands the song as her own. But no matter how many times I have listened to Wish You Hell today, my main question is whether the song is too simple for WENDY. We all know that WENDY could have taken on a song with much more complexity. Take her solo debut Like Water or collaborations like last year’s Miracle (with MeloMance) as examples of what WENDY could do. Now, I don’t mean she needs to belt out each song or have to tackle a ballad each time. In fact, exploring that punk genre could have been the solution. But repetitive lyrics and a feeling that Wish You Hell doesn’t go anywhere doesn’t do WENDY justice and is definitely not what she is capable of. But like I said, the question above shouldn’t take away that WENDY sounds great in Wish You Hell as is and executes it well.

One particular line in Wish You Hell stood out for me – “In my villain era“. That one line basically summarises the song, which is about being a completely different person thanks to an ex. In the lyrics, she references that she is no longer the nice person that she once was (depicted by the innocent version of WENDY we see in the coffin dressed in white) and have become a stronger version of herself (depicted by the version of WENDY we see dressed in black). I like how the lyrics touch on the fact that everyone thinks she is mad, which she does rebut in the lyrics. We see princess version of WENDY smash cakes and another version of herself trashing a party. I did also like the comedic touch of WENDY dragging the coffin containing her other personality out and the presence of the janitor reacting to the aftermath to her crashing the party. The music video is also bookended with the sound of thunder and a slight creepy vibe, which I wished the music video explored a bit more. But what we got conveys the lyrics well enough.

Song – 7.5/10
Music Video – 9/10
Overall Rating – 8.1/10

[Review] LIGHTHOUSE – TEMPEST

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Also returning yesterday is TEMPEST, who makes their comeback with the single LIGHTHOUSE and TEMPEST Voyage mini-album. We last saw the group via their Vroom Vroom comeback in late 2023. The group also returns with one less member, as Hwarang is made to sit out of promotions by his company due to the recent “controversy” (where he was caught attending a club).

As mentioned in my Vroom Vroom review from last year, TEMPEST’s more likeable songs have been pop-leaning. And LIGHTHOUSE is both likeable and pop-leaning, adding more evidence to this trend in TEMPEST’s release. LIGHTHOUSE feels quite breezy and refreshing, with the chorus featuring synths within the background that reminds me of the tropical house era of KPOP. It isn’t as heavy handed as per that era. These tropical-house like elements are used lightly in the background. I wished we got a tad more, as I feel that could have made the central piece of LIGHTHOUSE pop out more. Other than that, LIGHTHOUSE focuses more on vocals and melodies, which makes the track feel pleasant and enjoyable. The group does employ some rapping, but it is mainly limited to the second verse due to the vocal focus of LIGHTHOUSE. And there is also some shouty delivery in the second half of the chorus, which does ultimately gives the chorus a more generic exterior. But I will acknowledge how it is controlled and doesn’t get away from the rest of the track. All in all, I like this comeback.

The song expresses the idea that the group is willing to be the guiding light (like a lighthouse) for those who need it. Throughout the music video, we see the lights around the members light up. But I like how the video isn’t just a one way street, with the members also finding their own guiding lights throughout the video (which I presume is a reference to their fans and loved ones). I also like how they had a sailor concept going on in the video, which makes sense given the song references the sea.

Nothing stands out specifically on the choreography front for this comeback. But the routine as a whole still looked good, and I wouldn’t mind returning to watch it.

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

[Review] EENIE MEENIE – CHUNG HA ft. HONGJOONG (ATEEZ)

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Also making her comeback today is CHUNG HA, who returns for the first time in 1 year and 8 months since her Sparkling comeback in July 2022 (and what was supposed to be the first part of her second studio album Bare&Rare). Since then, CHUNG HA went on an extended break from the industry, left MNH Entertainment and signed on with More Vision (the home of Jay Park, Honey J and some dance crews). Today, she returns with the single EENIE MEENIE, which features HONGJOONG from ATEEZ.

Signing onto a hip-hop label was the first sign that CHUNG HA was going down the hip-hop genre. But I did not expect that she would lean in this hard into the genre through EENIE MEENIE. Despite being well rooted in the genre, I feel that EENIE MEENIE keeps itself laid back. The instrumentation going with a minimalistic vibe, with the bass giving EENIE MEENIE a lot of character and personality to work with without the aid of much else. That being said, CHUNG HA does offer a bit more to the song down the track, with the pingy twangs we hear during the instrumental break adding further to that character and personality. As for her delivery, CHUNG HA’s main vectors in EENIE MEENIE are both graceful vocals and a sing-speak approach for the central piece of the song, with the latter being the more prominent delivery mechanism. There really isn’t much to the song that really give us an opportunity to sink our teeth in. But yet, I found EENIE MEENIE‘s minimalistic approach and CHUNG HA’s vocal charisma to keep us captivated and bring forth a stylish aesthetic. As noted above, HONGJOONG from ATEEZ also features in the song. His usual energetic delivery style is here, but I like how he also holds back to make sure he fits in with the rest of EENIE MEENIE. It might not be the track you expect from CHUNG HA, but it is definitely impactful and memorable.

First watch of the music video and I am totally digging it. So much so that I had 10/10 floating in my brain from the first watch. The entire video dons an urban look, which I find is simple and effortless looking. The post-production throughout this video is on point (particularly the changing garage doors). So are the camera work and styling. That person in the very shiny outfit was creepy but definitely a memorable aspect of the video. Also memorable is CHUNG HA’s visuals. Her outfits alone look amazing. I also like that HONGJOONG was part of the music video. Always nice to see the featuring artist in the video, no matter how brief it is.

Another part that contributes to the music video are the choreography shots. And given that this is CHUNG HA we are talking about, this aspect is (not surprisingly) nailed amazingly. She is both charismatic and captivating throughout the performance for EENIE MEENIE. It was hard to turn away from the her dance and the choreography scenes in general. And there is also a human slide that she slides down in the performance. As if that wouldn’t be up there with the rest of her epic performances from the past.

Song – 9/10
Music Video – 10/10
Performance – 10/10
Overall Rating – 9.5/10

[Review] BODY – HIGHLIGHT

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One of the comebacks that is starting off this new week is HIGHLIGHT’s BODY, which comes from their latest mini-album Switch On. This is HIGHLIGHT’s first release since a while back – their AFTER SUNSET and Alone era from November 2022.

BODY returns HIGHLIGHT to the fun that they began with when they rebranded from BEAST to HIGHLIGHT. I really enjoyed the lightness of the track and the playful vibes that are given off from all aspects of the song. It all begins with some catchy whistling that recurs throughout BODY during the first half of the choruses. And the whistling is also paired super well with the catchy choruses. And the chanty anthem-like first half to the chorus is super addictive. The melodies in the second half of the choruses felt simple and didn’t needlessly complicate the song, while the vocal work felt substantial and stylish. This same simple and stylish principles was also channeled throughout the vocal work in the rest of BODY. The first verse came off very suave and chic, while the instrumental break we get as part of the bridge has this fun brass synth like element that kicks the energy up a notch. For me, the only misstep in the entirety of BODY is the second verse, which went for a typical trap-based sound. I wished this was not the case, as it does dull BODY a bit. But aside from that one dislike I have about the song, BODY is definitely a great track that I will probably have stuck in my mind for the rest of the week (and possibly beyond)!

A fun music video is definitely what is needed to complement the likes of BODY and that is what we get. Everything felt lighthearted and I liked the comedic touches the members bring to the video. Some of those comedic touches are part of the group shots (like the ones where they are wearing sunglasses) or in the background of a members’ solo shot, such as those that form part of the second verses and bridge. My favourite has to be DOOJOON playing the trumpet very passionately, and the other members can’t hold back their laughter. On the flip-side, the music video also plays towards BODY‘s stylish side, which is also done through other solo and choreography shots by way of styling and their handsome looks.

Parts of the choreography takes a literal approach, where the members and dancer shaker their body with the music and lyrics of the song. The dance break we get also looks very fun, while the rest of the routine continue to highlight the group’s performance abilities that made the group widely known in the past and despite the members being above 30.

Song – 9/10
Music Video – 9/10
Performance – 8.5/10
Overall Rating – 8.9/10

[Album Review] Do It (1st Studio Album) – YOUNGJAE (GOT7)

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For those who don’t know, I am a massive fan of GOT7 and the member that always drew me in was GOT7’s main vocalist, Youngjae. So naturally, I just have to make time and sit down to write a review for Youngjae’s studio album release, Do It. Youngjae’s Do It was released back in November 2023 and features a total of 10 songs, which includes the title track of the same name. Bias aside, I like the album. It isn’t the knock out album that I seek, but it is another great taste into what Youngjae has to offer as a solo artist, following his past mini-album releases of Colors from Ars (lead by Vibin) and SUGAR (lead by the title track of the same name).

Do It Album Cover

1. Flower – Starting the studio album is the synth pop Flower. I liked the prominence of Youngjae’s vocals over the synth instrumentation. I also enjoyed the impact that Flower (as a whole) has impact as an opening track – thanks to those prominent vocals and hefty synth work. (8/10)

2. Do It (Title Track) – Click here to read my review for Do It. (8/10)

3. Deal – Youngjae turns to a groovy motif for Deal. I really enjoyed his vocals in this track, as it had so much character and personality from Youngjae. The instrumentation made me want to boogie in my chair, as well. The unexpected moment in Deal is definitely Youngjae rapping in the bridge and he does so effortlessly. The meatier tone that he uses is definitely shocking for a fan like me, but I also like how his vocals backs up the rapping in the latter parts. A definitely strong track on this album. (9/10)

4. Dreaming Again – R&B and synths comes together in Dreaming Again. It is a good song, again with prominent vocals from the solo artist and some trendy twinkling synths. I do wish that both aspects of the song were toned down a bit to potentially appear more aesthetic, and that there was something to cut through the consistency of the track. I think both of these could improve Dreaming Again by quite a bit. (7/10)

5. Problem – Youngjae returns with a deeper tone and a really slinky R&B instrumentation in Problem. Both sets Problem up quite well and are carried throughout the track. I also liked the touch of bass in the background and how his vocals climb towards the end. The song also features catchy melodies and hooks, which helps making Problem a memorable track to me. (9/10)

6. Errr Day – Err Day is actually a single released much earlier in 2023 and is one that I haven’t been able to review yet (it also got a music video; in case you missed it). The track itself has a nice light summery vibe, which complements the warmer season that was approaching at the time of release. Err Day also features dreamy vocals from Youngjae, which helped make the melody comforting and pleasant sounding. (8.5/10)

7. Fluffy – If you are a fan of Youngjae, you are probably aware that he has a pet dog named Coco. And he is definitely massively in love with Coco, given that Fluffy isn’t the first song he has written for his dog. Regardless if you knew the context of the track or not, Fluffy is definitely a sweet-sounding track – you can definitely feel the love from Youngjae. I liked the guitar and wooden xylophone in the background, particularly since they gave Fluffy such a playful and fun vibe. (8/10)

8. Snooze – Snooze brings the acoustic guitar into play, whilst also bringing back the dreamy and comforting vocals that we have heard earlier on in the album. While the track isn’t usually my style or go-to, I can’t help but smile to the track. Youngjae has always had that effect on me, and Snooze is just proof of that in song form. (8/10)

9. Thinking of You (자꾸 네가) – Thinking of You is the ballad you could see a mile away. It is beautifully instrumented with piano and Youngjae’s vocals are quite captivating, especially as you get towards the end. The band instrumentation that kicks in for the final chorus brings the track home. Definitely one of the best tracks on this album. (9/10)

10. Never Leave You Again – The final track on Youngjae’s first studio album is Never Leave You Again, a song from him to his fans. I am sure fans of his (and GOT7 more widely) have found this to be a touching song. Music wise, I really like his vocals in this track, especially when they are backed by his own backing vocals. While it could have been a ballad, I also appreciate the pop vibes that feature in Never Leave You Again. It feels on brand for Youngjae. (9/10)

Overall Album Rating – 8.4/10

Youngjae’s Do It Teaser Image

[Review] We Don’t Stop – xikers

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xikers made their comeback on the final day of the week with the single We Don’t Stop and their 3rd mini-album, House of Tricky: Trial and Error. It is their first comeback of 2024, after their debut with TRICKY HOUSE and first comeback DO or DIE.

There is a whole lot going on in We Don’t Stop and you never know where the song was going next. But despite being a lot, We Don’t Stop always revisits a common denominator in all its sequences – 90s hip-hop. And true to the song’s title, xikers don’t stop in We Don’t Stop. They constantly delivered throughout the track, particularly impressing me with their expressive rapping style. This, in combination with an ongoing rock influence in the instrumentation for We Don’t Stop, creates a promising start to the song and brings out an even more profound hip-hop influence. The chorus ends up being less memorable, with the instrumental overpowering the group’s delivery in a few regards. I wished this was not the case, as a more prolific chorus could have made We Don’t Stop unstoppable. The post-chorus soft ‘Break it, Break it down‘ was a really nice palate cleanser and provided some much needed relief from the robust energy that comes off We Don’t Stop, yet it doesn’t stray too far from the rest of the song. A heavier dose of synths come into the play in the second verse before the rock style comes back into the play for the chorus and bridge. Finally, We Don’t Stop ends with a slower paced but energy packed hip-hop anthem sequence, which really emphasised the 90s influence and formed a dramatic and impressionable end to the song. Yeah, a lot going on as I have already mentioned. But this lot is pretty great, minus a hiccup or two.

Just like in the song, xikers and the production team for this accompanying music video leans into the 90s hip-hop style strongly via the members’ outfits. There is also some cool set designs and some cool effects in the video (like the bouncing buildings in the second post-chorus sequence). Apart from that, it is a rather straight forward video that complements well with the song and the group’s youthful energy.

Two things stand out from this routine for me. The first is how fun it looks. This sells the choreography and reflects the energy of the song quite well. The second, which might also contributed to the first one, is the group’s expressions throughout the routine. They were really into it and made the entire choreography even more expressive and memorable, as a result.

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

[Review] Love or Die – CRAVITY

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CRAVITY also made their comeback last week with their 7th mini-album, EVERSHINE, with the single Love or Die leading the charge. It is the group’s first comeback since their September 2023 comeback with Ready or Not and MEGAPHONE (which was promoted in November 2023). It also follows the group’s debut Japanese release Dilly Dally (which I will review in an International Songs Review post some time in the future.

If the opening moments of the Love or Die told me anything, it was that Love or Die was going to be a great song. And CRAVITY delivered on that. I will definitely admit that it needs improvement to become a perfect song, but Love or Die has a nostalgic pop rock sound that I enjoy. What I liked even more is that the producers kept that sound profile from start to end, and this makes a great example as to when consistency is a positive aspect of the track. The melodies in the chorus made the delivery so smooth, and this contrasted well with the roughness that the rock influence will always bring to a track like this. The post-chorus rapping really fits in well with the wider song and felt just right. However, I felt like I would have enjoyed Love or Die even more if the rock was prolific and bolder during certain parts, just to give Love or Die some extra oomph and energy. This could have taken Love or Die to the next level. Instead, we got a more muted execution with the pop rock in Love or Die. Now, there is nothing wrong with the muted profile. as it did an amazing job of bringing emotions to the forefront of the group’s vocals and rapping. But I don’t think it would’ve hurt for Love or Die to up the ante a tiny bit more.

Love or Die expresses one’s desire desire to either live or die on the basis of whether their lover is with them or not with them (respectively) after a breakdown in the relationship. The song did a good job of relating the second aspect of the lyrics to a nightmare and darkness. With that in mind, it makes sense the music video takes on a darker and moodier vibe representing the current state they are in and the decision they have to make, which works well with the grungier rock influence the song features. I particularly like how the producers of the video kept the music video from looking dated via the outfits. The outfits, and even the sets, somehow made it look refreshing. Not sure how, but that was the impression that came off the video for me.

I like the start of the performance where one of the members is lying on top of the legs of the other members. It was an interesting formation to begin with. Other than that, it is a fair performance. Nothing memorable comes out of it, but the stage performance as a whole definitely worked well with the song.

Song – 9/10
Music Video – 8.5/10
Performance – 7.5/10
Overall Rating – 8.6/10

[Review] TAP – TAEYONG (NCT)

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My hypothetical time machine has taken us from January 2024 back closer to present day so I can cover TAEYONG’s first solo comeback since making his solo debut with SHALALA. TAEYONG’s new single, TAP, was released a week ago alongside his second mini-album of the same name.

TAP faces a similar issue to its predecessor (SHALALA) in that it is weak. It kicks off promisingly, with some heavy bass and strong delivery from TAEYONG. The brighter and pop-tinged instrumental kept the song upbeat and somewhat fun sounding. But TAP‘s main weakness becomes prevalent when we reach the chorus – it doesn’t feel like a chorus. Elements of it does make it a chorus, such as it is the repeated sequence that the song goes back to and that it has a good catchy rhythm to it (which serves well in place of a memorable melody, given it is a hip-hop song). But the central piece to TAP simply feels like an extension of the verses. There is no boldness, body or added definition to bolster it up and sell it as a main event for the song. In a way, just like SHALALA, it results in the song coming off as monotonous. But the other positive aspects of the song I have pointed out above does give TAP an edge, which in turn makes it a slightly better song than his debut.

The music video sees TAEYONG explore Japan, through what has been pointed out to be a parody of a famous Japanese TV show. We see the video set outdoors in Japan and TAEYONG experience the culture of traditional bathhouses and bedrooms, the arcade and even dango (a sweet Japanese dumpling). But this has caused some controversary with viewers who question why the music video needed to be set in Japan, given that this is a Korean release and not a Japanese release. For me, I feel like the music video is aiming to complement that fun side of TAP, but I can’t answer as to why it needed to be set in Japan.

The performance was actually quite laidback, which caught me by surprise. I was expecting some really complex routine. But what we got was much simpler. It doesn’t mean we were shortchanged however. TAP definitely had some tapping in there and I liked how he still managed to make that simpler routine fun and charismatic. It also helps that the styling for this comeback felt on point.

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

[Review] GRAB ME – AB6IX

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We go back in time again to a few weeks back in January 2024 to cover AB6IX’s latest comeback GRAB ME. it is the title track off their 8th mini-album, The Future Is Ours: Found. This is the group’s first comeback since May 2023 when the group returned with The Future Is Ours: Lost and the lead single LOSER.

For me, GRAB ME delivers in terms of oomph and intensity, delivering a purely dynamic dance track that really shoots the group back up to the front of the line. There is honestly never a dull moment in this track, with it firmly in the pop realm and the addition of guitar riffs adding a rock tinge to the song. That in itself is enough to GRAB ME (excuse the pun). The relatively softer opening verse promises great things in GRAB ME (which AB6IX delivers throughout the rest of the track). The pre-choruses strips it all back to relatively minimal style to give the incline to the chorus (and subsequent centrepiece) more impact. The bridge brings in a more hollow style of guitar riffs into play, which was a neat way to change the music without altering too much of GRAB ME to make way for it. Like most people, the change in tone during PARK WOOJIN-led post-choruses’ caught me off guard initially. But over multiple listens, I have grown to like the sequence and finds it adds a really nice contrasting energy that surprisingly doesn’t disrupt the momentum of the song. In terms of the members, the quartet did a very solid job and made sure their presence was known in GRAB ME by ensuring their vocal and rap delivery complemented the dynamic style of the song. Overall, GRAB ME is a great song and one I wished really got the group some deserving recognition.

GRAB ME expresses the group’s experience of moving forward even during the dark and unhappy moments in their journey together. Here are my guesses on what the different scenes represents. We see WOONG jump off a building onto PARK WOOJIN’s car (representing those darker moments) and DONGHYUN being surrounded by glitchy teddy bears and TVs (which my guess is a representation of the pressures of social media). But as the song lyrics go, they cannot imagine living a life without each other, and so we see WOOJIN joining WOONG in smashing the car with a bat, while WOONG joins DONGHYUN to smash the glitchy TV screens. The only member whom we don’t really see interact with the rest of the group is DAEHWI, who is tangled in caution tape and has fragile stickers on him. My guess is that his scenes represents that the lyrics aren’t just about AB6IX’s experience, but also how the message can be applied to the wider audience. That being said, we do see DONGHYUN searching for DAEHWI in one very brief scene later on. The only scene I am not sure about is WOOJIN’s scene where he is surrounded by water bottles. My initial guess are those bottles represents tears and sadness (?). By the end of the video, the group regroups together in the darkness and rain (unhappy moments) and enjoy each other’s company in that moment. The video also draws some elements from their LOSER video, such as the flowers and the burning car (which the members come together to burn in this video).

Boy, this routine looks tough and quite tiring, particularly when the members get to the chorus. This is undoubtedly GRAB ME‘s most upbeat sequence and I would think this is their most involved routine to date (which says a lot, given AB6IX’s repertoire of complex and powerful choreography). As such, the members and dancers’ efforts and determination shine in the execution of this choreography and should definitely be applauded. I particularly like the post-chorus sequence, which felt bold and complements well with the music.

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

[Album Review] Expectation (2nd Mini Album) – D.O (EXO)

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We continue to bounce around the past year through the album review segment. Today, I am reviewing D.O’s 2nd mini-album, Expectation – his first solo release since finishing his military enlistment and solo debut back in 2021. It also follows on from D.O’s participation in EXO’s long awaited comeback with Cream Soda earlier on in the last year. Expectation features a total 7 tracks – the title track Somebody, the pre-release track I Do and five additional tracks.

Just some overall impressions on this mini-album to hope entice you to check out the mini-album if you haven’t yet – it is a highly recommended one from me. In hindsight, it should have been nominated for Best Album of 2023. But as I reviewed it way too late, I missed that opportunity and have robbed D.O of a potential win in that category. Massive apologies! But do check out the mini-album and let me know which is your favourite track as I have a few on here.

Expectation Album Cover

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

2. Wonder (기적) – I quite liked the upbeatness that Wonder featured. The indie pop sound came through so nicely, with the acoustic guitar being a really nice constant to keep the song grounded. The beat to Wonder is also definitely foot-tapping worthy. D.O’s vocals brings so much sweetness and cheerfulness to the table, and the melodies were just so captivating. I like the additions to the instrumental as Wonder went on, such as the claps we hear towards the end. These additions enhanced the cheerfulness and happy vibes that comes off the song, and made the indie track a little punchier so it wasn’t too consistent from start to end. Overall, a very easy-going and easy-on-the-ears listen that I personally enjoyed very much on this mini-album. (9/10)

3. I Do (별 떨어진다) (Pre-Release Track) – I Do was released back in early September, around two weeks before the official release of Expectation. My thoughts on Wonder can be reflected on I Do just as well, but there are some minute differences that does set it apart from the latter song. Firstly, I Do feels a lot more simplistic thanks to its instrumentation. I felt we steered towards more straight-forward pop in I Do and the only main instrument that makes up the backing is an acoustic guitar (with some bass). Simplicity can be said about the melodies as well, which I felt became even more attractive and addictive the more I listened to the song. And finally, D.O vocals were just stunningly effortless in I Do. (10/10)

4. Lost – Packing a punch is Lost, which is probably my ultimate favourite on this mini-album. Lost conveys a much heavier dose of emotions given the lyrics focus on a breakup. But we are not talking ballads here. Lost is a pop track, with the chorus featuring thumping beats that drive the song forwards and a darker pop-rock-like motif that adds complexity to this mini-album. I feel like this could be his answer to a dance track and would love to see how he would present this to us on a stage. With his vocals, you can hear how he ups the ante with more passion and power when it matters the most to make this an impactful and unforgettable song. (10/10)

5. Ordinary Days (내일의 우리) – Every time Ordinary Days plays, I get lost in it. I just find myself getting whisked away with the paced nature of the instrumental, and D.O’s vocals serves as the perfect vehicle to take me away. Everything is definitely a lot more delicate in Ordinary Days, compared to the other songs, but this shouldn’t scare you away from thinking it is just another ballad or is too slow-paced for you. (9/10)

6. The View – The View was the song that spoke to me the least on this mini-album. But I still find it to be quite pleasant one. D.O’s vocals are still captivating enough to fall into, and I liked the indie coffee shop inspiration behind the instrumental outro that closes out the song. I just wished there was a bit more to the song, such as a more memorable melody. (8/10)

7. Lost (Acoustic Version) – While I don’t tend to make comments on alternate versions of a song in my album review, the acoustic version of Lost felt like needed to be spoken about. Even without the oomph from the instrumentation of the original, this version still manages to come off as stilling. And I love the raw and unprocessed nature of his vocals in this version. I won’t include a rating for it, but it is definitely on par with the original.

Overall Album Rating – 9.2/10

D.O’s teaser image for Expectation

[Review] ONE SPARK – TWICE

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With TWICE’s pre-release single for their latest album release (their 13th mini-album, With YOU-th) now reviewed, it is time to turn to the big release of the day – TWICE’s comeback single ONE SPARK.

ONE SPARK is a good song, from my point of view. It feels sophisticated, classy and mature in a bigger picture sense. But unfortunately, the first and second run at the chorus flattens out the song. This feels rather disappointing given the edgy and impactful second half of the pre-choruses that leads into the choruses. The third and final run at chorus actually had a dynamic touch thanks to the added clapping effect and detailing to the instrumentation, which allowed it to feel more alive and satisfying to make up with the flatter effect. For me, the problem stems from the melodies and hooks in the centrepiece of ONE SPARK, which doesn’t have much bite to them. But they do set a good foundation to build upon to get to that next level. Had ONE SPARK featured stronger melodies and a more prolific hook in its earlier choruses, ONE SPARK for sure could have taken to the next level. Elsewhere in the song, the members executes ONE SPARK in solid fashion, with good vocals and brief touch of rapping just before the final chorus. Both MOMO and NAYEON had standout parts in this song, with MOMO’s edgy style coming through the first second half of the pre-chorus and NAYEON’s vocals to close out the song (without any instrumentation) was an interesting yet effective ender to the song. The dreamy parts of the pre-chorus, courtesy of MINA and TZUYU were a strong runners up. While the foundation of ONE SPARK is good and it succeeds at that bigger picture level, improvements can be made to make it even better.

The music video captures that sophisticated, classy and mature feel quite well. And I liked that initial impression from the music video. I like the idea of the elevator going upwards, with the numbers at the top of the elevator signifying their journey since debut to ‘timeless’. It pairs well with song’s lyrics, which highlights their never ending passion to get to that ‘timeless’ point in their careers. And the scenes scattered throughout the video amongst the elevator scenes shows the members together, further highlighting that their collective passion together is what got them to this point in their careers.

The choreography for this comeback is awesome. The music video definitely puts the best foot forward during each part of the song, but I am sure the rest of the routine is just as good. From what I could see, the routine in the verses look interesting, the first half of the pre-choruses felt graceful, the second half of the pre-choruses that ramps us up to the choruses felt edgy, the choruses themselves looked lively and definitely not flat like the song came off. The choreography associated with the final chorus itself looks exciting.

Song – 8/10
Music Video – 8.5/10
Performance – 9/10
Overall Rating – 8.4/10