Category: KPOP

[Review] On And On – AMPERS&ONE

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That same time machine of mine from yesterday takes me back a further two weeks to 15 November 2023, when AMPERS&ONE made their debut. AMPERS&ONE is the latest male group to debut under FNC Entertainment (the home of FT ISLAND, CNBLUE, SF9, N.Flying, Cherry Bullet and P1Harmony). They consist of seven members (Kamden, Brian, Jiho, Siyun, Kyrell, Mackiah, and Seungmo) and debuted with the single On And On.

On And On is definitely a strong debut track in my books. While I didn’t get much of a chance to focus on their debut when it actually occurred, listening back now, I am disappointed in myself for missing out. On And On is very upbeat and refreshing, opting to focus on their youthfulness and bright energy (as opposed to the darker and more serious motif that fellow labelmate P1Harmony brings to the table). The backdrop of the song is a dance pop instrumentation, with a groovy bass rifts throughout the song to give it a bit more dynamism. And adding even more dynamism is the fact that the song consistent with its energy. On And On never falters and this is another great example of where consistency pays off. The verses features some punchy rap delivery and highlights the group’s skills in this department. The chorus, while less innovative, drives On And On forward and brings forth the group’s vocal abilities. Strong melodies is all that On And On needs to take it to the next level. All in all, I think On And On is a good foot in the door to the KPOP industry, and I am excited to see what

AMPERS&ONE’s debut music video takes a refreshing spin on the schoolboy concept by relocating the members into a college or university setting. As far as I believe and can remember (forgive me, but I have covered a lot of videos over the years), this isn’t a common concept. Within this college/university setting, AMPERS&ONE doesn’t have much luck with their studies or the college life. It is very much a chaotic mess. One of the members rocks up to the wrong classroom and ends up turning late on his first day. They are handed a very confronting and thick as a textbook lecture schedule. They cannot get a good timetable/class schedule because one member decided to disconnect everyone from the WIFI. They can’t handle a group assignment and turn that in late because they only started at the last minute. And finally, one of them doesn’t finish the exam in time. Pretty much a nightmare for a nerd for me. Glad I have graduated.

The accompanying performance doesn’t have anything specific within it that I would call memorable. However, I feel like this is one of the performances you got to watch as a whole to really take everything in. For example, watching the entire routine would allow you see how well the group executed the fast pace nature of the routine, which was necessary to complement the song. Similarly, their chemistry as a group is also promising.

Song – 9/10
Music Video – 9/10
Performance – 8/10
Overall Rating – 8.8/10

[Review] Must Be Nice – ONE PACT

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A number of new KPOP groups entered the scene in late 2023 – all of which I have yet to review. So using that trusty time machine of mine, I have decided to go back in time to review those new debuts over the next few days. First up is ONE PACT’s debut with their debut mini-album Moment and the lead single Must Be Nice. This group was formed under Armada Entertainment, consisting of 5 members: Jongwoo, Jay Chang (a Boys Planet contestant who ranked 10th on the show and also a late 2023 solo debut artist as well – I will return to review his debut later on), Seongmin, Tag and Yedam. They debuted on 30 November 2023.

How I would describe Must Be Nice is in its title – ‘nice’ if you are wondering. Must Be Nice is an extremely pleasant dance pop track with a mellow vibe. The track itself features a gentle beat and a decent drop in its chorus that the group managed to make come off as soft. I also like the the detailing in the song via the squirrelly synth work and the “Ooo-woo~” in the choruses. Extremely pleasant is how I would also describe the vocal work in Must Be Nice. I find all of their vocals really nice to listen to and I enjoyed the emotion that they convey in the song. But that is kind of it with Must Be Nice. I don’t remember much else from the song months on from its release. And lot of what I am identifying and writing about here is only coming up because I am really paying attention to the song now for the purposes of this review. I wished they took Must Be Nice is a more eventful direction, rather than keeping it understated and consistently pleasant. If I were to listen to the Must Be Nice in passing later today or tomorrow, I won’t remember much of it. For a debut, that isn’t the best foot forward. Sure it is nice, but I think ONE PACT should be searching for something more memorable.

Must Be Nice expresses the feeling of loneliness in a one-sided relationship where one is willing to do anything for their partner but receives nothing in return from said partner. And we see that in the music video, with the group’s acting conveying that lonely feeling and associated emotions that come with it. The video opens up with a painting that depicts Orpheus the prophet looking at his wife Eurydice. After a bit of a Google search to understand the story, I found that Orpheus went into the underworld to rescue his dead wife. Hades (God of the Underworld) gave him one condition, that Orpheus could not look back at Eurydice until both have reached the upper world. But as soon as he reaches the upper world, he forgets the condition he agreed to, looks back at his wife, and this resulted in Eurydice returning to the underworld. Its significance to the music video (and I am only speculating here) is that constant feeling of loneliness that Orpheus must have felt before, during and after the rescue attempt. And the fact he put himself in that position, similar how to the members constantly go back to the partner despite knowing how the one-sided the relationship is. The same painting is later set alight in the music video by one of the members, signaling the end of that relationship.

The performance looks good and shows me some potential for the group that the music didn’t do too good of a job. I particularly like gracefulness of the choreography, which contrasts well with the relatively rougher exterior that any synth work brings along. I felt it depicts the emotional side of the song quite well. I also liked the solo we get from Jongwoo in the choreography.

Song – 7/10
Music Video – 9/10
Performance – 8/10
Overall Rating – 7.8/10

[Review] Magnetic – ILLIT

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Also starting Monday off strong is the debut of ILLIT – a 5 member female group formed via the survival show R U Next?. They under Belift Lab (the home of ENHYPEN and a subsidiary of HYBE Label) and the member lineup consists of Yunah, Minju, Moka, Wonhee, and Iroha. Their debut single, Magnetic, forms part of the group’s first and debut mini-album, Super Real Me.

I will admit it, Magnetic is catchy and I can see it snowballing into an addictive song for me. Its cutesy, which can be attributed to the combination of ILLIT’s youthful vocals and the bubbly synths choices and 8-bit like sounds in the background. The instrumentational, overall, also equates to an upbeat dreamy vibe. I appreciate that the cutesiness of Magnetic doesn’t feel overdone or over the top. Another thing that I also appreciate in Magnetic is the fact that the song is light and easy-on-the-ears, which contributes to the track being catchy (and potentially addictive, as aforementioned). So far, praises across the board for the new song and group. But if I were to step away from focusing on just the song and looking at the bigger picture, that is where the ground that Magnetic is on starts getting shaky. Whilst new, Magnetic doesn’t offer anything new or innovative. There isn’t anything wrong with this approach, as ILLIT has proven via Magnetic they can do this style well and can really make it their own thing. But I kind of wished the group and their producers did something a little more unique, just to give them a bit of more individuality. I guess we will find out more in their next release. As for now, Magnetic get ticks from me.

The music video for ILLIT is okay. To be honest, I find it to be quite plain. Sure, it is cutesy (going hand-in-hand with the song) and the camera work makes it feel energetic enough for the song. But we have seen similar cutesy tropes and tropes that focuses on the young age before. And I am not entirely sure what is going on, and I don’t think find myself compelled enough to find out. Their styling, at present, reminds me a bit too much of NewJeans. And to be reminded of NewJeans whilst watching a newly debut group isn’t the best impression for the newly debuting group.

In terms of the choreography, I really like the mini bouncy energy that they give off with their dance moves. I also find their footwork and handwork to be captivating to watch, and this gives them an edge in their performance. The cutesy vibe that travel through to the choreography as expected, but I like how they made full use of that vibe throughout the routine to enhance the routine.

Song – 8.5/10
Music Video – 7/10
Performance – 9/10
Overall Rating – 8.2/10

[Review] Smoothie – NCT DREAM

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NCT DREAM made their return yesterday with a brand new mini-album Dream()Scape and the single Smoothie. This is the group’s first release after their ISTJ, which featured the title track of the same name, saw a whopping 4.2 million in pre-orders and 3.65 million in sales. Dream()Scape is already breaking records for NCT DREAM, with the new mini-album already breaking the group’s highest first day sales record (from what I could see on my timeline on X).

Unlike what the song title suggests, Smoothie is not a smooth song. It is definitely more coarse in terms of texture, given the mixture of rough and hard-hitting synths, intense rapping and melodic vocals (which does give Smoothie a hint of smoothness) that make up the new NCT DREAM track. I also note that Smoothie is a lot darker than usual, with the song leaning super hard into that intense and serious territory via these same elements – not expected with a song titled Smoothie at all. Each of these elements are great aspects of the track. The backing of Smoothie goes down hip-hop territory with 808 bass line and snare rhythm (based on a Soompi article). There are also some cool and interesting synth choices made for the detailing of Smoothie throughout the track, which gives the backing of Smoothie some liveliness and colour. The rapping is definitely the highlight of the track, with MARK, JENO, JAEMIN and JISUNG really bringing their A-game to the track and contributing to the intensity of Smoothie. And as mentioned above, the vocal sequences are melodic and brought a much needed relief from the intensity in the form of smoothness. The only gripe I have about Smoothie is the chorus. As charming and catchy as it is, it felt plain. I was waiting for something exciting to happen in the central part, but that never eventuated due to the simultaneous and consistent monotonous repetition of the title and the anti-drop in the instrumentation. Overall, another song from NCT DREAM, just let down slightly by the chorus.

The music video (and every teaser that was released prior to the video) was quite interesting to watch. I presume they are all linked together, as my theory involves the ()SCAPE videos being the first chapter of the story, followed by the Dirty Smoothie teasers and then the music video. The first chapter showed the members being brainwashed by an entity via instructions, medication and binary code. While they do break away from the brainwashing facility at the end of the ()SCAPE videos, life doesn’t appear to be the same as at the start of the ()SCAPE video (note the glass of water on the table in the foregrounds of the initial and final video of the ()SCAPE series). The Dirty Smoothie teasers, we see the members assimilating back to normal life, but also ignoring the dangers and negativity around them. This to me suggest that the brainwashing was successful, but ‘in part’ as the members are not mindless as the facility had intended them to be. In the opening of Smoothie‘s music video, we see a black thorn wrap around the building they are in. As the video progresses, we see the members gather ingredients for a smoothie. By the end of the video, the members have drank said smoothie and the black thorny vines have unraveled, leading me to think that brainwashing has been dispelled. As for the rest of the video, you could definitely feel the intensity from different aspects of the visuals, matching up with the song quite well.

From the snippets of the choreography I could see in the music video, intensity and energy is definitely the first thing that pops into my mind, as the performance really throws both elements right at you. For the chorus, to complement the fact that the song slows down, the members maintain the intensity but goes down a more alluring path with their dance moves. Almost sensual, but definitely holding onto that cool factor. Definitely an interesting combination for the group that I definitely going to pay attention to.

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

[Album Review] To. X (5th Mini Album) – TAEYEON (SNSD)

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I am slowly wrapping up my time reviewing 2023 albums, but there are a couple more to be published over the next two weeks. TAEYEON’s To. X, which was released back in November last year, is one of the final 2023 albums to be covered for the time being. It is led by the single of the same name, and is TAEYEON’s first release since her highly successful INVU studio album from the year before. Comparing the two album releases, I do find that To. X is slightly weaker in comparison to the studio album. But there are still a few good tracks on this mini-album still worth checking out.

To. X Album Cover

1. To. X (Title Track) – Click here to read the full review for To. X. (7/10)

2. Melt Away – Melt Away is a very classy sounding track from the get-go thanks to the guitar riffs (which brings a light tinge of Latin influence to the song), brass and percussion. All of this makes Melt Away into a somewhat sensual track, as well. TAEYEON’s vocals are quite powerful and engaging throughout, particularly towards the end of the track where she soars. In the choruses, we hear go for a much more alluring approach, which fits the vibes of Melt Away quite well. (8/10)   

3. Burn It Down – Gearing more towards pop, Burn It Down carries over guitar riffs and percussion from the preceding track. While I do like TAEYEON’s vocals here, with the more interesting melodies, my biggest take away and issue with Burn It Down is that it stays pretty neutral throughout and ‘doesn’t go anywhere’. I wished there was some sort of trajectory or progression in this track to make it even more interesting. (7/10)

4. Nightmare (악몽) – Sometimes consistency can be an issue for certain songs. But in Nightmare, I find it to be quite helpful in creating a stilling environment. The paced guitar riffs in this track and TAEYEON’s low and slight vocals add to that stilling atmosphere, creating a riveting track. I really like her breathy ad-libs in the track. (8/10)

5. All For Nothing – For All For Nothing, I really enjoyed the atmosphere that the track had. Consistency is also well utilised in this song, with the addition of piano to the guitar adding a nice velvety feel to the song. Paired with a much softer and breathier vocal approach from TAEYEON, I felt this is the best and most beautiful track on this mini-album. I particularly like the harmonies in this track. (10/10)

6. Fabulous – Changing up the momentum of the mini-album in the final track is Fabulous, which opts to include more of a retro profile with its background. It is also the most vibrant sounding track on this mini-album. I really like the prettiness that the instrumental exudes, though I could have done with less repetitive keyboard or piano. It feels a bit typical and cliché. Fabulous is also an all-English track that talks about self-confidence – a TAEYEON first. Her vocals are also really nice and feels comforting. (8.5/10)

Overall Album Rating – 8.1/10

To. X Teaser Image

[Review] BBB – PURPLE KISS

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Also making their comeback this past week was PURPLE KISS with their sixth mini-album BXX. Leading the charge on this mini-album is the title track BBB. This is PURPLE KISS’ first comeback since the release of 7HEAVEN in September last year, which I never got around to reviewing.

BBB is another decent track, but suffers a similar issue as Kim Nam Joo’s BAD did (the immediate song which I just reviewed) around its choruses. For me, it is the repetition that dulls BBB“s chorus for me. Added in the spoken motif used, the centre piece of BBB here ultimately feels flat and lackluster. And as such, it doesn’t leave as great of an impression on me. However, on a much more positive front, the rest of BBB does hold promise. Only time will tell if this promise can help BBB recover from its chorus misstep. The verses does feature good rhythm thanks to its trap-based instrumentation. But it isn’t the most exciting background piece, and this is what separates BBB from the similarly delivered Love Me Like This by NMIXX released last year. PURPLE KISS’ best arsenal, their vocals, felt well utilised in BBB, particularly around pre-choruses and bridge. Those vocals were stunning and just creates such a stilling moment in BBB that doesn’t feel expected following the main portion of the verses. I guess the unexpected nature then flows onto what comes next (i.e., the choruses), but I am still surprised they did not follow up with something as or even stronger.

While I don’t ping the music video for BBB as the most memorable video out there, there were a few elements that I thought made the video a little fun. I liked, how in the first chorus segment, the other members were playing around in the background of the main member delivering the chorus. This technique was also carried through to some of the choreography shots. I also enjoyed the collage scenes, which felt simple compared to other collages we have seen in KPOP music videos but enough to feel dynamic and bring a bright zing of colour. I also liked the shooting scene. While the guns should not be treated as so, the scene felt playful and brought a coolness factor to the music video.

The good rhythm behind BBB and its instrumentation lends well to the performance aspect for the comeback, with a neat routine. I actually like the bounce that the routine during the chorus has and how there was a lighthearted fun vibe to the verses.

Song – 7/10
Music Video – 8/10
Performance – 8/10
Overall Rating – 7.5/10

[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