Also making their comeback earlier this week was Cherry Bullet. The group’s newest single is titled P.O.W!, which stands for Play On The World. It leads their third mini-album, Cherry Blast, which was also released on the same day as P.O.W!. We last saw Cherry Bullet through their Love In Space promotions early last year.
P.O.W! throws the group a couple of different sounds, but none of them sticks. In the end, I find P.O.W! to be a bit of a mess and not that memorable, as a result. Let’s break down the song a bit. P.O.W! opens up with a dash of hip-hop influence, before the verses become a lot more pop centric with its percussive instrumental approach. The pre-chorus features a different pop motif, opting for delicateness. The chorus then features P.O.W!‘s most interesting sound, a heavy club-like beat that gives off an intriguing character and serious tone (and one I personally wished P.O.W! kept with, as it is definitely draws in my attention). But then, the chorus’ second half disrupts the energy and replaces it with a bubblegum pop like sound that detracts away from any effect created by the earlier parts of the song, let alone the first half of the chorus. All of this repeats again for a second time, preventing P.O.W! from ever settling and focusing on one sound. Changing sounds and influences within the same song isn’t anything new with KPOP. But I just feel like P.O.W! could have pulled the sound that makes up the first half of the chorus out of the song, made it their primary piece and stuck with it. It would have made P.O.W! a much more compelling listen. On a more positive note (I kind of ignored the fact the song doesn’t stick with one sound to find something positive to discuss), I did like some of the vocals/raps that the group presents us in P.O.W! (their vocals in the second half of the chorus felt very Cherry Bullet to me as this does feel recognisable from their earlier works), and I quite liked how they swapped the two halves of the chorus in its final run.
P.O.W!‘s accompanying music video is a bit of a disappointment, considering their last two music videos. This one was just plain in comparison, with just the usual close up and choreography shots. For some odd reason, I have the idea that a studio-based music video with more built sets would made for a cooler video. Guess I am not feeling the warehouse setting. The post-production does give the video some oomph and character, but not nearly as enough to dispel my initial thoughts on the video. On the plus side, their visuals remain a strong point of the video, and I do like their more confident and mature look in the video.
The choreography is probably the strongest aspect of this comeback. While I am definitely not fan of the combination of the two halves of the choruses, I am a fan of the routines of the two halves. The members did a neat job, showing off a slight mature and bright side of the group (respective to the corresponding half).
Song – 6/10 Music Video – 6/10 Performance – 7/10 Overall Rating – 6.2/10
Making their comeback earlier today is TWICE, with their latest single SET ME FREE and their 12th mini-album since debut, Ready To Be. The massively popular female group from JYP Entertainment was last seen on the Korean stage promotion their 2022 single Talk That Talk and their 11th mini-album BETWEEN 1&2. More recently, we have seen TWICE through their second English track, Moonlight Sunrise, which serves as the pre-release single to Ready To Be. I have yet to review the track, but will do so in the near future. Upcoming for TWICE is the impending debut of the group’s first unit in Japan – MISAMO (consisting of Mina, Sana and Momo). But for now, here is my review for SET ME FREE.
SET ME FREE is a solid comeback, bringing back a mature sound to their main promotional track. A heavy yet groovy bassline kicks off the song as the main drawing point of the background of SET ME FREE. I liked how the song builds on this as it flows into the chorus, which combined the aforementioned bassline with bursts of synth strings to create a suspenseful yet enjoyable instrumental for the background of the chorus. Along with the pop energy that the members brought to the chorus/post-chorus, SET ME FREE definitely had a lot of charisma and appeal to it thus far. The second verse featured a peak moment through Nayeon’s vocals, which helped drive the song forward. From here on out, however, SET ME FREE fails to really continue that forward trajectory and the song ends up falling a little flat in my opinion. The second run at the chorus had the exact same momentum as its first run. Similarly, the final chorus didn’t offer any highs than what we heard previously. There was a high note, but it was brief and didn’t make much of a splash. I wished both the second and final choruses had suitable levels of oomph to them to help drive the song forward. SET ME FREE would have really benefited from this. The bridge opts for a a trap-based sequence featuring rapping from Dahyun, Momo and Chaeyoung, which I was totally for. But the transition between bridge and final chorus was pretty much absent, and so there wasn’t any satisfying move that signals the end was coming for SET ME FREE. While these are pretty big missteps for the song, SET ME FREE did do just enough to sell itself to me, hence why I still described it as a “solid comeback” despite the flaws discussed above.
The music video did help facilitate some of that missing momentum through the explosions at the start and following the bridge/fake end to the video. After all, I do like a good explosion in a music video. And two does bring a slight edge. I liked how elsewhere the video depicts the message behind the song – putting everything on the line for love to unlock one’s true self. We saw the members driving/running away, escaping holographic containments, the ripping of jewelry and performing a pyrotechnic magic trick to change outfits and be freed from the strings that bound the member. They are very determined. The latter was Tyuzu’s solo scene and it was super cool to watch. I also quite enjoyed that spacy moon choreography backdrop. Not sure about its relation to the concept, but it was a really memorable look. Overall, a cool video to watch.
The choreography for this comeback shows a mature vibe from the group. A tad bit sensual, a tad bit charismatic, and a tad bit of attitude. I really liked it. There was some strong moments that were highlighted in the music video, such as Sana’s moment in the second verse and Momo’s forward movement during the bridge. I also liked how the members used a handcuff action to emphasis the title of the song when it was repeated in the song.
Song – 8/10 Music Video – 8/10 Performance – 8/10 Overall Rating – 8/10
ONEW made his solo comeback earlier this week, with his third solo Korean release since his solo debut back in 2018. O (Circle) headlines this comeback, as part of his first studio length album, Circle. Both Circles follow the release of BLUE and Voice (from his solo debut in 2018), DICE (title of both his second Korean solo single and second Korean mini-album) and his Japanese comebacks last year.
O(Circle) reverts away from the retro city pop that ONEW had opted for his last comeback, and takes us down what almost sounds like a balladry path. But it isn’t like BLUE, which was pretty much your standard ballad with stunning orchestral instrumentation and amazing vocals from ONEW himself. Instead, O(Circle) takes on a softer and delicate R&B tone. The heavy bass line and organ-like synth in O(Circle) helps create a riveting backing piece to the song, while ONEW shines with his velvety vocals. Altogether, O(Circle) comes together to be a dreamy and soothing piece that stands out in the influx of comebacks, debuts and other releases we are experiencing. The use of the gospel choir as a backing to the chorus made for an excellent centrepiece and gave O(Circle) some deep impact. It also helped heighten the message of the song – just like the seasons are slightly different but also similar each year, life is quite similar as we have different experiences, but we are similar in the end. Relatively, it does make the verses sound lacking and very much less memorable. But it doesn’t necessarily stop O(Circle) from being an impactful and gripping song on a whole.
The montage at the start of the video of ONEW singing was one of the most captivating moments in a music video that I ever seen before. And this pretty much sets the aesthetic tone for the rest of the music video. We have some artistic shots of other things throughout the video. At one point, the items are colourful and alive, depicting the happier moments in life. Then, we see a bloodied phone screen, an unlightened light bulb cast aside and some crayons with dust around them, which depicted the darker moments in life to me. In the latter half of the video, we have a similar montage of items. The acting sequence of the video is probably the part that I find hardest to connect to, as I don’t know what is on going on there. At the end of the video, we get another montage of ONEW. It is a lot quicker and looks like the video is buffering. But I see it as a quick montage of a life, with the life being the entire music video.
Just like the music video, the choreography has this aesthetic side to it, which I really enjoyed. It definitely made for a captivating routine. I honestly did not expect to see a choreography routine for the comeback, given the song is very close to the balladry side of music. But I am glad it did, as it makes the live performances worth returning to. I also like how graceful the movements were, which not only fits the song, but give ONEW the opportunity to focus on the vocal work for the performance.
Song – 8.5/10 Music Video – 9/10 Performance – 8/10 Overall Rating – 8.6/10
After finally getting around to announcing the winners from the 2022 KPOPREVIEWED Awards, I am finally getting back on the reviewing train. As I have constantly saying for the past few months, I will get around to posting the reviews that I have missed. But for now, here is a review for a brand new release, literally right off the press. CRAVITY makes their comeback today with their new title track Groovy and their fifth mini-album, Master: Piece. The new release follows the group’s last comeback with PARTY ROCK and their fourth mini-album, NEW WAVE, from September 2022.
As promised and alluded by the title of this new single, Groovy delivers on being groovy and funky. It would be a disappointment otherwise if it hadn’t! Groovy is described to be an electro-funk song that captures retro pop and hip-hop vibes from the 2000s. You can totally feel each of those influences coming through in the song. I particularly enjoyed the dance break we got as the bridge of the song. The way those brassy synths were incorporated into the instrumental piece really bridged and blended the chorus preceding it, the hip-hop influence and the electronic roots quite well. This dance break instantly becomes a highlight in the song for me. Elsewhere, Groovy is a super energetic track, particularly when we reach the choruses. They contained a blast of energy, further heightened by the smoother and laid-back pre-choruses that comes just before it. Strong and well-presented vocals throughout the song, while the rapping helped infuse more of that hip-hop influence into the song. My only issue with Groovy is the lack of a strong hook or centrepiece. I really enjoyed PARTY ROCK, the group’s last comeback single, as it had simple yet strong hooks/centrepieces that really drew in my attention and got me excited about the song after the fact. In Groovy, there really isn’t much to this department and I am not exactly satisfied with what has brought brought to the table. It could be very well the fact that the hooks and other moments just haven’t really set in my mind yet. But as far as I can tell, it doesn’t feel like they sell me the song as strongly as their preceding single. However, that doesn’t stop the super fun and energetic tone of Groovy that CRAVITY executes well.
My guess is the video shows the creative process in producing a comeback. The members all play a variety of roles throughout the video, including the team of office workers who most likely plans and research new concepts, the idols themselves on stage and at their press conference (and my guess is the black suits represent the members at an award show), the production crew who are filming the performance and the backstage crew. And it is revealed at the end that member Hyeongjun is the janitor that leaves the mysterious puzzles pieces around the office that connect together to give us this fun video. My only question is how the space theme fits into the video. Not exactly sure. Maybe it is a hint towards a future concept for a future comeback?
Choreography-wise, this comeback looked quite decent. I liked how fitting and the simple the moves that coincide with the hooks of the song. Personally, I did want something a little more dynamic to the hooks, but given the hooks don’t really go in that direction in terms of sound, I felt an equally as intense and dynamic dance move here would have just overpowered the sequence in its entirety. As for the rest of the performance, I liked the balance of intensity and energy, which helps live up to the fun and energetic descriptors I gave the song.
Song – 8.5/10 Music Video – 8.5/10 Performance – 8.5/10 Overall Rating – 8.5/10
Finally getting around to finishing the undergrOund idOl project, where each member of OnlyOneOf releases a solo track and two music videos from the project come together to form a storyline. And since stepping over into the near year, the group has completed the series with the release of Nine’s beyOnd in early January of this year. beyOnd follows the release of Yoojung’s begin, KB’s be free, JunJi’s be mine, Rie’s because and Mill’s beat. Now that the project is over, OnlyOneOf refocused on group activities with a Japanese comeback (chrOme arts) and they also appear to be gearing up for a Korean comeback in early March.
beyOnd goes with more of an alternative R&B approach, toning down and easing us out of the project in a comfortable manner. I quite enjoyed the synths and electronic side of the instrumentation. While there is a fair amount of textural components, I did find the instrumental for beyOnd to be built in a way that brought forth an intriguing smooth-like effect that I find to be quite enjoyable. Emphasising this smoothness are Nine’s vocals, which can be characterised as being of a low tone, raspy and breathy. All of which helped made beyOnd appealing. I did appreciate the rise in tone and prominence of the vocals, whilst also keeping to a lower tone, raspiness and breathiness. when it came to the chorus, which ultimately helps make beyOnd less neutral and gives more bite to the song. My favourite bit of the song is the start of the second half of the chorus, with the repetition of the first few words of the two initial lines of this half. It felt quite dynamic and adds another layer of appeal to the song. Overall, beyOnd is fairly straightforward, but also serves as a neat addition to the solo works that came out of this project.
In beat‘s music video overview, we left off with a slight cliffhanger, where Nine appears in front of Mill bloodied and injured. I mentioned that we will definitely find out why in this video and we definitely do find out. It turns out that Nine was cornered and targeted by Mill’s bullies, who end up bashing Nine up. Mill ends up taking Nine back home to take care of him, and ends up lying down alongside Nine. In the final moment of the video, it looks like Nine ends up going in for a kiss and Mill possibly reciprocating. But we won’t know as the video finishes just before anything else happens. Elsewhere in the video, it is revealed that Nine takes an interest in Mill, further confirmation that Mill is shy and scared of his feelings, the pair ends up hanging out with each more (which is where their feelings for each other develops more). We also see all of the other members as either a teacher or students playing basketball.
Song – 8/10 Music Video – 8/10 Overall Rating – 8/10
THE BOYZ kick off this week with their latest comeback, ROAR, and their 8th mini-album, BE AWAKE. This is the group’s first release since All About You in December 2022 and WHISPER, the group’s last official comeback prior to today’s new release. It also marks the return of Eric who sat out of promotions with the group since March of last year, including THE BOYZ’s last comeback, due to health issues.
Since the group’s hit The Stealer in 2020, THE BOYZ has been flicking between dark and bright concepts/sounds. THRILL RIDE and WHISPER takes the helm of the brighter concepts/sounds, while The Stealer, MAVERICK and now ROAR fall into the former category. From what I got out of the song, ROAR is an attempt at a sound that is geared towards a more sensual effect without going into the usual sensual motifs that male KPOP groups tend to go with. The song does fall into the R&B category, mixing it with a dance pop sound that allows THE BOYZ to show off their performance and choreography chops (more on that aspect of this comeback later). ROAR opens with a whistle, that is repeated throughout the song and thus becoming a memorable aspect of the song. The chorus, which the whistle mentioned just now appears most readily in, ends up following a similar refrain, just not to the same extent. I did like the vibrancy it brought to the song and there was a ring to it, which I quite enjoyed. But I honestly wished there was more of a zing to the chorus, just to give the song that extra edge and more of a catchy flair. Since I am already talking about edge, I have to mention ROAR“s powerful rapping. It definitely gave ROAR some much needed oomph and definitely highlights the rappers’ potential. Similarly, the dance break that we get packs a punch and adds a further cool/dynamic energy to the song with the more abrasive and intense synths. On the other hand, I felt the vocal work was a lot less impactful. I don’t get much out of it, but I appreciate the intensity and power that the vocalists infuse into the song, especially during the more defined moments of the song. Overall, ROAR is a fair comeback and feels quite on brand for THE BOYZ.
My first impression of this music video was a super big WOW. I am amazed at the quality of the cinematography and post-production for this 3:40 minute music video. The start where they are on clouds was a jaw-dropping beginning and everything that came after lived up to the standard set in the opening moments. The transitions felt flawless, pulling the video together to make a super cohesive piece, which helps brings together the different locations (more on this in a literal second). I also really liked the home video-like shots of the members, which helps add to the edgy vibes of the video. I also liked how it wasn’t just a simple one or two set video. Instead, there was a variety of locations used, which kept everything fresh and nothing ever looked like a copy of a previous scene. The members look super fine throughout the video, especially Juyeon when it came to the dance break. The video depicts them in a way that shows off a more animalistic profile, which goes hand-in-hand with the lyrics and title of the song.
Again, if this performance shows anything, it is definitely that THE BOYZ is a group to not underestimate on the performance/choreography front. This was a bold routine that has a cool and intense factor that feels quite unique to THE BOYZ themselves. The dance break we get prior to the final chorus was fierce, while the slow walk and open leg pivot we get during the chorus has the potential to become iconic.
Song – 7.5/10 Music Video – 10/10 Performance – 10/10 Overall Rating – 8.8/10
PURPLE KISS is another group to return this week. This time around, the group delivers their latest single, Sweet Juice, and their fifth mini-album release, Cabin Fever. Sweet Juice follows PURPLE KISS’ July 2022 single Nerdy (and their fourth mini-album, Geekyland) and the unfortunate departure of Jieun from the group (due to health reasons and anxiety).
Sweet Juice has a strong set-up and potential in its sultry tone and haunting instrumentation. I really enjoyed the orchestral touch Sweet Juice had and the smoothness of the vocals from the members, overall. The haunting tropes that make up Sweet Juice‘s instrumentation, along with the soft and almost-whispery vocals, give the song a fair amount of character. The rapping in the second verse is also quite a good element, adding a brief but sassy tone to the song, infusing a different energy into the song (compared to everything else we hear in the song). However, while it does sound like I fam singing praises for Sweet Juice, there is a major issue with the song as it progresses along. I personally find Sweet Juice to also be an overly subdued song. It started off well, as mentioned, and I am pretty much fine with everything up until the second verse. But from there, Sweet Juice just stayed relatively neutral in its instrumentation and tone, and doesn’t build much from there. I wished the song had picked up momentum and intensity as it went on. This would have given Sweet Juice a lot more appealing points, and made the song more dynamic and interesting. With the haunting aspect to the song, I feel like this would have gone hand-in-hand and created a cool piece. We do have a bit of an incline during the bridge, but that is because it is building the song back from a stripped down sequence to another repeat of the chorus. Just not as satisfying, but it had the right intentions. Overall, I enjoyed Sweet Juice but I am of the opinion that the song could have done more.
Keeping in line with the haunting instrumentation, the music video also had a horror concept. The events take place within a hotel, which at first we are led to believe that the members work at (more on this theory just a bit). They feel a dark presence around them (i.e. the figure dressed in black with the hat), whom in some cases tries to harm the members. A mysterious phone call appears to help them escape the hotel. But I think, based on the ending of the video with the members donning uniforms, that the events we see are the ones that trap them at the hotel. And they are the dark presence that haunts the guests at the hotel. We actually never see the members greet any guests or escort anyone through the hotel. It is them in their plaid outfits holding the bag or that we see throughout the hotel. To further back my theory, there are messages that say RILAS throughout the hotel, which according to reddit is SALIR spelt backwards, which means ‘get out’. But despite that, the members still pick up the phone and say yes to Sweet Juice. Overall, I quite liked the video and think it nails what I want from such a concept.
I like the smoothness in the chorus sequence of the choreography, which goes well with the vocals. But for me, I quite liked the bridge and final chorus routines for this performance. The piano in the instrumental really allows the performance to include a few pretty moments, which ultimately helps makes the entire choreography more impactful.
Song – 7.5/10 Music Video – 9/10 Performance – 8/10 Overall Rating – 8.1/10
Apologies for another two days of no reviews. But I am back today and ready to review the load of comebacks over the next couple of days whilst I hide from the heatwave that is happening in Australia. Anyhow, first up is STAYC’s comeback, which is their first since BEAUTIFUL MONSTER in July of last year. Since then, the group made their Japanese debut with Poppy (which I have yet to review, but will get around to doing in a future International Song Review segment). On Valentines Day a couple of days back, the group made their comeback with Teddy Bear, which is also the title of the group’s fourth single album.
When you have a song title like this one, you can’t help but think the song is going to be childish and cutesy. And ultimately, Teddy Bear is best described as childish and cutesy. Personally, I have a hard time digesting most songs of this nature, though there have exceptions in the past. But Teddy Bear is actually quite approachable and enjoyable. I found it to be a fun and cheerful listen that brought a smile to my face (though this might have been an effect of the visuals). Teddy Bear is mostly pop, but there are pop rock elements during the choruses, which adds to the appeal of the song. The guitar intro was an entertaining yet light introduction to Teddy Bear. The hook was quite catchy, much to my surprise. While I have no issues with the repetition of “My Teddy Bear“, there is a whiny synth alongside the post-chorus hooks that I thought would have been annoying or jarring. However, despite the listens I have given the song since its release, it hasn’t come to that point. Maybe it will in the future, only time can tell for that. But it is this hook that makes me come back to the song, while the rest of the song has this pleasant melody that fits the fun and cheerful nature of the song, but also makes the song appreciable. I enjoyed the more serious breakdown in the second verse that made way for rapping. Was it needed? I actually do think so, as it didn’t make the song feel overly saccharine. Overall, Teddy Bear is a release that I enjoyed.
I mentioned before that the energy of Teddy Bear was potentially the cause of a smile on my face whilst listening to the song. But I also raised that the music video could have been the cause of that. The video features an childish and cute energy, just like the song does. There are over-the-top moments in the music video, such as the truck crashing into the store to deliver a supply of bear bread, the widening of the bus (which was a pretty clever set up for the upcoming choreography shot) and the cult-like scene during the bridge to summon the cartoon bears. I did find the teddy bear masks to be cringy. But it, alongside those over-the-top moments, were still okay to watch, and so brought a smile to my face.
I am kind of glad to see teddy bear references in the choreography. I was actually questioning how they would go about bringing a teddy bear element into the choreography. Props came into mind, but I wasn’t too keen on that. Apart from that, it is a fun and super energetic performance that works.
Song – 8.5/10 Music Video – 8/10 Performance – 8/10 Overall Rating – 8.3/10
Casting out minds back to the end of August of last year, KEY returned as a solo artist with GASOLINE and his second studio album of the same name. Just over five months later (i.e. today), KEY returns with the repackaged version of GASOLINE, retitled as Killer. KEY’s latest title track also shares the same name.
I am super pumped to review this track. Without holding any of it back, Killer emerges with and consistently delivers an instrumental made of retro 80s synths (which reminds me of The Weeknd’s hit Blinding Lights). In fact, it features an unapologetic amount of 80s synth that just makes me so excited and feels like it could have been an amazing follow up to KEY’s Bad Love from 2021. Killer is also very up-tempo and upbeat, with the beat falling into the foot tapping category at the very minimum, but more so a track to get up and dance about to. I really enjoyed the intensity that comes with the choruses, which makes Killer feel explosive and powerful. To compliment, KEY projects one of his best and most impressive display of vocals ever, particular in the choruses, which ultimately helps fuel the intensity and power of the chorus. He also provides some falsetto, upping the ante to the song further. There are moments of reprieve, but they are very brief. Just enough to give you an opportunity to breathe for a second, before jumping right back to the energy that is Killer. I do think an intense rap segment, either from KEY or a featuring artist, would have been the icing on the cake and intensify the song even further. But what we got is absolutely fine and forms part of a super strong comeback.
I would have liked a stronger and more fleshed out story to the music video. It starts off with a flipped burning car and KEY zipping away on his motorcycle. Later we see KEY walk away from the wreckage with a flame thrower (or another type of flame gun). Based on the lyrics, KEY likens the pain memories cause following the breakdown of a relationship, where he likens the pain to killing his partner. The fiery crash most likely depicted his partner/past relationship, while his action of causing the fire signifies the end of the relationship with his partner. However, I do like details and would have liked to know the leadup to the the burning car. Apart from that, the music features a fair amount of passion and emotions, ranging from sadness to anger. All of which KEY nailed amazingly in this video.
From what I can see, the performance features equally passionate and intense moves that compliment the energy that comes off Killer. The entire chorus routine looks super cool based on what I could see via the snippets we got in the choreography. I also excited to hear KEY nail this song via a live performance, especially if he is dancing to the same calibre as in the music video.
Song – 9/10 Music Video – 8.5/10 Performance – 9/10 Overall Rating – 8.9/10
Late last year, I started to review the undergrOund idOl series from OnlyOneOf, a series that focused on each of the OnlyOneOf members individually, while every two music videos were intertwined with one another. At the time of writing the reviews, I had reviewed all four songs that were already released at the time, including Yoojung’s begin, KB’s be free, JunJi’s be mine and Rie’s because. Today, I return to review the fifth release of the series, Mill’s beat, which was released at the end of November 2022. And I am hoping either this weekend or the next week, I will also review sixth and final release of the series – Nine’s beyOnd.
Mill is OnlyOneOf’s resident main rapper, so I expected that his solo song would be geared towards showing off more of this side of him. And beat did just that. Compared to the previous songs we have heard in the series, beat is more upbeat, intense and dynamic, tapping into hip-hop influences and abrasive synths. I really liked how the producers roughened up Mill’s raps, adding the textures of beat and compliment the instrumental. This ultimately gave beat a crunchier exterior, which I actually quite enjoyed. Mill’s raps are delivered in a shoutier manner to usual rap based songs. But I personally do not mind this, as it just made beat feel more lively and adds to that dynamic factor. His vocals were also quite good. What makes beat more appealing is the grooviness we get in the choruses, which makes everything a lot more palatable and fits it into the current trends we have been seeing in KPOP. The groove also gave beat a unique profile and interesting character. I quite enjoyed everything that beat had to offer. But if I were to say something constructive about beat, it would be the fact I wished it went in harder. However, I completely understand why the producers didn’t do this, as this would have completely derailed the efforts of the undergrOund idOl and become ill-fitting with the rest of the series. Despite this, I would still like to hear an amped up version in the future, as I can totally imagine the song in such a light.
The music video focuses on a relationship that comes about in the school yard. Nine is a new student at the school that Mill goes to. Since coming over, Nine has been saving Mill from being picked on/bullied and a subtle friendship blooms between the pair. But Mill is a shy character, so he doesn’t exactly hang out with Nine, preferring to watch him from afar. But Mill is caught by his bullies, who make his time at school hard, especially since they realize that Mill has become quite infatuated with Nine. One day after school, Mill is dragged away from school by his bullies, but Nine stumbles upon them, attacks one of the bullies and runs away with Mill from them. The bullies give chase after the pair, but the pair quickly loses the bullies and (I think) this cements their friendship. One night, however, Mill is waiting outside in the cold (presumably for Nine). The latter comes up to Mill at their meet-up location, bloodied and bruised. Why this is the case, we don’t know until we watch the music video for Nine’s beyOnd. Like the other videos, the other members make a brief appearance, with KB acting as the teacher and the other three members play basketball with Nine.
Song – 9/10 Music Video – 8/10 Overall Rating – 8.6/10
It has been a while since we heard from BSS, one of SEVENTEEN’s subunits consisting of Boo Seungkwan, DK (Lee Seokmin) and Hoshi (Kwon Soonyoung). In fact, their only release before today wasJust Do It from 2018. But that changes today, as the trio have returned with their 1st single album, SECOND WIND, and a new lead single titled Fighting. The new single also features the up and coming female rapper Lee Young Ji, whom Seungkwan has collaborated with via the collaborative cover of LIZZO’s Juice and Hoshi had previously featured as a guest on on Lee Young Ji’s webshow No Prepare (and it was hilarious).
If you are basing your expectation for Fighting on the unit’s first release, then you are going to be super satisfied with the likes of Fighting. It is a super energetic, dynamic and wild funky track that just gets you pumped and excited. This exact ‘effect’ is what the song intends to give off as the message behind the lyrics is telling us to not give up and push through the times of struggle and hardship (hence the title Fighting/Hwaiting – the Korean word for encouragement made popular by KPOP, Korean dramas and TV Shows). Again, the trio hit the mark in terms of expectations, delivering a fun and cheerful persona that helps liven and lighten up Fighting. There were some great vocal moments, especially that impressive high note at the end of the song and the energy they channel in the chorus. Fighting has catchy moments that just makes the song even better, such as the post-chorus hook that repeats the “Fighting” title and the ‘Na Na Na‘ that finds itself just ahead of the second verse. Lee Young Ji’s rapping was quite cool, and I felt it was a nice way to add a slightly more serious tone and keep Fighting grounded. I did think her part could have used a bit more bounce to just fit in better with the rest of Fighting. If I have to be critical, the one sequence that I am not exactly a fan of is the shouty rap pre-chorus sequence. The minimalistic vibe from this sequence just felt dull and the sequence really missed an opportunity to hype up the chorus and the song. Overall, Fighting is a fun track that delivers a positive message in the manner you would expect from BSS.
The music video for this comeback was super enjoyable. Firstly, I really liked the one set approach in this music video. Each set we get in this video is actually shot with another in the background or off to the side. For example, the bedroom location is right next to the coffee shop, while all of the sets of the music video appear in the background of the main choreography set (i.e. the street set). Not exactly a new idea, but what the producers did with this one set approach and how they tied the music video together to make it one cohesive video was super innovative in my books. Secondly, I enjoyed the energy that the members put into the video. They really made it funny and lighthearted. From their facial expressions to their actions with one another, it all made for a fun video. I also liked how the video ‘darkened’ for Lee Young Ji’s presence, which created a ‘serious tone’ to the video, which worked really well with the more ‘serious tone’ she brought to both the song.
I liked the comedic tone they inserted into the choreography, which helps keeps the performance true to their individual charms (and to their unit’s charm). From that, it was a fun routine that matches all of the characteristics you feel from the song. I really liked the first half of the “Fighting” routine of the choreography, which was probably the highlight of the entire choreography.
Song – 8.5/10 Music Video – 9/10 Performance – 8.5/10 Overall Rating – 8.7/10
Also flagged early last week, I would be fast-tracking (depending on which album you are looking at) the album review for 2 Baddies and Ay-Yo, NCT 127’s 4th studio album and the repackaged version of the same album, respectively. Both albums features the title track of the same name (links below) and a total of 13 additional tracks. 2 of these 13 additional tracks were added to the album as part of the repackaged version, which dropped on 30 January 2023. The original version of the album, 2 Baddies, dropped back in September 2022. This 4th album is another strong display from the group and there are a few 10/10 tracks on the album. Find out which tracks I am talking about, and my thoughts on the entire album and the repackaged version below. I fear if I continue waffling on in this intro (as I am doing now), this album review will never see the light or day (at least until next weekend).
2. Faster– Faster served as the opening track for the 2 Baddies version of the album. And it was a great start. Faster is loaded with energy, but it is all delivered in a subtle manner. And that is what I really enjoyed about the song, as it is all quite unsuspecting. I really liked the minimalist hook to the song, which is an add on to that subtle touch. Elsewhere, there was powerful bass to the song that just heightens everything else and acts as a solid base to the song. The members brought texture to the song via their rapping and there were some growling to bring forth an aggressive side to Faster. The car sounds in the background were also a cool touch to the song. (9/10)
4. Time Lapse – A mid-tempo R&B track follows the title track. I am not entirely fond of the electronic start. It is another case of an intro that adds no value to the song. The electronic elements do appear in the song, but I don’t think that justifies the start. Aside from that, Time Lapse was a satisfying track. I did want more of a backing during the choruses to give the song a bit more substance. It felt a tad empty, in my opinion and there wasn’t anything for the vocals to anchor themselves to. Talking about vocals, it was Time Lapse’s wining element. I really liked how the vocals and harmonies pull you in and captivate you, especially during the chorus where all the members sung together. (7/10)
5. DJ – DJ is one of the new tracks added to the album alongside the release of Ay-Yo. I really liked the jazzy vibes that this track has. It brought a smile to my face. You can say the exact same thing with the energy that the members put into this song. DJ also stands out for me for its balance between vocals and raps. NCT 127 tends to be geared towards the rap, as they are hip-hop dance genre type of group based on their choreography. However, I really liked the pleasant nature and the bigger presence the vocalists had in the song, whilst the rapping gives DJ a nice boost of enthusiasm and makes it feels like a NCT 127 release. (8.5/10)
6. Crash Landing (불시착) – Crash Landing brings about a nice balance between hip-hop and R&B. I liked how the percussion was used, giving off mini/soft punches in the instrumental. The twinkling like synth that starts off the song and makes its presence known by repeating in the background was quite intriguing. Again, the vocalists flourish in this song, with their smooth vocal delivery during their parts and the simple R&B melody that they brought to life in Crash Landing. And I liked how the rapping also stood out with the chanting in the chorus and how they made the rappers made themselves known in the second verses. (8/10)
7. Designer – Designer starts off like any other NCT 127 song, where the synths here hinted at some badass and possibly tough and powerful. But the song, very shortly after the opening second of the song, breaks down into a much gentler song thanks to the twinkling percussion and a more mellow approach to vocals and raps. The union of vocals in the chorus was a highlight in my book for Designer. I like how the raps still had a rough exterior to them, which keeps the song feeling like an NCT 127 track. I also enjoyed the change in momentum for the bridge. Come to the think of it, the cohesiveness of Designer is definitely a standout element of the track. (9/10)
8. Gold Dust (윤슬) – Doyoung and Jaehyun’s acapella (with slight autotuning) was an impressive start and end to Gold Dust, respectively. The R&B ballad continued with a very minimalistic approach to the instrumentation, allowing the vocals for NCT 127 to really stand out and be the main driver of the song. The melodies were wonderful and so charming. The rappers kept a low profile during their segments, but still had enough kick to make themselves known in the song. I really liked the way Mark built up the song in the bridge and Doyoung carried on the momentum effortlessly in the bridge. Everything in this track oozed a golden tone to it, which makes perfect sense give the title of the song. (10/10)
9. Black Clouds (흑백 영화) – Black Clouds is another track I am impressed with. This is a more vocally driven track, with Black Clouds gearing towards a pop/R&B style ballad. That being said, Mark and Taeyong’s rapping does fit into the track really well. This is thanks to what sounded more like a band instrumental that brings a good beat and substantial definition to the song. I really like it when the members all sing together, especially for the “Rain, Rain Up in my head” post-chorus hook. The melodies in Black Cloud also made is a super easy listen, which I really enjoyed. (10/10)
10. Playback– I am not fond of the metallic percussive synth that appears in the instrumental. While it has it charm and is quite playful, it is quite jarring and sticks out like a sore thumb in my opinion. Its presence, no matter how hard I try to suppress any thoughts about it, just distracts me from the other elements of Playback. Though what I could make out in Playback were playful melodies and neat vocals. The slight buffering at the end of the bridge was cool (I honestly thought my internet was down at that point for a brief second). (6/10)
11. Skyscraper (마천루) – Skyscraper is the album’s most loaded and intense hip-hop affair on the album. It is the third new song added to the repackaged album. It definitely adds a blast (and more!) of energy to the album’s tracklist. I really liked how the powerful side of the group is shown in Skyscraper, in both vocals and rapping. I did think the song could have used a more innovative instrumental. Add in some electric guitars and unfamiliar synths that brings a whole lot more texture to the song. This way, Skyscraper could have stood out and been an alternative title track choice. (8/10)
12. Tasty (貘) – Tasty is a cool track, bringing together hip-hop and EDM. A typical combination for NCT 127, but Tasty overlooks that. I liked the descending rhythm the track had and how the vocals contributed to the rapping in this song. I also found a lot of the rapping to be alluring and tempting (i.e., the deep ‘So Tasty’ we get in the chorus). Tasty had some really strong hooks that is constantly replaying in my head and I liked the intensification of the EDM for the dance break. It was an unexpected amplification that just emphasized that cool factor. (10/10)
13. Vitamin – Vitamin brings forth a funky tone to the album, reminiscent of the 90s. The hook was super catchy and definitely concentrates NCT 127’s hip-hop presence quite well. The addition of brass for the final chorus was a very welcomed and logical addition for this song. Elsewhere, I think the song could have used some extra work. But Vitamin is definitely a strong song, nonetheless. (8/10)
14. LOL (Laugh-Out-Loud) – The brass makes a return and has a heavier presence in this upbeat and funky pop dance track. I liked the feel-good vibes of this song and how pleasant the vocals and rapping sound in the track. LOL is not the most memorable track on this album, but it is the album’s most brightest and vibrant track. (8/10)
15. 1, 2, 7 (Time Stops) –1, 2, 7 ends off both the 2 Baddies and Ay-Yo album and also has an accompanying music video. I really enjoyed the groovy undertones overall smoothness of the track. You can also feel the sweetness behind the members and their voices. It all makes for another pleasant track. And a nice one to ease out of this album, as well. Mark and Taeyong’s rapping in this song is also a fun sequence in the song. (8.5/10)
As flagged a few days back, I will be posting the album review for ANTIFRAGILE, LE SSERAFIM’s second mini-album since their widely successful and catchy debut with FEARLESS (both the title of their first mini-album and debut title track). Only one song review stood in the way of publishing this album review (i.e. side track Impurities). But with that review posted on Thursday (link below) and I reviewed ANTIFRAGILE (the group’s most recent title track, link also below) back around when it was first released in October 2022, it is time for me to post my album review for ANTIFRAGILE. Their new mini-album is miles away from the standard set by FEARLESS, which I had described as ‘fair’ at the time of review. There are a few nice gems on this new mini-album, so keep on reading to find out which song(s) I am referring to and to check out the improved mini-album release that belongs to LE SSERAFIM.
ANTIFRAGILE Album Cover
1. The Hydra – Through The Hydra, we get an EDM introductory track. It was a very cool single with the members narrating in their respective languages (Korean, English and Japanese) about being antifragile (which leads into the title track that follows). It is definitely very trendy and the instrumentation has such a sense of confidence and sassiness that I find to be very memorable. (9/10)
4. No Celestial – Bringing pop rock to the mini-album is No Celestial. This style of pop rock is reminiscent of early 2000s pop rock and is another cool track on this mini-album. LE SSERAFIM doesn’t hold back in the song, throwing the F-word at us throughout the track without any consequence and giving us what I would describe as a powerful chorus that is just a vibe. Their vocals were superb throughout. All this praise means No Celestial is my recommended side track from this mini-album. (10/10)
5. Good Parts (when the quality is bad but I am) – Ending the mini-album is Good Parts, which is a much softer pop track. Just from the tone and vocal delivery, this song expresses a more vulnerable message to the audience. I really liked the harmonies in the song, the velvety instrumentation and the melodies were really soothing and touching. I also like how Good Parts manage to show a different colour to LE SSERAFIM, indicating their potential and range. (8.5/10)
Another album review is here. As you can tell, I am trying my best to catch up on the backlog of albums that I want to take a closer look. And I think I have figured out a ways forward in clearing that backlog. I won’t bore you with the details. Just leave it up to me to get through all the albums I have on the list. As for now, let’s refocus on the album in today’s spotlight. As you can tell by the title of this post, that album is AB6IX’s 6th mini-album, Take A Chance. Released in early October 2022, it features the title track Sugarcoat and 6 additional side tracks (one of which being the Korean version of the group’s first original English single CHANCE). The release of Take A Chance follows two other 2022 comebacks by the group – A to B (lead by SAVIOR) and Complete With You (lead by 1, 2, 3).
Take A Chance Album Cover
1. Paranoia – Beginning the mini-album off with a bit of edge is Paranoia. It starts off like your typical dark concepted dance track. But as the song progresses, Paranoia becomes more shrilling and loaded with synths. You might think of it as a quality issue, but it ended up giving Paranoia a very intriguing texture and vibe. To compliment this, AB6IX vocals/rap become muffled (to varying degrees) throughout the track, which heightens the texture and vibe to new levels. I did like that AB6IX and their producers manage to somehow still get the vocals/raps to standout. (8.5/10)
3. Weightless – Weightless is a very cool and unique track. I am not entirely sure what genre Weightless would fall into, but I am thinking of alternative pop rock. I really enjoyed the choruses, especially with the textured jabs we get at the start of the choruses and the blastful energy that follows up those jabs. Those jabs were also an obvious highlight that I have gladly replayed the song for time and time again. The verses were a bit more mainstream, but I appreciated that as it gives us a chance to build/recover from the choruses. Weightless is my recommendation from this mini-album and a song I hope to see AB6IX perform some time in the future. (10/10)
4. Complicated – Electronic distortion kicks off Complicated, before a simpler R&B pop direction takes over. The distortion, to a degree, does remain part of the song. But it feels quite small and hence comes off more like vibrating detailing. It comes back in more substantial manner towards the end, finishing off the song how it started. Apart from that, I enjoyed the vocals and melodies, which had a subtle sensual vibe. The rapping, on the other hand, gave Complicated an epic feel. All of which contributed to a strong track. (9/10)
5. Resonance – Resonance is another cool track with its electronic hip-hop instrumentation. Once again, I quite liked Woojin’s rapping. I also enjoyed that female vocal effect being built into the instrumentation during the second verse, adding a funky/groovy element to the song. The boyish anthem chant and rapped second half to the bridge was an epic start to the end. I would have liked it more if the producers somehow transformed that into the actual end of the song or an outro, as I prefer that to the actual chorus/outro that was repeated from earlier on in the song. (8/10)
6. Crow– Crow hones back into the R&B genre that was visited earlier by the group. It delivers an even sensual vocal/rap performance, and the melody for the chorus was memorable. I just wished there was a bit more to the instrumentation, to give it some oomph or something memorable to remember it by. The flute-like detail potentially could have been this element, but it was just felt overpowered by the bass and everything else in the instrumentation. (7.5/10)
7. CHANCE (Korean Version) – CHANCE was previously released in English in August 2022. It is a simple and bright pop track dedicated for their fans. The brass gives it such a vibrant colour and tone, while the members’ vocals were upbeat and cheerful. I quite enjoyed the English version of the song when it came out, and the Korean version is equally as great. (8/10)
In case you missed it, LE SSERAFIM made their comeback with ANTIFRAGILE (the name of both the mini-album and title track) in October of last year, raising the bar even further in the very heated competition between new female groups of last year. As part of the promotions for ANTIFRAGILE (the mini-album), the group followed up promotions of ANTIFRAGILE (the title track) with the side track Impurities, which also got the music video treatment (hence the review today). Today’s review for Impurities also is in preparation for the album review for ANTIFRAGILE, which I will be posting some time this weekend.
Impurities comes off as another pleasant song, though I am of the opinion that more could have been done with Impurities. It features a smooth and dreamy R&B instrumentation that really pulls you in and captivates you. The vocals were kept subdued and gave off a mature vibe, pairing extremely well with the R&B genre (in general) and Impurities‘ instrumental . Together, it created a soft atmosphere that is so easy to get lost in. The song is also described as ‘sophisticated’, which I totally get from the song, as well. However, there isn’t much to remember Impurities by. This is because Impurities lacked a riveting melody and bold enough hooks that would have kept the song in the mind of the listener after it had ended. Had LE SSERAFIM and their producers developed melodies and hooks with a more memorable tinge to them, Impurities easily could have rivaled the likes of NewJean’s Attention or even Ditto. I did find the ‘Can you see huh?‘ line just before the choruses to be charming, so Impurities had that going on for itself. There was also a bit of oomph via some sing-rapping, which I found to have struck an appreciable balance of adding something more to Impurities, but also keep the rest of the track in mind.
The music video for Impurities was more of a performance video, with the entirety of the music video focusing on the choreography. I will make comments on the performance in the next section. I thought the intro was very eye-catching and intriguing. The rest of the music video is shot in one location, but the producers did a lot with this one location. The use of walls, lighting, screens just gave a limited and boring location limitless potential. I also feel that green screens might have also been used to extend the location out further. But I may be wrong about this. I really liked the images were saw on the screen in the background
Even though the music doesn’t call for much, LE SSERAFIM really showed off their performance chops with what felt like a complex routine. They were constantly moving about, filling up the space so well, both musically and on stage. It is a captivating performance that works extremely well with the music and style choices for this song.
Song – 7.5/10 Music Video – 9/10 Performance – 8/10 Overall Rating – 8.1/10 [UPDATED: ‘Overall Rating’ rectified on 12/08/2023]
XIUMIN’s solo debut mini-album, Brand New, is the next album to be reviewed on the blog. It was released back at the end of September 2022 and features the title track of the same name. In addition to Brand New (this time I am referring to the song), the mini-album also contains four other tracks – one of which features past collaborator MARK from NCT. Overall, it is a decent mini-album that helped create a solid solo debut for XIUMIN. Not exactly the most mind-blowing release ever, but it does do enough to get me interested in XIUMIN’s solo potential. Aside from solo potential which raises hopes for a future solo comeback, XIUMIN is expected to return as part of EXO alongside his bandmates in an announced Spring 2023 comeback. So there is a bit more to be excited about. But for now, here are my thoughts on Brand New.
2. Feedback – That main pulsing electronic synth was pretty jarring and overtime has gotten annoying for me. But aside from that synth, Feedback is neat electronic dance pop track. I liked how XIUMIN’s vocals embraced the choppy melody (which arose from the choppy nature of the use of the synth in the instrumentation), and how the melody smoothened out for the pre-choruses and choruses. The backing vocals and samples also added a cool backing element to the song. (7/10)
3. How We Do (ft. Mark from NCT) – Last time we heard XIUMIN and Mark together was through their SM STATION collaboration Young & Free. They come together once again through How We Do, another dance track. This time, however, the song delves into 90s territory with its mix of hip-hop and R&B. XIUMIN brings the R&B to the song with his vocal works, while Mark’s raps encroach hip-hop territory. For the most part, How We Do is a decent track. My biggest complaint comes during the second verse, where XIUMIN’s vocals are autotuned. I didn’t think this unfitting feature of the song was necessary. (8/10)
4. Love Letter (민들레) – Moving away from the dance tracks, we get the album’s mandatory ballad through Love Letter. It is one that features a swaying melody that I enjoy when it comes to ballads. Piano and violin, along with soft percussion, makes up the instrumentation for this ballad. Rather typical, but it was a beautiful one nonetheless. I really enjoyed XIUMIN’s softer vocals in this one, which is stilling at times and brings forth a delicate tone that compliments the instrumentation so wonderfully. (9/10)
5. Serenity – Closing XIUMIN’s debut album is a lovely soft pop track that I would recommend to anyone. Every time I listen to Serenity, I find myself smiling to the track. It is one of the reasons to why I pick this song as my favourite from the mini-album. Serenity features acoustics, uplifting drums and soothing vocals from XIUMIN – all of which comes together to create such warm, inviting and inspiring song and end to the release. (10/10)
KPOPREVIEWED 