Category: KPOP

[Album Review] 2 Baddies / Ay-Yo (4th Studio Album / 4th Studio Album Repackaged) – NCT 127

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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 Baddies Album Cover
Ay-Yo Album Cover

1. Ay-Yo (Title Track) – Click here to read the review for Ay-Yo. (8/10)

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)

3. 2 Baddies (질주) (Title Track) – Click here to read the review for 2 Baddies. (7.5/10)

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)

Overall Album Rating – 8.4/10

2 Baddies Teaser Image
Ay-Yo Teaser Image

[Album Review] ANTIFRAGILE (2nd Mini Album) – LE SSERAFIM

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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)

2. ANTIFRAGILE (Title Track) – Click here to read the full review for ANTIFRAGILE. (8/10)

3. Impurities – Click to read the full review for Impurities. (7.5/10)

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)

Overall Album Rating – 8.6/10

ANTIFRAGILE Teaser Image

[Album Review] Take A Chance (6th Mini Album) – AB6IX

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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)

2. Sugarcoat (Title Track) – Click here to read the full review for Sugarcoat. (6/10)

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)

Overall Album Rating – 8.1/10

Take A Chance Teaser Image

[Review] Impurities – LE SSERAFIM

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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]

[Album Review] Brand New (1st Mini Album) – XIUMIN (EXO)

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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.

Brand New Album Cover

1. Brand New (Title Track) – Click here to read the full review of Brand New. (8/10)

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)

Overall Album Rating – 8.4/10

Brand New Teaser Image

[Review] PULL UP – VIVIZ

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VIVIZ makes their comeback today with their newest single, PULL UP, and third mini-album, Various. This new release follows VIVIZ’s big and busy year which involved their re-debut with BOP! BOP!, LOVEADE and Rum Pum Pum (the latter track being a music release of the Universe Music app) and their participation in the Queendom 2 series.

My very first impression of VIVIZ’s new song is that it exudes a more noticeable mature vibe compared to their past two singles. I do have a tendency to enjoy more mature sounding tracks, so this one is already winning some brownie points in my book. But by no means is PULL UP a dark or edgy type of song. Instead, PULL UP keeps on trend with a funky and groovy instrumental to it, complete with some brass (that is always synonymous with funk and groovy instrumentation) and cow bells. PULL UP begins with a consistent foot-tapping beat (that feels almost like a model’s walk or runway type of vibe) and a more subtle funky touch thanks to the very low bass in the background. Clear vocals, melodies and atmospheric synths comes into play during the pre-chorus, before we “step” into the chorus. Emphasis on “step”. The use of a boring description for the transition between verse and chorus is on purpose for this song because the chorus just felt too similar to PULL UP‘s opening verse and this disappoints. The only difference my ears can detect between the two sections is a slightly change to the vocals. It is missing oomph, which could have transformed PULL UP. The already mentioned brass comes in as a backing for the post-chorus hooks. The first time around, the brass is standalone, while the second and third sequences of brass we get, it forms the backing for rap sequences. The rapping was quite cool, and I enjoyed the sassy-like vibe that comes from the song through the combination of rapping and brass. It isn’t enough to make up for the disappointment from the choruses, but it did give PULL UP an opportunity to pull me into the song in the end. Had the chorus been a a bit more show-stopping and less lacking, PULL UP would have been one cool song.

VIVIZ is a bit sassy and full of confidence throughout this video. They make a statement and drawing in attention wherever they go and in whatever they do, but they have no care in the world for whatever others think or say about them. They enter a convenience store store right after blowing up their car outside, proceeds to trash the place, blowing up heads of those watching them in the store and through the CCTV. They proceed to run people over (I am assuming those people were the people taking pictures of VIVIZ whilst they were in the car) and had a bit of fun in an art gallery or museum (which is usually not a place to have fun in). I did like their shopping outfits, but not so much the museum outfits (it all looked weird with Umji’s head covering and Sin.B’s rubber gloves).

The choreography for this comeback looks pretty good. I really liked the routine for the first brass sequence of the song, as that was the what that really drew my attention in. The chorus and the other brass sequences (with the rapping) looked cool and definitely fits with the sassy/confidence vibe they showed in the music video.

Song – 7/10
Music Video – 8/10
Performance – 8.5/10
Overall Rating – 7.6/10

[Review] Ay-Yo – NCT 127

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Kicking things off this week is NCT 127, who returns with Ay-Yo – the title of both the group’s newest title track and the repackaged version of their fourth studio album. Ay-Yo follows the group’s 2022 comeback with 2 Baddies, which was the title track to NCT 127’s fourth studio album when it was released in September 2022. You may notice that I have yet to review 2 Baddies (the album). The plan was to review it at the end of last year, but I sidelined the album review upon hearing a potential repackaged version was coming out. With the rumors officially true and the album dropping today, I will be fast-tracking an album review for 2 Baddies/Ay-Yo this coming weekend. In the meanwhile, here are my thoughts on Ay-Yo.

I found Ay-Yo to be an intriguing song. It is in the standard realm of hip-hop dance, which is where most of NCT 127’s songs do find themselves in nowadays. Personally, nothing too interesting from this department within Ay-Yo. However, instead of the usually loud, sometimes obnoxious, bold synths; an undeniable powerful energy from the instrumentation; heavy reliance on rapping; and strong hooks, Ay-Yo takes on a different form of power. The new song opts for powerful vocals, which is a slight change to how NCT 127 usually presents their song. This is the first time that I have heard a title track from the group that is so vocally driven, yet still consistent with their current output. As a result, Ay-Yo feels more subdued and ‘held back’ than usual. And I quite liked it. I also feel like the scales between rapping and vocals are more balanced in the song. We do still get the usual dose of powerful rapping from the rappers. Nothing feels in your face with Ay-Yo, with some of the rapping feeling quite sleek as some members opted for lower registers and it allowed them to come off as ‘mature’ sounding. But at the end of the day, it is the vocals that steal my attention in Ay-Yo, and I happy NCT 127’s vocal line is getting their moment to shine. Hook wise, the “Ay-Yo” we get at the start of the chorus does have its impact. On the melodies front, I feel that Ay-Yo has a nice ring to it, particularly Taeyong, Mark and Yuta’s respective opening lines in the choruses. But while the intriguingness and different take does win me over, Ay-Yo does have issues. My biggest one with Ay-Yo is the abrupt ending. Maybe an attempt to keep the song within their usual territory, but it just makes Ay-Yo feel unfinished – not exactly the feeling I want to finish a song on.

I am not entirely sure if there is a concept with this music video. I kind of wished there was more to it. Everything feel quite urban and there are some strong and stunning visual solo shots (i.e. Jaehyun and Doyoung) in this video. In addition to that, Taeyong’s super spikey hair-do is probably one of the boldest looks I have seen in KPOP for a very long time. However, I did get dizzy watching spinning tunnel and I wish the lighting was better during some parts.

From what I can see in the music video, the group still maintains a strong performance piece even for a subdued song. The moves are less punchy, but that is expected with a song like Ay-Yo. I liked the slow movements during the verses that we saw in the video. I also liked the synchronization the members pulled off during the slightly more intense moments from the chorus.

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

[Album Review] Apocalypse: Follow Us (7th Mini Album) – Dreamcatcher

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Dreamcatcher’s 7th mini-album, Apocalypse: Follow Us, is the next mini-album up for a review. Apocalypse: Follow Us was released back in October and features the title track VISION, one intro, an outro and an additional three songs. It follows on from the group’s Apocalypse: Save Us album and MAISON release from April 2022. Dreamcatcher continues their niche and style with this mini-album, keeping things fairly consistent (but also freshening up their releases one way or another) over the last six years since they rebranded themselves as Dreamcatcher. In celebration of their 6 year anniversary, Dreamcatcher recently released a digital single titled Reason. So after checking out Apocalypse: Follow Us through this album review, check out their new release as well!

Apocalypse: Follow Us Album Cover

1. Intro: Chaotical X – Kicking off the mini-album is Chaotical X, a very intense and dramatic electronic instrumental piece that really grabs your attention. The alarms at the end signal the end of the introductory track, blaring in a way that feels suspenseful and epic, making you want what is to come next.

2. VISION (Title Track) – Click here to read the full review for VISION. (9/10)

3. Fairytale – Next up on the album is Fairytale. The pop rock nature of this song caught my attention. The pop vibe through Dreamcatcher’s vocals, while the instrumentation brings up the rock element to the song. Dami’s softer rapping approach was wonderful and works really neatly with the pop rock vibe. Altogether, Fairytale feels refreshing and blissful, making it an amazing track to listen to. A highly recommended song from me. (10/10)

4. Some Love – I really liked the boldness and boastfulness of the pop instrumentation of Some Love. As this is a Dreamcatcher song, electric guitars make an appearance in the instrumentation. And together with the synths, they create a funky atmosphere. Even though the instrumentation for Some Love is loud, the members still manage to stay on top of it. (8/10)

5. Rainy Day – Toning and slowing down the entire mini-album is Rainy Day. Rainy Day is a ballad, which features a nice piano R&B arrangement, accompanied by sounds of a rainy day. Melody wise, we have that swaying effect and the members sound quite nice. I did wish there was a bit more to the ballad, such as some sort of buildup, just so it doesn’t stay overly consistent as it did. Maybe throw in some violins or orchestra into the mix to give it some body, even as cliché as it sounds. But it is still a decent ballad to sit back and reflect upon. (7.5/10)

6. Outro: Mother Nature – Mother Nature begins off with an instrumental piece that felt like it embraces nature and balance. It felt fitting as a backing piece to a montage of nature clips of beautiful sceneries and wildlife. Towards the end, we do get some sinister drum beats and a horn being blown, suggesting that we should still be aware of our surroundings for what is to come.

Overall Album Review – 8.6/10

Apocalypse: Follow Us Teaser Image

[Album Review] YOUTH (1st Mini Album) – KIHYUN (MONSTA X)

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The next mini-album up for review this week is KIHYUN’s first mini-album, YOUTH, which featured a title track that shares the exact same name. Alongside, YOUTH (the title track), four side tracks also make up the mini-album. YOUTH (both the album and title track) follows KIHYUN’s solo debut earlier in 2022 – Voyager, which was released back in March 2022. YOUTH was a neat follow up to VOYAGER, showcasing more of KIHYUN and delivering that mini-album that KIHYUN definitely deserves to flaunt his talents and undeniable potential as a solo artist. Next up on the wish list is a speedy solo comeback from KIHYUN (Side note – he just returned in MONSTA X’s Beautiful Liar) with another album.

YOUTH Album Cover

1. Youth (Title Track) – Click here to read the full review for YOUTH. (8.5/10)

2. Bad Liar – Kicking off Bad Liar are some vocals on a lower register, before KIHYUN soars upwards with some powerful vocals when it came to the chorus. I found the instrumental to be a dramatic one, but also quite electrifying once we get into chorus territory. I do think some more substantial electric guitar riffs would have been really cool addition to the song and taken Bad Liar to even more electrifying heights. (8.5/10)

3. STARDUST – Next up on the mini-album is STARDUST. It is a straightforwardly fun and upbeat track that brings some retro synths into the mix of band instrumentation. I like the head-nodding potential behind the track and how KIHYUN sounds throughout the track. It is a fairly simple track, but definitely a standout for me on this mini-album. (9/10)

4. Where Is This Love – Where Is This Love is an all-English ballad that really showcases KIHYUN’s vocals. I honestly did not expect an all-English track from the soloist, let alone an all-English ballad. This is probably the hardest type of an all-English track, given that is it hard for a non-English speaker (regardless of their vocal abilities) to convey emotions just as well as when they are singing in their mother tongue. But he does just that. Throughout Where Is This Love, I really liked how KIHYUN shows range with this track, going effortlessly between soft whispery moments and the more powerful moments where KIHYUN really shows emotions. It is a nice balance between delicate and passion, which makes Where Is This Love a strong track. (9/10)

5. ‘Cause of You – ‘Cause of You ends the album with a soft and lovely pop track. I believe there are some acoustics influences present in this track, along with some piano work and very light and subtle sprinkling of synths in the background. It is a very airy track, overall. Melody and vocal-wise, I didn’t find the track interesting. KIHYUN does sound pleasant throughout ‘Cause of You, but it isn’t his most impressive display of vocals on the album. (7/10)

Overall Album Rating – 8.4/10

YOUTH Teaser Image

[Review] Sugar Rush Ride – TXT

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The biggest comeback of the week is undoubtedly TXT’s, who returns today with their fifth mini-album, The Name Chapter: Temptation. The new mini-album is lead by the title track Sugar Rush Ride, which also dropped today. This comeback follows their fourth mini-album, Minisode 2: Thursday’s Child, which was released last year with Good Boy Gone Bad as its title track.

Sugar Rush Ride starts off quite good. It kicks off with this really promising funky and upbeat dance pop instrumentation (courtesy of some really good rhythmic guitars and a consistent and constant beat) that has this brightness and life to it. There was a section in the verses that had a tinge of Blue Hour to it, which I personally thought was a cool callback to their earlier days (that was from 2020!). The pre-chorus gives us some stunning vocals and melodic work, with some of the members going into falsetto mode for the pre-chorus. We then approach the chorus, which felt more so like as if someone had slammed on the brakes very suddenly. This is because of the flute-y anti-drop that Sugar Rush Ride features as its centrepiece. Personally I am not too troubled by said anti-drop, as it enables the group to opt for an unexpected sensual kick (which I personally found to be a charming characteristic of the song) which also felt slightly hypnotic. Also, the anti-drop sets out what it is intended to do. However, I do agree that it does take too much away from how the beginnings of Sugar Rush Ride, and interrupted the flow of the song considerably and in a disappointing manner. The more troubling aspect of Sugar Rush Ride is the “Sugar Rush Rush Uh” that follows the anti-drop. I can’t take this part seriously (My first impression was to laugh at this section) and felt it was completely jarring and abrasive relatively to the rest of the song. The retro beginnings makes their return in the second verse, but the second chorus is also a repeat of what we heard the first time around. The bridge combines elements from each section of the song (i.e., “Sugar Rush Rush Uh“, the flute-y anti-drop and the funky guitar work), which I thought was clever way to ramp up to the final chorus. However, I am questioning whether the elements work together or not. It literally combines the best and worst elements of Sugar Rush Ride. The bridge leads into the final chorus, which is a better mashup of the sections before it (sans the “Sugar Rush Rush Uh” hook), allowing Sugar Rush Ride to finish on an upbeat and a somewhat explosive note. Sugar Rush Ride might grow on me with more listens as each section becomes more familiar to me and I know what to expect. But for now, it is an interesting song indeed.

The mini-album is titled The Name Chapter: Temptation, and it definitely looks like temptation is the concept of this music video. It appears the members are washed ashore onto an island that tempts them with pretty flowers. But the pretty flowers are devious, acting likes drugs that takes them away from reality and into a different world that comes off as euphoric, pleasurable and more desirable than the situation they are in. In the end, we see the members return to their normal state and decide to leave the island. But HeungingKai appears to be tempted once again. Of course the lyrics can’t talk about drugs (otherwise it be banned in Korea), so the lyrics make reference to sugar high instead. Other than that, I thought the video was really cool. The producers definitely chose very pretty scenery for this video.

In addition to pretty outdoor shots, the members do embrace and show off an amazing sensual energy in this video that is surely going to attract fans. I felt they didn’t hold back whatsoever for the chorus, which is definitely a strong aspect of the performance. As much as I don’t enjoy the “Sugar Rush Rush Uh” part of the song, I do like the abrasive and roughness that it brings the performance. I also liked the extra push they give the moves for the final chorus, to match the newfound energy that comes through during said part. And as a cherry on top, great stage presence and camera chemistry. Overall, a great performance.

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

[Review] Small Things – YESUNG (SUPER JUNIOR)

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As flagged yesterday, I will be reviewing two new releases today. There hasn’t been too much this week, so you probably know which ones already. First up is YESUNG’s solo comeback with Small Things and his first studio length album, Sensory Flow. The release occurred on 25 January (this week’s Wednesday), and follows YESUNG’s solo comeback Pink Magic from 2019.

There isn’t much to Small Things, if I am being honest. No matter how I draft this review or how much I listen to the song, I can’t seem to write any more than a couple of lines about YESUNG’s new song. This might be a good thing, but it is also a not-so-good thing (more on that later). Small Things is another pleasant track, this time delving into an indie form of soft rock. It is also subdued and laidback, as well. Small Things brings a huskier tone to the audience, with YESUNG’s vocals being in this huskier mode for majority of the song. It definitely sounds amazing and I do find it warm and enjoyable. Paired with the slight swaying melody that brings Small Things to life, Small Things pokes you in the right spot. However, apart from all of that, I didn’t find much else to pull me into the song. All of the above is great, but without anything captivating or alluring, I just don’t see myself searching up this song on YouTube or my music app. If Small Things pops up, awesome – I will listen to it then. But at this stage, there isn’t anything driving me towards the song. This is the ‘not-so-good’ thing about pleasant songs with little to talk about.

The music video is just as pleasant as the song. YESUNG is depicted as an indie singer who performs in small bars and such alongside his bandmates. He falls in love with a girl who also has the same passion as him. In the song, he says it is the “small things comes together, gonna shine so bright”, whilst also explaining the small things can be a small smile or footsteps. In the video, it is the fact that they have music as a common element, that she passes him a cassette to listen to and that she comes to his performances (although late). It is small things like that makes him like her. Overall, a nice video. Just nothing riveting in this video or story. I did like the home style video shots we get throughout the video, which compliments the indie style I mentioned about the song and the setting of the video.

Song – 7.5/10
Music Video – 8/10
Overall Rating – 7.7/10

[Album Review] Absolute Zero (1st Mini Album) – BAEKHO

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Apologies for the lack of song reviews – it has been a slow week in KPOP due to the Korean New Year. I will be reviewing two comebacks from this week tomorrow. For now, here are some album reviews I have pre-written, but for some reason failed to pre-schedule.

The next album to be reviewed on this blog is BAEKHO’s solo debut mini-album, Absolute Zero. This mini-album dropped in October 2022, over 10 years after BAEKHO made his debut as part of NU’EST (which sadly disbanded earlier this year). Featuring the title track No Rules and five additional side tracks, this mini-album made me think about why we didn’t get a solo release from BAEKHO sooner. This entire mini-album is testament of BAEKHO’s artistry and potential, and it is truly disappointing to know that it has taken 10 years for his company to give him an opportunity to shine and put himself out there. Absolute Zero has some really great tracks, many of which I would recommend to people who want to discover a new artist. Hopefully, there are more great tracks from BAEKHO on the way, as PLEDIS Entertainment definitely has a strong artist in BAEKHO. For now, continue reading my review to discover some gems from BAEKHO.

Absolute Zero Album Cover

1. Festival in My Car – While it has been a while since we heard from BAEKHO, I am sure he did not sound like this in the past. Festival in My Car brings out a raspier and huskier tone and lower register from BAEKHO that I am absolutely digging. This paired with the rock guitar (that creates a wonderful centerpiece in the instrumentation) and the band instrumentation creates such a piece that has soaring potential. Also soaring is the momentum and intensity once Festival in My Car hits the chorus. All of this helps create a strong number to kick the mini-album off with. (9/10)

2. LOVE BURN – LOVE BURN is next up on the mini-album. Synth-pop and guitar riffs come together to create the backing piece of LOVE BURN. While I am unsure what came first, the instrumental pairs extremely well with the melodies of this track, which I think is the highlight of the song. The melodies just give LOVE BURN so much character and personality, which I think is enough reason to say that LOVE BURN edges out the previous song. Throw in passionate and husky vocals from BAEKHO, and you have yourself another strong and captivating track to enjoy. (10/10)

3. No Rules (Title Track) – Click here to read the full review of No Rules. (8/10)

4. We Don’t Care No More (ft. June One of Glen Check) – Collaborating with June One of Glen Check, We Don’t Care No More delves into groovier and funkier territory. But the track still falls into the synth-pop realm and features guitar riffs, just like the other side tracks on the mini-album before it. Both BAEKHO and June One brings something different to the song during their respective verses and choruses. BAEKHO has a nasally tone in this track, whereas June One brings out a hollower tone to his vocals. Yet when they sing together, they blend really well with one another to create what felt like one person singing. Melody and hook-wise, I felt We Don’t Care No More definitely excelled. (9/10)

5. BAD 4 U – Taking the album into R&B territory is BAD 4 U. I did like the beat to the song and how natural the song felt for BAEKHO. The melodies and lines just flow so smoothly from BAEKHO. However, it is the most standard sounding track on this mini-album. It isn’t really the most innovative track out there. I am also not a fan of the ending, which felt abrupt for my liking. (7/10)

6. WANNA GO BACK (ft. Sik-K) (변했다고 느끼는 내가 변한 건지) – WANNA GO BACK is the mini-album’s most powerful track, bringing forth a punkish rock sound to the mini-album. I liked how BAEKHO’s vocals becomes hoarsely, which really compliments the punkish rock influence. Sik-K’s rapping is autotuned, which I thought was interesting initially. But his rapping definitely adds an even rougher texture to WANNA GO BACK. I do wish the instrumental went a bit harder into the rock influence, just to give that wow factor. The guitar solo at the very end is definitely a step in the right direction. (8/10)

Overall Album Rating – 8.5/10

Absolute Zero Teaser Image

[Album Review] GASOLINE (2nd Studio Album) – KEY (SHINee)

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Apologies for the lack of album reviews (and reviews in general) over the weekend. I opted to not post anything during the festivities of the Lunar New Year, instead focusing on family (although through video calls and group chats this year) per tradition. I will reserve my wishes to you all that celebrate Lunar New Year in the Weekly KPOP Charts post that will go up tomorrow. For now, I leave you with the album review I had originally intended to post on Saturday – KEY’s 2nd studio album, GASOLINE. The studio album was released at the end of August 2022 and features the title track of the same name (and 10 other side tracks). GASOLINE follows KEY’s first mini-album, BAD LOVE from 2021, which many people can agree on it being a very successful solo album. While I don’t think GASOLINE reaches the heights of BAD LOVE, it definitely continues to show KEY’s individuality and potential as an artist (not that he really needs to prove that – BAD LOVE for sure cemented that confidence into anyone who had doubts about KEY).

Gasoline Album Cover

1. Gasoline (가솔린) (Title Track) – Click here to read the full review for Gasoline. (7.5/10)

2. Bound – Following the title track is Bound, a dark and sexy pop track that I personally feel is fitting for KEY’s style, brand and personality. The pairing of deep vocals that KEY brings to Bound via the verses and the higher pitched he gives us in the choruses shows off KEY’s vocal capabilities, but also creates a captivating atmosphere. The sassy attitude vibe that the instrumental is so unapologetic dark and alluring, with the instrumental breaks we get being so charismatic. (9/10)

3. Villain (ft. Jeno of NCT) – Villain joins the forces of both KEY (as this is his album) and JENO (from NCT) in a really cool and funky sounding track. There is also a dark vibe to the track, but not as much as the previous track, which allows it to both follow on and ease us away from the first two tracks of the album. I liked the back and forth between both KEY and Jeno, and the differences between the two idols musically and with the lyrics (which were about a villain wanting to be a main character). KEY’s vocals bringing smoothness whilst Jeno’s vocals/raps were rough and raspy. Together, they melded with one another to create a nice ‘icing on the cake’ scenario for the song. (9/10)

4. Burn – Burn begins as an emotional break up song, with KEY’s passionate and soaring vocals delivering the start of the song. But as the song progresses, Burn ends up falling into the funky and groovy territory of pop music, which was a pleasant surprise in terms of trajectory for the song. This gave the song character and a uniqueness to that I personally enjoyed. However, to keep the Burn interesting, I wished the second verse was a bit more creative and not necessarily a repeat of the first verse. I appreciate that it snaps back to the roots of the song (i.e., the emotional feeling from the first verse), but the second verse just didn’t feel as interesting as it could have been. (8/10)

5. Guilty Pleasure – You could expect Guilty Pleasure in the clubs! I really enjoyed the consistent drive of the retro house synths, which just makes it idea for that club environment. I do feel that KEY’s vocals and Guilty Pleasure’s melodies could have been a bit more captivating and interesting. But it is a solid track, nonetheless. (7.5/10)

6. G.O.A.T (Greatest Of All Time) – G.O.A.T stands out with its atmospheric and bubbly synths that make up the song’s instrumentation. KEY sounds really pleasant throughout G.O.A.T, with the melodies having a swaying effect, similar to the ones I tend to mention when I talk about ballads. At the bridge of the song, the producers insert an orchestral touch to heighten the peak of G.O.A.T, which I personally thought was a cool and unique twist to a synth-filled track. While I do think it was successful, the final chorus should have followed through with a better drop, just to carry on that momentum more naturally. (9/10)

7. I Can’t Sleep – I Can’t Sleep is one of my favourite side tracks on the album. I just feel like it is the most straightforward and simple song on the album that also manages to speak volume. There is also a fun and vibrant tone to it. Another reason to why I picked it as one of my favourite because it also feels nostalgic to me, thanks to the song’s pop instrumentation. (9/10)

8. Ain’t Gonna Dance – Ain’t Gonna Dance is a lot more complicated, but still sits in the pop realm. It starts off atmospheric with balanced and measured vocals from KEY. But this is short-lived, as the percussion comes in boldly, making a statement to what is come with the rest of the song – textured trap beats and funky undertones, all of which feels miles away from the start of Ain’t Gonna Dance. KEY sounds amazing in this track, showing off falsettos in the chorus that allows the textures from the spacious instrumentation to do some of the speaking alongside his vocals. Altogether, it creates an interesting energy that I would gladly replay over and over again. (10/10)

9. Another Life – Based on my understanding, Another Life was previously performed as part of KEY’s first solo online concert from 2021 – Beyond LIVE – Key: Groks in the Keyland. It is also an all-English track. Another Life kicks things off with a synthwave instrumental that gets more intense and bolder during the chorus. It is quite a strong instrumentation, and so I am quite impressed with how powerful KEY’s vocals come off as. There was also some good hooks and moments that bumps up Another Life in my books. The choreography for Another Life is also remarkable and showcases KEY’s performance skills very well. (9/10)

10. Delight – The piano at the start was misleading, suggesting for a second that Delight was going into ballad territory. But in a matter of seconds, the track picks up with very bright/vivid vocals and ultimately progresses towards disco-pop territory. I love how breezy KEY’s vocals sound in the track, especially during the falsettos he delivers in the chorus. Altogether, Delight is a purely fun and playful track that I have definitely been replaying since the album’s release. Aside from the first few seconds, Delight can also be described as straightforward and simple. (10/10)

11. Proud – Ending the album is a track that delves into a genre that hasn’t been heard elsewhere on the album just yet. Proud kicks things off with a prominent hip-hop beat and reflects on his career so far. I do like the tone and energy that KEY puts into the song, but I felt the melodies were a little dull for my liking. But still a neat ender to the album which quality is consistent with the rest of the album. (7/10)

Overall Album Rating – 8.6/10

Gasoline Teaser Image

[Review] Cotton Candy – Jinyoung (GOT7)

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Last time I reviewed a release from a GOT7 member (i.e. JAY B’s go UP), I apologized to Yugyeom for not writing a review for any of his solo releases since he (and his fellow GOT7 members) departed from JYP Entertainment. I start off this particular review with another apology to Yugyeom, as it is not his time yet. Instead, today’s review will be focusing on Jinyoung’s solo debut with Cotton Candy, which dropped on Wednesday of this week. Jinyoung is the final member of GOT7 to make his solo debut on the music scene, opting to focus on his successful acting career. Cotton Candy is the lead single from his debut mini-album, Chapter 0 – WITH.

If I had to sum up Cotton Candy in one word, it would be pleasant, just like how cotton candy is to me. And I feel like that statement alone is enough for me to end the review right here. It literally and succinctly describes Jinyoung’s debut single. But of course, I will break the song down further. Cotton Candy delves into soft pop territory, with a slight groovy underlay that comes from the synths and bass that are present in the song. Jinyoung’s vocals were very smooth, with a subtle husk that just feels warm and comforting. The melodies further emphasises the smoothness of Cotton Candy and were quite enjoyable, though maybe they could have been a bit more riveting, just so Cotton Candy is more captivating. I did like the post-chorus hooks (i.e. the “Oooh” that felt almost like whistles at certain points), which helps gives Cotton Candy a more memorable tinge. Without that hook, I could have potentially used ‘plain’ and ‘ordinary’ to describe the song. But it was enough to pull Cotton Candy through and make it come off as pleasant instead.

I suppose the music video is alright. I don’t think I can get away with describing the video as positively as I did with the song. While the video is also quite pleasant, I am not entirely sure of the dark filter placed over the video. My guess is that it is meant to come off as aesthetic and cloudy-like. But I don’t think it needs to be that dark. Other than that, the video is full of shots of Jinyoung dancing, closeups and looking handsome – this I am not complaining about.

As mentioned above, Cotton Candy‘s music video features choreography. We haven’t seen a live stage for the release just yet, but he does show off his performance skills. There are a few spins and a bounce to the choreography, which matches with the song quite well. Nothing mind-blowing, but that is expected with a pleasant song like Cotton Candy.

Song – 8/10
Music Video – 7/10
Performance – 8/10
Overall Rating – 7.7/10

[Review] Aurora – cignature

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cignature was absent from 2022, having no promotions and no comebacks in the last year whatsoever. Their last comeback was Boyfriend, and that was released in 2021 – a comeback that I never got around reviewing (can’t remember why). But earlier this week, cignature re-emerged back onto the stage with their newest single Aurora and their 3rd mini-album, My Little Aurora.

Aurora is a pleasantly cute single. The song takes on a bright and perky profile. A bit of sweetness was added, especially when it came to the chorus. But it wasn’t anything unbearable. The instrumentation takes on the pop genre with your usual synths creating quite an upbeat and bright atmosphere. It isn’t anything mind-blowing, but I quite enjoyed the bounce and charm that it came together to create for Aurora, which helped make the song more appealing. I also quite enjoyed how the song started, which a nice lead in and clean start to Aurora. If anything, I would have liked a centerpiece synth to the song, just to give it something that stands out. The vocals showed promise and a solid effort from the group. That high note we get at the end of the bridge was pretty good. Some of it does come off as cutesy (particularly during the choruses), but there really isn’t enough to really give the song that saccharine or over-the-top description that cutesy songs tend to overload and be associated with. Talking about the chorus, it delivers Aurora‘s very addictive and fun hooks. I basically have the song on repeat just for that aspect. The weakest moment of Aurora, in my mind, is the entire second verse. It just couldn’t didn’t have much momentum and failed to really give Aurora drive until the pre-chorus. Overall, nothing makes me go wow with Aurora (relative to other tracks out there at the moment). But as the song has a pretty infectious chorus and hook, considered me sold on the song.

It is a music video full of fresh smiles, brightness and energy, which no doubt definitely fits in with the song. The video looks like it transports the members from an ordinary place to a much brighter and more colourful location that has auroras in the sky. In this universe, pink and blue are the main colours of this alternative location, which I am so-so about.

Similar comments can be applied to the choreography, as it too is full of fresh smile, brightness and energy. While I enjoyed their performance, I am not entirely sure of that shaking move at the start of the chorus. It looks funny and a bit over the top. It also doesn’t feel like it fits in the elegance of the rest of the performance. However, it is also my favourite part of the routine.

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

[Review] Love War – YENA ft. BE’O

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Following her solo debut in January 2022 with SMILEY and subsequent comeback in August of 2022 with SMARTPHONE, YENA is officially back with a new song release. The title of the new single is Love War, and the single also features rapper BE’O (who gained popularity through his participating in Show Me The Money 10 and his subsequent music releases since then).

What a drastic change to YENA’s sound. Last year, it was all about bright and addictive pop rock energy. This time around, YENA has gone for a much more mature sound, delving into the R&B genre. While I enjoy a good switch up and don’t mind YENA’s change in direction with Love War, I do think Love War could have been a bit more appealing. Personally, YENA could have gone with a more memorable melody for the chorus. I just can’t seem to pinpoint a strong melody in the first half. Luckily, Love War‘s main hook (“Oh My Lover, Its a Love War“) does have a memorable factor, though it is rather plain upon reflection. I also felt the choruses was too similar to YENA’s verse, with the only difference I personally could detect was some amplification. On a more positive note though, I really love YENA’s vocals in Love War. The soft and husky tone she brings just sounds so good, and brings a sense of fragility and vulnerability to the song, I also love her falsetto that she reaches following BE’O’s rap. That was perfection and handled really well. BE’O’s rap was a bit interesting. Part of me feels like he overpowers YENA’s presence in the song with his stronger oomph he puts behind his delivery/verse. But listening to Love War a few more times since its release has warmed me up to his sequence a bit more. I do like how both YENA and BE’O come together to deliver the final chorus, which I found to be a nice touch. Overall, I do like the change in direction (despite also missing the pop rock phase that YENA debuted with). Though more could have been done with Love War.

Love War (which is a play on the word Lover, as both sounds similar) describes the precarious point in the relationship where the couple are fighting with one another. They used to be in love, but that same spark just isn’t there anymore. In fact, a much different spark is present. This video depicts both YENA and BE’O having that fight. It is a tense and dark atmosphere at the dining table (with literal storms in the background). We see scenes of her storming away, setting the place on fire, throwing things about to express her frustration. On BE’O’s end, we see him in the corridor, as if he just left the apartment after a verbal fight to cool down. In the end, we see YENA takes extreme measures and approach BE’O in the streets with a gun, further highlighting the lyrics of Love War. Overall, I think this video nails the message behind the song and the lyrics. I also commend the pair on their acting.

I quite enjoyed the performance. There was a bit of choreography, but it was kept to a minimum. Instead, the focus was on the delivery, which I appreciate. It starts off with a couple (not YENA and BE’O involved) having a fight. It is a short one, but it sets the scene for this performance. We then get some dancers doing their thing, while YENA joins in during the key and doable parts that doesn’t distract her from her live vocals. BE’O joins her on stage for his rap. But the concept of this whole comeback is that they are angry with another and they do a good job of showing that. I quite liked the ending, where both YENA and BE’O separates and walk in different directions, ending the video in a very cool but fitting note.

Song – 7.5/10
Music Video – 9/10
Performance – 9/10
Overall Rating – 8.3/10