It is a short one today, but an album review nonetheless. The album in question belongs to WONHO, who made his comeback in June with FACADE (his 3rd mini-album) and CRAZY (his latest title track). FACADE features a total of three full tracks (one of them being the title track itself), and an intro and outro instrumental track (both of which is not factored into the final rating of the album). This is his first release since his first single album OBSESSION and EYE ON YOU.
I feel like some explanation for the intro and outro tracks is required to give some them (and potentially the entire mini-album) context, as they felt very random. But I will admit they do flow into the title track (in the case of the intro track) and flow from the Korean version of last year’s Japanese winter single (in the case of the outro track) in a somewhat logical fashion. But when you consider the middle section of the mini-album together (i.e. the three tracks that I have included ratings for), FACADE felt like a hodge podge. And given the small length of the album, this feeling is more so broaden out to the whole mini-album, as well.
FACADE Album Cover
1. INTRO: 9AM – The start of 9AM gives off haunting vibes, which I am all down for. I love a bit of eerie and mysteriousness, and I feel 9AM really concentrates all of that in its instrumental piece. It definitely got me intrigued with the rest of the mini-album.
3. CLOSE – Following the very groovy and sensual CRAZY is the more atmospheric and ambient CLOSE. This is another all-English pop song from the artist (and KPOP in general) that attempts to appeal to the international audience. And I think WONHO did a good job. His vocals were quite prominent and straight forward in the track. But it still managed to pair well with the riveting (to a degree) softer synth instrumentation. There was still a bite to the song thanks to the beat present in the pop instrumentation. While CLOSE is pleasant, I did find the song to be linear, which dulled its appeal slightly. I think more drifty melodies and smoother vocals could have boosted CLOSE. (7.5/10)
4. White Miracle (Korean Version) – Winter Miracle was originally released in Japan at the end of last year, but I never got the chance to review the Japanese single. As it is part of this mini-album as well, I will be reviewing the Korean version instead. There isn’t a whole lot going on in White Miracle aside from an apparent sweetness to the song. It makes sense given that this was a Winter single released ahead of last year’s Christmas holiday. WONHO does sound quite decent. But apart from those aspects, the song is pretty much in neutral gear and doesn’t deviate from this sameness. So, the track is a skippable number in my opinion. (6/10)
5. OUTRO: 9PM – While we started off the album in a Halloween-like spirit, we end off with an instrumental piece that gives off Winter Wonderland vibes. 9PM felt very comforting, special and warming. I found this thoroughly interesting, but it works well given the previous track (i.e., the previous track’s original period of release matches the vibes of this song).
ASTRO’s full length studio album from mid-May is the next album to be reviewed on the blog. Titled Drive To The Starry Road, the studio album is ASTRO’s third one since their debut back in 2016. It features the title track Candy Sugar Pop and ten additional side tracks. In those ten side tracks, six of them were solo tracks from each of the members. This album does feature all six members, but promotions only consisted of five members, with MJ sitting out due to his military enlistment prior to the comeback.
Like the last album review, there appears to be a common description between most of the songs on Drive To The Starry Road. And that particular word is ‘pleasant’. I tried my best not to repeat it over and over again in this review to avoid repetition, but I could have gotten away with using it alongside most of the songs on this ASTRO album. There are two standout tracks, in my opinion, on this album. More particularly, two solo tracks. Have a read below to see which solo track I had given a 10/10 to (and to find out which one of the two that I strongly recommend overall)!
2. Something Something – Something Something hovers somewhere between a pleasant pop track and a groovy number. I don’t think Something Something leans towards any side in particular, and was balanced enough to still be engaging. The vocals paired well with the pleasant pop side of the song, bringing the song’s nice melody to life. The rapping worked tandemly with the groovy side and it too brought forth a dynamic touch and kick to Something Something. (8/10)
3. More – More concentrates and intensifies those funky vibes from the previous song without going down the usual vibrant route. As a result, I feel that More comes off as quite refined and mature. Their vocals and rapping follows suit, going with a more serious tone which definitely meant business. A more memorable melody or hook would have taken More to the next level, but what we got was pretty good. (8/10)
4. Light The Sky (하늘빛) – ASTRO continues their pleasant run with another pleasant pop track. Light The Sky goes down a pop ballad route with a very delightful instrumentation that feels quite atmospheric and definitely makes you think of a clear sky – either during the day or at night where the stars are shining brightly. The vocal work was soothing and brought a smile to my face. The rapping was low-key but works well with the softness that is Light The Sky. Overall, a comforting number. (9/10)
5. Story – We enter solo track territory with the first one belonging to MJ, who unfortunately didn’t get to promote the album due to his military enlistment. It is definitely nice that we still got to hear from him on this album. Story is a ballad really brings out MJ’s raw vocals. He was definitely stunning. The instrumental starts off minimalistic with just guitar, which brought your attention straight to his vocals. The second verse featured a rapid build in instrumentation, bringing in classical and synths into the mix. It eventuates into a stunning and epic backing piece. (10/10)
6. All Day – JinJin follows with his solo track, All Day, a hip-hop track. It is such an upbeat number that brings the energy of the album right back up. I liked the vibrant nature of the song, as it isn’t a profile that we have yet to hear on the album since the title track. JinJin adds a dynamic front to the song with his cool rapping and anthem-like chorus. Unfortunately, All Day does lack memorable elements, which pulls the song towards skippable territory. It is decent, but I kind of wanted more. (7/10)
7. First Love – First Love continues the brightness that featured as part of the previous solo track. But Eunwoo’s solo track is much more mellow and lovely. Both the instrumentation and Eunwoo’s breathy vocals were incredibly soft and fragile, but not in a balladry sense. Instead, First Love felt lovable and touching. I did quite like that brief guitar solo in the bridge and the swayable melody that First Love brings. The latter brought a smile to my face. Overall, another decent solo track. (8/10)
8. Let’s Go Ride – Moonbin brings R&B to the album with his solo track, Let’s Go Ride. I honestly did not expect anything else from Moonbin, simply because his solo performances and fancams from their recent concert show him pushing a sensual and mature agenda. And well, Let’s Go Ride definitely brings those descriptions to fruition. From the instrumentation to even Moonbin’s vocals, everything just oozed sensual energy and charisma that I am all for. His smooth approach to the song’s bridge was on point. (8/10)
9. S#1 – Out of all the songs on the album, Rocky’s S#1 is my favourite. I remember being in awe with the song and Rocky when I first vetted the album for an album review. His vocals were amazingly passionate, expressive and emotive. That high note was spectacular. S#1’s pop rock ballad instrumental was also quite riveting. Digging into the song, S#1 tells a full story of when a love first began between a couple and the breakup point of said couple. It was an interesting piece as a result. If you want any recommendation from this album, Rocky’s S#1 is what I will be recommending to listeners. (10/10)
10. 24 Hours (24시간) – The final solo song on the album belongs to none other than the maknae of ASTRO, Sanha. I feel Sanha was slightly disadvantage, following on from the likes of Rocky’s song. But 24 Hours is still (yet again) pleasant and soothing piece. Sanha’s vocals were nice, while the toots in the instrumental (can’t tell what instrument it was) helped give 24 Hour a unique profile. Not as captivating like the other tracks on the album, but still a nice listen. (7/10)
11. Like Stars (밤하늘의 별처럼) – The six members of ASTRO regroup for the last song on the album, Like Stars. It was a nice ender to the album, and rounds out the entire album in a heartening manner. The synth pop of the song’s instrumental brought a nice upbeatness, with certain parts of the song diverting to an atmospheric feel as well. Both the vocal work and rapping were fine, with the latter also bringing a bit of intensity to the song. I did wish the melody was more memorable. But what we got works absolutely fine. (8/10)
The second album I wanted to review during the week which I didn’t get around to was ATEEZ’s most recent release – The World EP.1: Movement. This is a more recent release to the albums I have been reviewing, dropping at the end of July of this year. And you will probably see me visiting some more recent album releases as I want to make sure I reviewing albums from all over the 2022 timeline (not just ones released many many months ago). The World EP.1: Movement features the title track Guerrilla, an introductory track (not included in the final rating) and 5 additional side tracks.
I use the word ‘epic’ or synonyms of the word a few times throughout this album review. And I think it is the right word to describe the album as a whole. And it comes no surprise for ATEEZ, who have put out some epic mini-albums over their years since their debut in 2018. I was only slightly disappointed with one song, and the rest of the mini-album really compensated for that. Can’t wait to see what else ATEEZ has in store for us in this new series!
The World EP 1: Movement Album Cover
1. PROPGANDA – This intro track was first introduced to us in the teasers leading up the album’s release. It serves as ATEEZ’s wake-up call to the dystopian world, which under the control of regime of the time. For majority of the length of PROPGANDA, the track features a lot of powerful EDM. But as we reach the end, electrifying rock takes over (hinting to us what is yet to come) and Jongho’s signature delivery of high notes. If you are not woken up from this intro track, I don’t know what will.
2. Sector 1 – Sector 1 starts off with simmering intensity but a calm atmosphere. But this arrangement only lasts briefly, just until the chorus. Then, Sector 1 quickly propels itself into its punchy chorus. I really liked those higher pitched vocals, which heightens the chorus even further. From there, Sector 1 maintains its punchy and intensity nature through some powerful rapping. The second verse’s pre-chorus briefly calms the song down before we find ourselves in the same chorus as before. The bridge maintains the intensity before the chorus comes back for its last hurrah in a hip-hop anthem fashion. Overall, a grand song that knows how pack a punch. (8.5/10)
3. Cyberpunk – I can definitely see how Cyberpunk attracted the attention of the fandom. The psychedelic-trance EDM instrumentation was definitely a prominent and iconic piece on this album. I really liked how the energy is paced in Cyberpunk and how that momentum was maintained throughout the track. In addition to that, the descending chorus line was superb and definitely added another iconic feature to the song. Seonghwa’s rendition of the line in opening the final chorus is the best in this song, with the roughness in this voice just doing wonders to that part. (10/10)
5. The Ring – To me, The Ring felt suitable for an epic adventure movie and we are at the part of the story where the characters needed some encouragement or hype to go on with their mission. On top of the hip-hop synth arrangement that plays an important part in The Ring, the addition of violins gives The Ring that epic vibe. I also really enjoyed the dramatic and theatrical flair of the chorus, which really solidified the momentous feeling behind The Ring. And, given that the song is more geared towards the hip-hop genre, the rappers really take full control of the wheel of The Ring and adds more to the epicness of the song. (10/10)
6. WDIG (Where Did I Go) – WDIG continues the epic vibes from the previous song. But WDIG falls more into the usual EDM realm of KPOP nowadays, bringing a more electronic prominence to the song. While I thought the verses were really well done and were relatively clear to appreciate, the chorus was a bit too autotuned and the hook was felt too drawn out for my liking. This made the song less appealing, compared to the rest of the album. Jongho’s vocals were probably the more enjoyable aspects of the chorus, but this doesn’t really help out much as it reflects the clearness factor which I had already touched on for the verses. (7/10)
7. New World – New World follows the formula of the title track, bringing together EDM dance synths and rock to form a powerful and bombastic end to the album. The rock is a tad slower and this makes New World more mature to a degree. Mingi is the standout member in this song, simply because his rapping was fire. And naturally, it was paired with some of the best aspects of the instrumental – such as that fast paced and thrilling thumping at the end of the bridge which brought New World a head-banging climax. A strong ender to the album. (8/10)
Today, I will finally get around to writing and posting two of the album reviews that I should have posted during the week. The first of the two is iKON’s FLASHBACK, the group’s fourth mini-album released back in May of this year. It features the group’s memorable title track, BUT YOU, and four additional side tracks. FLASHBACK was also the first release from the group since their Why Why Why promotions back in early 2021 and their participation on Kingdom: Legendary War last year.
BUT YOU remains as one of the best title tracks from any group for me this year. Even as I am writing this review, I am digging the track and reliving the satisfaction that I get from it, as I had expressed in my song review. The rest of the mini-album follows on in a neat manner. The hip-hop tracks weren’t exactly my favourite, but they had their place and presents a sense of familiarity. The rock ballad and the EDM side tracks, on the other hand, were my highlights from the FLASHBACK mini-album. Overall, the mini-album is enjoyable to listen to. Let me know if you agree with my thoughts in the comments section below!
2. DRAGON (용 (龍)) – DRAGON follows the title track with an EDM instrumental that is best described as exciting and exhilarating. Parts of DRAGON felt textured like a banging rock song, which I thought was very cool. And given the likeness to a rock track, the rough and raspy vocals of the members were nicely brought out in the song. The rapping also felt cool, riding nicely off the trendy and cool energy of DRAGON. I kind of wished the last sequence of instrumentation in DRAGON could have been more electrifying, but that doesn’t stop DRAGON in being my pick for favourite side track on FLASHBACK. (9/10)
3. FOR REAL? (말도 안 돼) – FOR REAL? mellows out the energy with a laid-back hip-hop track that feels very much in iKON’s wheelhouse. It doesn’t feel as iconic as their more successful and well known takes on the ‘laid-back hip-hop’ sound due to a lack of a memorable ring, but FOR REAL? was still quite nice as a side track. The guitar work and smoother vocals were pleasant and quite appreciable. (7.5/10)
4. GOLD (금) – GOLD is a lighthearted hip-hop track that adds a bit of sunshine to the album, fitting for a track that is titled GOLD. This track is the least like what we have heard from iKON previously, given they tend to gear towards a heavier and/or serious sound. The instrumental and beat feels trendy and their vocals were nice. But given that this isn’t what I am personally used to from iKON, it ends up being my least favourite track off this mini-album. (7/10)
5. NAME (그대 이름) – NAME had all the hallmarks of a nicely done ballad. But the main takeaway for me was that NAME is quite an emotive track, with the members portraying emotions in the song that really hit me in the feels. The starting piano instrumentation and the piano work following Bobby’s rap sequence in the second verse was beautiful. But as NAME progresses further, we get more of a rock ballad approach that complements the emotive that iKON is really pushing throughout NAME. Overall, a remarkable ballad track that ends the album on a bittersweet note. (10/10)
More reviews for some ‘older’ releases that I should have reviewed sooner is coming your way over the next few weeks. I restart things off with a review for Copycat, the debut single for APINK latest unit – APINK CHOBOM. For those who could tell by the unit’s name, APINK CHOBOM is made up of APINK members Chorong and Bomi. They made their debut with Copycat almost two months ago.
It took a while for Copycat to actually grow on me. I didn’t care much for it when it was first released (but I think I was a bit overwhelmed with a few things at the time). But over the weeks since, Copycat really drew me in with its really pleasing approach. Copycat is a consistent and pleasant dance pop number. It felt very KPOP without the flair of being overtly cute or having any super energetic music. Instead, Copycat‘s mature retro-like instrumentation has a very mellow and consistent appeal, yet also groovy sound. All of this, in turn, helps Copycat feel and sound minimalistic, which I personally thought was quite unique and commendable. Chorong and Bomi airy vocals fit in extremely well. Their vocals actually have a neat boldness to them (as they are bolstered in many ways), but they are layered over the top of the instrumentation and don’t ever breach the top layer of the music. It made for an interesting and appealing effect, working well with the aforementioned minimalistic vibe. The hooks were extremely simple and have a straightforward melodical approach, which too also complements said minimalistic vibe. Overall, Copycat felt super simple and appealing. It isn’t necessarily a mind-blowing track, but it definitely has its own unique charms.
While the song doesn’t go down the cutesy route of KPOP, the music video definitely approaches the comeback in that manner. The video is quite colourful and potentially could have been quite vibrant, as well. But just like the song, the dulling effect on the colours helped give off a refined and mature feel. Anyhow, it is clear that this video has a plotline behind it. Though, I am not entirely sure what it is trying to say as you kind of need to read into it. The pair from APINK are initially trapped in a TV (and based on the ending, a video game, to be more specific) and are brought into this storage-like room (in what looks like a hospital) by a lady where they are kept as mannequins. After the lady that drops them off leaves with the TV, the pair run off to discover their surroundings. Based on the video game concept introduced at the end, the members are being controlled by the game player and run away from the facility. As they run away and/or escape the hospital, more colour come into their lives (as opposed to the white dresses and coloured stockings we first saw them in). This either symbolises that they discovering more of themselves (as opposed from being copycats of one another) or they are progressing in the game. In the end, the girls are caught and the words ‘GAME OVER’ appear on the screen. We then see the CHOBOM pair (back in their original copycat forms) warn the guy playing the game of the person approaching him from behind. He had a ‘not again’ response to what appears like the same lady from the start approach him instead. Maybe it is one of those cursed games where if he loses (which he does), he becomes the next victim for the next person to play, and he is stuck in a horrible time loop? Who knows.
There is a lot of copying, mirroring and feline references and moves throughout the choreography, which I felt was very appropriate for the song. I liked how the routine plays to both sides of the song’s title. Usually, we just get one. But it is creative that the choreographer went with both. Aside from that, I enjoyed the hint of dynamism to the choreography and I feel the choreography adds a dash of extra energy to the song.
Song – 8.5/10 Music Video – 9/10 Performance – 8.5/10 Overall Rating – 8.8/10
The other comeback to start of this week is ONEUS’ newest single Same Scent and the group’s eighth mini-album, Malus. This release follows the group’s last comeback from earlier in the year, Bring It On, which was released back in May. I very recently reviewed that release’s mini-album (TRICKSTER) which proved to be a big hit in my books. It won’t be a while before I find time to review Malus. So for now, here is my review for Same Scent.
ONEUS goes for more of a restrained dance track in Same Scent. They are probably more well known for releasing songs, at the moment, that are more ‘in-your-face’ (i.e. Bring It On). But their own repertoire also includes singles that feel more held back (i.e. A Song Written Easily from 2019), and it is this style which Same Scent would fall under. There isn’t anything wrong with this style of music, especially since Same Scent feels aesthetic in its own way and brings out a refined maturity. This alone makes the song quite attractive to me. There is an airiness to the pre-chorus that I quite liked, and the contrast between airiness and Same Scent‘s choruses was quite profound. The vocal work feels smooth and I really liked how the lyrics just glide along during certain parts of Same Scent. The ad-libs were also quite cool. My only concern about Same Scent is that it doesn’t feel like ONEUS did much in it. The chorus is largely empty, with Same Scent relying on the tropical synths to do most of the talking (again nothing wrong with this, especially since I enjoyed the way Same Scent sounded – I am just more concerned that ONEUS didn’t really get a chance to showcase more of their talents in the song compared to previously). We do get a bit of lyrics in the choruses towards the end of the sections, but they aren’t exactly the most memorable hooks. The first verse was also largely unmemorable, as well. But at least the second verse had some strong rapping, particularly Leedo who starts off soft but builds his sequence as it goes on. Ravn’s autotuned follow up and bridge sequence was probably the song’s most textural component. Overall, a pleasing song. But I would have liked ONEUS to have been a bit more robust (in a fitting way) in this song.
The music video doesn’t really add much to this comeback, if I am being honest. It captures of some that aesthetic that I mentioned in the song, with smoother and slowed down choreography shots. And you could argue that some of the solo close ups might also capture some of the aesthetic. But I felt the choreography sets were confined or too dark. Sure, they give off some mature vibes. But not enough for me to really say much about it. The scenes where the members are dancing in a shallow pool of water was probably the coolest aspect of the music video. And while it did have a refreshing vibe as we haven’t seen this recently, it isn’t innovative nor groundbreaking.
With a mature sound like Same Scent, I am glad their performance stage picks up on this. There is a subtle sensual vibe to the choreography that works well with the song and even their attire at their showcase stage brings more of that sensual energy. There was also a subtle intensity in the chorus routine, which I found to be quite satsifying to watch.
Song – 8/10 Music Video – 6/10 Performance – 8/10 Overall Rating – 7.4/10
One of the two comebacks to start off this week belongs to Kim Jae Hwan, the main vocalist from the now disbanded project group WANNA ONE. For those who missed it, WANNA ONE reunited at the end of last year for a special stage at the 2021 MAMAs and a special release of Beautiful (Part 3) in early 2022. Since then, the members have returned to their current solo and group activities. Kim Jae Hwan, in particular, made his solo comeback with Snail back in June of this year, which I have yet to (but will) review at a later date. He then made a quick comeback yesterday with his fifth mini-album Empty Dream and the title track BACK THEN.
BACK THEN is another track from KPOP that has opted for the trending rock genre. But Kim Jae Hwan portrays the genre in a manner in which he could excel in, combining it with a more vocal centric genre like R&B. The rock and R&B track that is BACK THEN feels quite balanced between the two genres. What I did like about BACK THEN was how seamlessly it was able to flicker between a softer R&B approach with the verses and the more intense rock sound in the chorus. The bass in the verse appears to be the thread that brings two the parts together, as it sets up the verses to have some momentum in which the rock in the chorus can then carry onwards. Together, I feel BACK THEN as a whole was satisfying and was very appealing. As mentioned before, this combination feels like a no-brainer for Kim Jae Hwan, as it allows him to showcase his vocals quite well. Given his vocal capabilities, he is able to go that extra mile and add oomph to his vocals to match the energy that the rock, but is also able to express his emotions in both the R&B verses and rock choruses effortlessly. I just wish the memorable melodies of the song extended into the verses, just to give BACK THEN a more profoundness that help make the song stick. I also thought the R&B could have gone a step further a feel more ballad-like to really maximize the impact BACK THEN could of have.
BACK THEN is said to capture the feelings of longing for your ex following the breakup (taken from SOOMPI) and I feel that Kim Jae Hwan had captured that essence in his vocals. Though, I feel like he doesn’t completely capture said essence in the music video. The entire video showed the aftermath, but it just felt lacking. As cliché as it might look and sound, I kind of wished the music video had a ‘before’ breakup and an ‘after’ breakup concept. I think this more typical approach would have really captured the song in a visual sense really well. Aside from that desire, I liked that the music video also captured the rock aspect of the song with Kim Jae Hwan rocking out with his guitar to the song in some scenes and having a band in the background. It made sense to include and I am glad that it did.
As seen in the music video, the comeback is able to flick between a band version and a dance version for this comeback. I do hope we get to see the dance version in full during promotions for BACK THEN. From what I do see, the choreography looks decent. Kim Jae Hwan is still for some of it, presuming so he can hit those notes while performing live. But when he is full participating in the choreography, it appears to be full power, and I quite liked how he and the dancers embody this.
Song – 8/10 Music Video – 8/10 Performance – 8/10 Overall Rating – 8/10
I start off the new week with another album review. This time the focus is on TXT’s fourth mini-album, Minisode 2: Thursday’s Child, their first album release since their The Chaos era last year. Thursday’s Child features the title track Good Boy Gone Bad, both of which were released in May of this year. On the mini-album alongside the title track, there are four additional side tracks – two of which are unit tracks.
Another strong release from TXT with this mini-album. With the success of The Chaos era being a big driver of the group’s growing popularity, I feel that fans had big expectations that Minisode 2: Thursday’s Child would further that growth. And I believe that the mini-album did just that. Not only was Good Boy Gone Bad was an epic comeback for the group, the other tracks on the mini-album were definitely of a high quality and proves that TXT are indeed artists that we need to keep on eye on for future releases.
Minisode 2: Thursday Child Album Cover
1. Opening Sequence – Kicking off the mini-album is the track Opening Sequence. And this is one really strong track. The development of the song as Opening Sequence progresses was one of the key aspects of the song that I was drawn to, with haunting piano and breathy vocals starting off the song. This last until the first chorus, which brings a heavy beat to the mix. We then get electric guitars to bring forth a rock tinge in the second chorus, and an even heavier rock presence aided by boastful synths came about in the final chorus. The melodies, particularly in the chorus, were iconic and super memorable. As for the vocals, they were very well done and you can definitely hear the emotions behind the vocals of the TXT members. (9/10)
3. Trust Fund Baby – I remember having a bit of a giggle when I saw the title of the song for the first time – it just felt so random as a title. Interestingly, I got reflective vibes from the indie ballad, which in turn intrigued me into understanding the song. When you read the lyrics, you read about how the members feel empty and meaningless following the breakup with their partner they tried so hard to be with in LO$ER=LO♡ER. Both the lyrics and balladry style represent a tonal change from their previous title track LO$ER=LO♡ER, with references to that song interwoven into the lyrics of Trust Fund Baby and a clear acceptance of their current circumstances. Again, amazing melodies and heartbreaking/emotive vocals are featured throughout the track. I also enjoyed how atmospheric the instrumental was. (10/10)
4. Lonely Boy (네 번째 손가락 위 타투) – An interesting mix of acoustic guitars and trap makes up the instrumental for Lonely Boy, the mini-album’s first unit track. It features the vocals of Yeonjun and HeuningKai. Their chemistry in this paced song was quite good. HeuningKai’s vocals oozed charisma, while Yeonjun’s rapping gave the song some much needed oomph. The English lines in the chorus were quite repetitive, but they did it in a way where it wasn’t overbearing and actually came off as memorable, instead. (8/10)
5. Thursday’s Child Has Far To Go – Thursday’s Child Has Far To Go features the balance of TXT members (i.e., Soobin, Beomgyu and Taehyun). I quite liked the ease of the song, as it was easy on the ears and easy to get into. The retro synths and mid-tempo upbeatness were quite pleasant and enjoyable. The trio’s vocals had a tinge of hopefulness, which pairs well with the lyrics of the song. The melodies were also quite soothing and light. Everything in Thursday’s Child Has Far to Go came together nicely and created a track that eases you off the album in such a perfect manner. (9/10)
The only album review I can put out this weekend belongs to SEVENTEEN. If you could not tell, I was preparing to post the review for FACE THE SUN and SECTOR 17 (4th studio album and the 4th studio album repackaged, respectively), following the reviews for the two pre-release tracks from the album (Darl+ing and CHEERS) – links below. In addition to these tracks, the album also features the title tracks HOT (released at the end of May), _WORLD (released in July), the Korean version of Fallin’ Flower (orignally released in Japan in 2020) and 8 additional side tracks.
To be honest, after writing this review up, I felt the album is one of their weaker releases to date. SEVENTEEN has always put out strong albums, and my final rating of the album might indicate that it is a fairly strong release. But this is the first time I can remember where I made a number of comments that expressed some disappointment with some of the songs on the album. But don’t worry, this is just my personal thoughts and there are still some strong side tracks on there. So, if you enjoy SEVENTEEN’s releases, you will definitely find something to enjoy from both FACE THE SUN and/or SECTOR 17. And if you are looking for a new song or not a SEVENTEEN listener, I will always recommend a SEVENTEEN album, as they have always been a well-rounded group!
FACE THE SUN Album CoverSECTOR 17 Album Cover
1. Circles (놀고 놀아) – Opening the repackaged album is the track Circles. It is quite a pleasant mid-tempo ballad, which leads into the title track of the repackaged album quite nicely. Everything in Circles – from the melodies to the vocals to the youthful choir to the classical instrumentation – were all warm and welcoming. Listening to the song brings a smile to my face. It might not be the most innovative start ever, but it was definitely enjoyable. (8.5/10)
3. Fallin’ Flower (Korean Version) – I have previously reviewed the Japanese version of Fallin’ Flower. To see my thoughts for Fallin’ Flower, please click here to read the review for Fallin’ Flower. (9/10)
7. DON QUIXOTE – For some reason, I felt DON QUIXOTE was quite an unsuspecting track to enjoy. It was one of those songs where I had no expectations heading into the song. But somehow, I am genuinely surprised with DON QUIXOTE. The chorus, which opens the track, falls squarely into the pop genre. It was a bit dry, but I appreciated the vocals in the pop sections of the song. As DON QUIXOTE progresses, we get hip-hop and rock influences on top of the pop, as well. The way these influences comes and goes in the track made it quite enjoyable. I wished there was a more explicit peak and drive to the song, as DON QUIXOTE almost falls into a neutral gear for me. But the already mentioned changes in style and instrumental helps keep the song afloat. (7.5/10)
8. March – March picks up on the rock influences from the previous song, and dives deeper into the genre. But while I am digging the instrumental, I am left disappointed with the vocals. I think the members could have really picked up on the rock influence and gone much harder with their delivery and execution. The rappers and that chanty bridge definitely have the right idea, as I found their parts to be a lot more satisfying. The vocalists, on the other hand, just seem to scrape the surface of the direction they could have gone down with. (7/10)
9. Domino – Domino is my pick for best side track on this album. It is definitely a cool track, with funky and groovy vibes throughout the track just screams a good time. I really liked the way the choruses start, with Vernon/Wonwoo’s countdown, the domino falling sound effect and the piano slide. The anti-drop that comes after was a great concentration of the funky and groovy vibes already mentioned. The addition of the electronic synths for the bridge was a neat development, as well. The vocals and rappers really did well in this song. I liked the breathy effect on the vocals and the rapping was sleek. (10/10)
10. Shadow – Next up is Shadow, which was a superb side track as well. Atmospheric and fast paced percussive synths in the verses, hefty guitar playing in the first half of the chorus and heavier pop rock is brought to round out the chorus. From there, the instrumental repeats but maintains the momentum it had created it for itself. The vocals in Shadow were really very well done, adding a suitable lively tone to the song and balancing out the heft that Shadow has. The roughness and textures of the rappers’ vocals were just perfect for a song like Shadow. Interestingly, the rapping was left to Dino, who nailed his rapping sequence perfectly and adds the right oomph to compliment the momentum of the song. (10/10)
11. ‘Bout You (노래해) – After such a hefty track, SEVENTEEN surprises with a lighter and smile filled summer pop track. Per most summer pop tracks, I am digging ’Bout You’s vibrant and playful manner. While the summery pop nature of the instrumental isn’t anything new to KPOP, I did still find it danceable and will not deny having a bit of a dance whilst reviewing the track. Overall, a fun track! (8/10)
12. If You Leave Me – The second last song on the album is another ballad. If You Leave Me, as alluded by the title, is a more emotional one (compared to the opening ballad of the repackaged album). The instrumental was only piano and I liked the beautiful tone it brought to the ballad. Per most ballads, there is a focus of vocals, and I liked the share of delicate and powerful vocals throughout If You Leave Me. The song also stands out with its interesting layering of vocals and the intertwining of vocals. The harmonies in the end were also just stunningly beautiful. (8/10)
13. Ash – Closing out the album is Ash, a trap hip-hop track. It is quite heavy on the autotune, which gave very different and unique vocal effects to members throughout the track. I kind of like that in this song as it gave Ash variety. Without this source of variety, I would have found Ash to be more of a bore than what it is. As alluded in the previous sentence, I don’t really care for Ash. It was more of a skippable song, in my opinion, which is slightly disappointing given you want the closer of the album to be memorable. (6.5/10)
I am preparing to write an album review for SEVENTEEN’s fourth studio album (and its repackaged version) this weekend. But in order to review that album, I have get some song reviews out of the way. Prior to the release of Sector 17 (the repackaged version of their fourth studio album) and the title track _WORLD, SEVENTEEN’s leader subunit (featuring S.Coups, Woozi and Hoshi) pre-released the single CHEERS with a special music video. That is the focus of today’s review.
CHEERS makes no hesitation or apologies with diving into the hip-hop genre. I personally would have expected this release to come from SEVENTEEN’s hip-hop team, as the genre is literally in their unit’s name and CHEERS is probably 120% in the realm of hip-hop. But technically, the leader unit of the thirteen member group isn’t really known for a specific style or sound, so the unit has free reign and no specific constraints over what styles they put out. Don’t get me wrong, I have no qualms with them deep diving into hip-hop this time around. CHEERS is quite a fun track thanks to the catchy flute hook and the dynamic/upbeat energy that comes from the instrumentation. The lyrical hooks were quite strong and leaves a positive impression. The bridge brought on a neat peak to the song and serves as my favourite sequence of the song. Even each member had a stand out moment – Hoshi’s is the ‘Eondeongi pang pang‘ (more on that in the choreography section), S.Coups whispery sequence in the second verse and Woozi’s smoother delivery in the first verse. However, my biggest issue with CHEERS is the heavy autotune that coats the song from head to toe. While I did get the autotune helps hype up the energy, makes CHEERS more dynamic and delivers a degree of charm to the song, there were certain parts that felt unnecessarily autotuned. Some refinement would have made CHEERS a much stronger and less overwhelming track.
The music video undoubtedly goes down the hip-hop path, as well, with a heavily influenced music video that fits in well with the genre and song. There isn’t really any other way to prose this video, in my opinion. It hits all my expectations. With this video, I presume the different scenes we do get have some sort of meaning. Or, it could all be intended to be lighthearted or stylish, and my years of KPOP reviewing has taught me to over think everything. I don’t know. But it was a fun watch and the trio matched the energy of the song really well.
I am not going to dilly-dally over the choreography section of the review and get straight to the point. Hoshi’s hip bounce is the most memorable moment of the entire routine. It was a fun and vibrant move that definitely steals the show. The rest of the choreography was also fun and energetic as the song, but not as much as that two second move.
Song – 7.5/10 Music Video – 8/10 Performance – 8/10 Overall Rating – 7.8/10
The next album review belongs to MONSTA X, who returned to the KPOP scene back at the end of April, with their 11th mini-album SHAPE OF LOVE and their title track LOVE. Out of all the albums that I have to catch up on, MONSTA X’s (with a few others – one of which I will be reviewing later this weekend) have consistently been on my mind to review. As part of this mini-album, LOVE is featured alongside five other tracks.
SHAPE OF LOVE proves that MONSTA X is still powerful and impactful as they have always been. It is another high quality release from the group, with a slightly different yet refreshing title track than usual and very strong side tracks. And with such another mini-album under their wing, I am glad we will be hearing more from MONSTA X into the future, following news that all members (sans I.M) had re-signed with Starship Entertainment to continue MONSTA X activities. And even though I.M had elected not to be part of Starship Entertainment, he reaffirmed with the news that he will still be part of MONSTA X moving forward.
2. Burning Up (ft. R3HAB) – Following the title track is Burning Up, a very addictive synth pop track. Despite having deep retro influences and groovy vibes, Burning Up was quite minimalistic. You don’t expect that with songs with retro influences, but somehow R3HAB managed to get Burning Up to do just that. Very interesting. The minimalistic approach of Burning Up allows the vocals to be the pure focus of the song, and the MONSTA X members sound so striking. The rappers, in particular, sung their way through track alongside the other vocalists. I found the simple repetition of the song’s title to be so catchy and effective. Overall, an interestingly simple yet bold track. (10/10)
3. Breathe – Another retro track follows Burning Up and the title track. This time around, MONSTA X opts to include brass, alongside atmospheric synths, in Breathe. If you listen closely, you can hear breaths in the background. Clever. I quite enjoyed the soft nature of Breathe, as it allowed the members to bring forth smooth vocals that had a lot of character and charisma. It isn’t as striking as the previous song, but Breathe was still pretty good. (8/10)
4. Wildfire – While the side tracks have been simple so far, MONSTA X adds a relatively more complex song to the tracklist via Wildfire. I don’t mean that in a negative manner, however. I am referring to the fact that Wildfire brings merges two types of instrumentation – orchestral and EDM – into one piece. This has been done before. But I don’t remember any song from the top of my head that has done this to be so stunning and captivating. I like the extra oomph that the vocalists got to show in Wildfire. But for me, the standout member is Joohoney, who really got to show-off via a fiery rap sequence in the second verse. (10/10)
5. 사랑한다 –사랑한다 (or Love You) was a nice sentimental song that was extremely pleasing to listen to. I don’t have much to say about the song as I think the song talks for itself. It was heartwarming, especially when they all sing the title together on repeat (the best parts of the song, if I am being honest). The rest of the vocals (including the rapping) were stunningly beautiful and clear. The instrumental, whilst generic, was pleasantly simple and suitably soft. (8/10)
6. AND – The vocal focus continues with the last song on this mini-album. There was an epic and grand nature to AND’s slow pop rock instrumental that made the song sound loaded. The vocals match wonderfully, helping to create a powerful atmosphere with the instrumentation. The slow paced nature of the song does dry out the song for me personally. But if you are looking for something more balladry on this album that isn’t necessarily a ballad, then AND is the song for you. (7/10)
I travel back to Monday to review one more song, LEE JIN HYUK’s latest release. The mini-album is titled 5ight and the lead single is titled Crack, and it follows last year’s October 2021 comeback with Crtl + V (his fourth mini-album, which I did not review) and Work Work (his last promotional track).
Crack is another rock based dance track to add to the growing list of rock influenced tracks that have emerged in KPOP. But we are still in the early days of the trend, given that each artists (so far) are still able to make this trend their own and I don’t think I am anywhere near tired of it. For Crack, the uniqueness comes from the drumming. It really gave Crack an extremely dynamic and robust tenacity, especially during the bold and hyped pre-choruses. It was adrenaline pumping and I am still reeling from the excitement the drumming gives the song. Electric guitars are common in rock songs, and Crack is no exception. But as the drumming is already the bold aspect of the song, the electric guitar sits more in the background. The choruses follows on nicely from the pre-chorus, picking up the momentum and brings forth those electric guitars a bit to bring an electrifying profile to the surface of Crack. The hooks were catchy and addictive, even though I did have a laugh when I first heard the ‘I have a crack crack crack‘ hook the first time around. LEE JIN HYUK’s raspy vocals and raps were well utilized and adds a nice textural component to Crack. The bridge smooths out the instrumental, which was a neat contrast to the rest of the song. However, I do think Crack missed the opportunity to have a more substantial peak in the bridge, which (I hoped) would result in a launch back into an intensely energetic final chorus to close out the song. Similar comments can be said with the final instrumental break. It could have been so much more concentrated just to give Crack a literal high point to finish on. But overall, Crack really impressed me, with the instrumental really stealing the show for me.
As for the music video for this comeback, I thought it was fine. Not memorable, but not necessarily terrible, as well. The choreography scenes (sans the leopard print pants) had an electrifying feel to it, thanks to the flashing and spinning lights in the background. There was a lot of cracks in the video, including cracked glass, smashed windshields with cracks in them and even crackers making a crack sound at the very start/end (Hehehehe…). I am sure these serve a purpose other than puns, but I couldn’t piece together what was happening the video.
I wished the sharpness associated with the ‘crack crack crack‘ move was present throughout the choreography. If everything else (aside from the dance outro) felt a lot more snappy, I think this would have made a really cool choreography routine. But instead, it appeared a bit wishy-washy. I make the exception with the dance break outro, as that is what I am looking for and feel would have made the stage better.
Song – 8.5/10 Music Video – 7/10 Performance – 7/10 Overall Rating – 7.8/10
Next up on the album review block is WOODZ’s Colorful Trauma, his fourth mini-album. Leading the album and its five songs (in total) is the title track I HATE YOU. Both Colorful Trauma and I HATE YOU were released in May of this year. This is also WOODZ’s first comeback following his October 2021 ONLY LOVERS LEFT and WAITING comeback.
WOODZ amazes the audience (and myself) once again with another knockout mini-album. This time, WOODZ deep dives into the rock genre, which is an emerging trend in KPOP that I am all aboard for. What I like about the mini-album is that it shows shades of the rock genre, with WOODZ not shy with either hardcore rock or softer approaches to the genre. Versatility with a theme! Let me know down below if you agree with my thoughts on the songs and/album.
Colorful Trauma Album Cover
1. Dirt On My Leather – WOODZ goes hard with the opening track, deep diving into the rock genre. He definitely knows how to have a good time. Dirt On My Leather blasts out from the speakers with its hardcore, powerful, electrifying and adrenaline rushing rock instrumental. The exact same things can be said about his vocals. From start to end, WOODZ was superb and so expressive. The ad-libs was sooooo damn good and he just blows me away with this track. Also, it is all in English! (10/10)
2. HIJACK – HIJACK isn’t as hardcore as the previous track. Instead, it takes more of a punkish direction. Parts of HIJACK were still quite electrifying, following nicely from the previous track. This creates a very interesting combination that oozes charisma and personality for WOODZ. I liked the angsty and intense atmosphere that comes from the song, thanks to both instrumental and vocals, as well. I did wish HIJACK picked itself up as it progresses, just so it doesn’t feel totally sluggish. But it was still a strong track regardless. (8/10)
4. Better and Better – A sentimental tone was adopted in Better and Better, quite different from the usual tone that WOODZ brings to his songs. But it was a worthwhile change, as I pick Better and Better to be another favourite from this album. The song still aligns with the rock genre, taking a more alternative approach this time around. I thought the instrumental was very clean and neat, which is quite the opposite to how rock is usually prosed to us. WOODZ’s vocals were stunning, with this sentimental tone bringing a more delicate touch on WOODZ’s part. (10/10)
5. Hope To Be Like You (안녕이란 말도 함께) – Ending the album is Hope To Be Like You, an upbeat and pleasant pop track. Rock instrumentation still appear in the backing of the song, alongside atmospheric synths. Together, they create such a harmonious instrumental that is light and soothing in its own way. WOODZ brings soft vocals and warm harmonies to the song, help furthering the gentle atmosphere. Somehow, Hope To Be Like You still works well with the rest of the mini-album, closing out what is a satisfying album release from WOODZ. (9/10)
We are still a couple of months out from a year since KEY impressed with his solo comeback. BAD LOVE (title of both the title track and first mini album). But that hasn’t stopped KEY from returning with a new music. More specifically, a new single and his second studio length album, both of which have been titled Gasoline. The new material dropped officially today, even though he did informally pre-release the sides tracks Another Life and Proud and performed Gasoline at the recent SM Town concerts.
But the focus of this review is purely on Gasoline, the title track. The biggest question that I have for myself heading into this comeback was whether Gasoline tops the likes of BAD LOVE (which knocked my socks off last year). Unfortunately, I can confirm that the new release does not exceed the standard that was set by last year’s release. I will explain why in a bit. Gasoline is a hip-hop dance track that really grabs our attention from the get-go with its bold and fanfare instrumentation at the start and during the choruses. Heavy thumping takes over the in verses and the brass elements that contribute to the fanfare influence in the chorus is taken down a few notches. All of this was very good and definitely is very memorable. I quite liked the decision to skip the chorus following the second verse, going straight into the bridge. It was an interesting change of momentum and the thumping beat was quite exciting and thrilling. It definitely got the adrenaline running through my body. My issue with Gasoline was the lack of melody. There was some, but none of it was rewarding or fulfilling like in his previous comeback. Also, the boastful and confident main hook of the song (i.e. the ‘A-List, The Latest, Made It, I’m Ready, Big Rings, Your Scream‘) felt so cringy and was very questionable to me. I see how the first four compliments the idea of being confident and ambitious, but the latter two that I quoted makes no sense. The start-stop manner it was delivered in was also a bit plain and wearisome, and I wished the hook was more gratifying to listen to. KEY’s rapping throughout the track was good, but it is the way Gasoline‘s centric moments were delivered that I find to be a letdown.
The music video makes up for the Gasoline‘s lacking aspects. I am blown away by the quality and jaw-dropping visuals that KEY delivers in this comeback. My guess is that KEY is like a god in this video, with the dancers worshipping him. This would work well with the confidence and ambition that KEY expresses in the lyrics of the song. The golden colour that appears throughout the video (and subsequently becomes a memorable aspect of the video) also helps out with this. Another thing I quite liked about the video is that KEY isn’t scared to show off a completely different style to other idols and isn’t shy of trying unique outfits. It left such a strong impression on me, as a viewer, which works hand-in-hand with the message he is trying to get across. The sets were also grand and imposing, helping to make KEY stand out.
I quite liked the powerful aspect of the choreography, which felt fitting to the way he delivered the track. The routine was definitely quite busy, as well, thanks to the number of dancers featured in this comeback. But I think this helps give the choreography a boastful image as well, which works well with the message the song gives out.
Song – 7.5/10 Music Video – 10/10 Performance – 8.5/10 Overall Rating – 8.5/10
Next review from yesterday’s list of comebacks is TEMPEST, who made their first ever comeback with Can’t Stop Shining and the mini-album SHINING UP. This comeback follows their debut with Bad News and It’s Me, It’s We. I am glad that they were able to get over the first hurdle of their careers – making a comeback. It is quite common for groups to debut and then disappear. And I am glad TEMPEST did not succumb to that fate, especially following their debut which grew on me following its review.
The three minutes that Can’t Stop Shining goes for was by far one of the most pleasant three minutes I have heard in KPOP recently. For this comeback, TEMPEST goes down the dance pop route with their track. The instrumentals that start off Can’t Stop Shining were very airy and breezy. There was a beat to it, but it was kept light. The chorus is when Can’t Stop Shining peaks, with a relatively more robust backing. But instead of being ‘noisy’, the refreshing energy and subtle groovy vibes we get in the chorus thanks to the synths and beats keeps in line with the light, airy and breezy descriptions I had already used to describe Can’t Stop Shining. Most of the vocals were smooth and soft to a certain degree, but they manage to also come off as vibrant. Their vocals, especially during the chorus, brought a smile to my face and leaves a positive impression on the song, overall. Even the rapping in the second verse was refined to show intensity but also fit the rest of the song very well. The stripping of the instrumental for the bridge is pretty cliché, but the reveal of the piano was nicely done. The launch back into the final chorus was probably the highlight (as it usually is intended to be) as it was the most dynamic aspect of Can’t Stop Shining. I do think other parts of the song could have been slightly more dynamic (i.e. some of the vocals) but still allow Can’t Stop Shining to stay within the confines of being pleasant. But as it is, Can’t Stop Shining is a successful comeback track in my opinion!
Based on the start of the video, I was expecting something edgy and urban out of this comeback – either through the video or the music. The abandoned room and the anger on one of the members’ face (i.e. the guy with the skateboard) sold this idea to me. But it turns out, I read too much into it. The whole point of the start was the home video aesthetic, which featured throughout the rest of the video subtly. The pop and pleasant nature of the song comes through, taking the video in a completely different direction. We get colour through the flowery scenes. We get breezy from the shots outdoor on the beach. And we get a whole bunch of smiles from the members. Overall, a neat video that works well with the song.
The chorography for this comeback was nice. Nothing stood out at me as an impressive or mind-blowing moment. But the routine worked well with the song and the pop vibes that I described above.
Song – 9/10 Music Video – 8/10 Performance – 7/10 Overall Rating – 8.3/10
September will be one big month for this blog as I make an attempt to catch up on album reviews (and other song reviews). My plan is to publish a few album reviews during the week, in addition to reviewing multiple albums over the weekend (like this past weekend). First up in this mammoth task is ONEUS, who previously returned in May with their 7th mini-album, TRICKSTER. Headlining the album was Bring It On. This mini-album precedes the group’s next comeback, MALUS, which is scheduled for 5 September (i.e. next week).
ONEUS really delivered with the powerful and punchy tracks that form the TRICKSTER mini-album. If you ever want something super intense, boastful and/or fierce, just tune into a ONEUS album. Chances are, you will satisfy your craving. It is quite interesting, as the group also stands out for their more delicate title tracks (see LUNA or A Song Written Easily). Goes to show that ONEUS is an all rounder group. Overall, TRICKSTER is another strong release from the group and it makes me eagerly await for their comeback next week.
TRICKSTER Album Cover
1. Intro: Who Got The Joker? – This intro track starts off like any introductory track. Dramatic synths, suspenseful vocals and dynamic rapping. However, when we get to the chorus of Who Got The Joker?, the track steps it up. It brings forward rock influences and gives us a taste to the intensity that is to follow through the rest of the mini-album. Ravn’s lurching ‘Who Got The Joker’ was impressive and I sense a subtle growl to that line’s delivery. This introductory track earns a massive wow from me. (9/10)
3. Skydivin – ONEUS jumps on the pop rock train with Skydivin, and it is another massive yes from me. Skydivin comes off as a Summery track with the vibrant and refreshing tones present. As for the pop rock influences, ONEUS went in really hard with it. Said influences gave the song so much texture and oomph, especially during the chorus. The drumming left me stunned (in a good way). The vocals were clear as day and the rapping were dynamic and fun to listen to. (10/10)
4. Firebomb (두 눈 빠지도록) – Firebomb is another vibrant track added to the group’s portfolio. This is a lot heavier (thank the bass!) and falls into the realm of a dance track that we have associated with ONEUS. It starts off like any other dance track, but the chorus is where Firebomb really sets it apart from the rest. The squeaky brass synth that dominates the chorus is definitely an ear-catching piece and gives the song an interesting vibe. The bass helps add definition to the song, and the pair comes together to create a very vivid and robust number. The vocals and rapping were quite expressive and adds a further layer of ‘interesting’ to the song. (9/10)
5. Fragile (취급주의) – In the midst of dance tracks, there is always a need for a ballad or similar track to the same effect for some reason. For TRICKSTER, Fragile is that. However, it isn’t a ballad. It is more of a R&B track, with a hefty beat and bass to it. The rest of the instrumentation is pretty typical for a R&B track. I liked the upfront vocals and rapping in Fragile. They really drove Fragile forward and gave the song a neat melody to groove your body around. Overall, a decent but typical track. (7/10)
6. Mr. Wolf – The final original song on the album is titled Mr. Wolf. It is by far the most unique track, pulling its inspiration from a childhood game ‘What’s the time Mr. Wolf?’. Oh, the memories are rushing back. From the very first second, the song sets it up as a suspenseful and dramatic song, and I liked that they maintained that throughout the song. You don’t really know exactly which direction Mr. Wolf would go in, so you have to be a bit cautious. Mr. Wolf does give a few surprises, such as the heavy thumping in the midst of the verses, the simple yet highly effective ‘Na Na Na’ hook, the hollow synths used for the dance break, the screams and even a wolf growl. The rapping and vocals kept the song dynamic and were on point. (10/10)
7. Bring It On (English Version) – Refer to the link above for the full review for Bring It On.
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