It has been over a year since we have heard from Jeong Sewoon through the second half of his studio album 24 and the title track In The Dark. He has been fairly quiet over the last year, as fans awaited for a new release from the soloist. And as of yesterday, the wait is over, as Jeong Sewoon has returned with his fifth mini-album, Where Is My Garden!, which is lead by the title track Roller Coaster.
First impression of Roller Coaster is that it is an extremely pleasant song. I wish to clarify that ‘pleasant’ is used in a positive manner for this review, which I think is the case with all Jeong Sewoon songs for me. I quite enjoy his more upbeat tracks, which this one definitely is, making it fitting for the Summer season that Korea is fast approaching. However, a more accurate description is that Roller Coaster is breezy and light. Roller Coaster has a nice and enjoyable pop instrumental for the most part (and in some ways felt jazzy) and features some vibrant brass as a standout detail within the instrumental. Talking about the brass, when it comes up in the song, it makes me want to get up and have a bit of a boogie. Nothing too crazy, but it just has that energy and I reckon that is a good thing. I do think the instrumental elsewhere could have been a bit more dynamic, just to give Roller Coaster a bit more excitement, but it is fine as it is. Jeong Sewoon was quite consistently solid throughout the track and hearing his vocals in an upbeat setting brings up some good (and unrelated memories) for me. There were many parts within Roller Coaster that I thoroughly enjoyed when it came to the vocals. The falsetto direction that he goes for in the choruses, the amped up vocals in the second verse, and the pairing of his husky vocals and the backing vocals in the bridge. All of these were great displays of Jeong Sewoon’s skillset. The melodies and hooks were memorable enough, which definitely puts Roller Coaster in a good position.
The music video was a pretty cute one, which fits with Jeong Sewoon’s image. The colour palette is nice, reminding me of pastel colours that I would associate with sitcoms. The video is set in a garage, where Jeong Sewoon hangs out. While Jeong Sewoon is all smiles in this video, I do wish that the video featured a few extra people as background characters, just to give it a bit more substance and make it a little more dynamic. And he looks incredibly lonely. We do see multiple Jeong Sewoon’s playing instruments at one point, but I think that just reinforces my idea of having more people on the screen. Aside from that, I don’t think there is anything memorable about the video. But I think it is still a fair video that works decently with the song.
Again, cute vibes from the performance. But nothing overly cute, which I like. There isn’t anything fancy with the choreography, but it does give off a refreshing vibe and reiterates the idea that I want to have a bit of a boogie (which Jeong Sewoon does deliver). The rolling chair was also a nice touch to the choreography.
Song – 8/10 Music Video – 6.5/10 Performance – 8/10 Overall Rating – 7.6/10
Starting off the week is TX T who returns today with their latest single, Good Boy Gone Bad. The new single is featured on the group’s fifth mini-album, Minisode 2: Thursday’s Child, which also dropped today. Good Boy Gone Bad follows on from a very successful 2021 for TXT, where they released their second studio album, The Chaos Chapter: FREEZE, and its repackaged version (titled The Chaos Chapter: Fight or Escape), which featured the singles 0X1=LOVESONG (I Know I Love You) and LO$ER=LO♡ER respectively.
TXT amps up their rock influences from last year and adopts a much more aggressive and angsty demeanour with Good Boy Gone Bad. And I am all for it. The group sings about how they changed following a breakup, from being a good boy to now a bad boy. And they show that change through a very different take on the genre that propelled them further into the limelight last year. I liked (and also found it slightly funny) how the group reiterated the fact that they had change by constantly repeating the title of the song, just in case we didn’t get the message the first time around. I personally do not mind the repeated ‘Good Boy Gone Bad’, and I don’t mind them shouting that at me. But I would say that some people might find it a bit too repetitive and not like it as much. Anyhow, Good Boy Gone Bad starts off with a hip-hop approach to the verses, before kicking it up a notch with the rock influences for the choruses. To match the aggressive direction of Good Boy Gone Bad, the group approaches their parts with force, powerfully singing throughout and even shouting (as already mentioned) during certain parts of the song. I enjoyed the loud whispery lines that appear once in the chorus. It brought nice texture to the song, especially in an already abrasive environment. I also quite like the pre-choruses, as they have a ‘calm before the storm’ sort of setup, with both instrumental and vocals toning it down considerably. It allows the chorus to be more explosive as a result, which Good Boy Gone Bad undoubtedly benefits from. I am also glad to hear some rapping in this song. It was something I was looking for last year and I felt the intense rap sequence in the bridge of this song really hit the nail on the head. Overall, Good Boy Gone Bad further satisfies that rock extension that I was wanting from last year, through stronger and powerful execution.
The music video takes on a very dark and sinister look, which logically makes sense given the bad boy change that the group undergoes. I really like the sets and locations in this video, from the alleyway to the cemetery to the dance set with big eye in the background. Definitely hits the brief and looks super cool. I also like the camera shot from the hole in the ground in which the members stand around (see my featured image for this post). It was definitely a scene that left a strong impression me. That Yeonjun scene where he lies down after his motorcycle crash and rises back up (from the dead?) uttering the line ‘I like being bad‘ was also a memorable scene. It also helps that his visuals were on point in this video, as so was the rest of the members’. A strong music video, overall.
A few things to point out with the stage performance for this comeback. Firstly, I really liked the aggressive nature (particuarly the start) to the performance. It does fizzle out as it went on, and I attribute that to the copious amount of energy that the members put into the choreography, which would naturally tire them out. But they did a good job of embodying one of the most prominent vibes from the song. Secondly, their stage presence was amazing and really captivated me. And thirdly, their facial expressions, particularly Yeonjun’s, makes this performance worth watch. Overall, definitely another strong routine from the group!
Song – 9/10 Music Video – 9/10 Performance – 9/10 Overall Rating – 9/10
Miyeon, one of (G)I-DLE’s main vocalists, made her solo debut last week with the single, Drive, and the mini-album, MY. She is the third member of (G)I-DLE to release solo music, following fellow members Soyeon and Yuqi. Miyeon’s solo debut also comes after (G)I-DLE’s latest comeback, TOMBOY, which dropped in March of this year.
Drive is a breezy pop track that I have taken a liking towards after checking it out for the first time earlier this week. The pop instrumentation takes a relatively straightforward approach, never adopting anything that complicates the song or distracts from Drive‘s main focus (i.e. Miyeon’s vocals, which I will speak more about in a brief moment). And I appreciate that a lot. The song opens up with atmospheric synths and guitar work that brought a refreshing vibe to Drive. When we get to the chorus, there is a hefty beat that kicks Drive up a notch. Similarly, I enjoyed how the synths amped up in intensity and added a lot of colour to the single, particularly that squeaky synth. Now, onto Miyeon’s vocals, which I touched on before. Drive nails at showcasing Miyeon and pushing her into the spotlight. The song’s instrumental adds definition to her vocals, allowing it to become more prominent. But her vocals were best during the bridge, when we were able to hear more of her vocals without much backing to it. I was impressed and thought she sounded heavenly. In terms of memorability, the melodies and hooks were nicely light, though I wished they had more bite to it. Overall, I would say that Drive is a successful solo debut and I am excited to here more from Miyeon’s solo work in the future.
The music video for Drive is a very pretty one. It highlights Miyeon’s visuals extremely well and the outfits we find her in are simple yet stunning to look at. I also like the refreshing nature of the outdoor scenes, which add a great visual element to the video. Unfortunately, however, there isn’t much else in the video from what I can see.
Like the music video, the choreography was a pretty element in this comeback. However, I am on the fence to whether it was necessary. Part of me did feel the routine complimented the upbeat nature neatly. But part of me also feels like the routine didn’t add much value to the comeback as it feels quite standard. I guess the routine was on the standard side to allow Miyeon to perform live, which I do appreciated and enjoyed about the performance.
Song – 9/10 Music Video – 7/10 Performance – 6/10 Overall Rating – 7.8/10
The album review for this weekend fits in with my focus on solo artists. Taeyeon (from SNSD) needs no introduction, as she is currently one of the most famous solo artists in KPOP at this moment. Since her solo debut back in 2015, Taeyeon has been delivering hit after hit, proving herself to be a momentous artists in the KPOP landscape. In February of this year, she returned with her third studio album, INVU, which features the title track of the same name, two pre-release tracks (Can’t Control Myself and Weekend) and ten other singles on the album.
INVU (the album) is another great release for Taeyeon. And this comes as no surprise to me, as I have already mentioned that she has many hits under her belt. A lot of the songs on INVU steals my attention, and Taeyeon’s vocals are shone in its best light yet. If I had to choose one word to describe the release, it would have to be ‘captivating’. Sure, the album has its strong and weak songs (find out which songs fit in which category below). But as a big picture, INVU does not disappoint.
2. Some Nights (그럼 밤) – If you are after a stunning pop ballad, then Some Nights is the song for you. It is hard for me to even write just a few comments about this song whilst listening to it, as I have to drop whatever I am doing to take it all in properly. Taeyeon’s vocals captivates and leaves me in awe, especially when she soars. The instrumental, which takes on a bit of a R&B profile, was heavenly and soothing. And together, they create an emotionally loaded atmosphere that is hard to ignore. (10/10)
4. Set Myself On Fire – Set Myself On Fire is another song in which Taeyeon’s vocals just steals the show. The balladry instrumental we get acts as a blank canvas, whereas her vocals act like the paint strokes that paint an intense image. The harmonies, ad-libs and high notes she brings to the Set Myself On Fire act as noticeable details in image that adds depth and so much meaning to the song. Another 10/10 song in my opinion. (10/10)
5. Toddler (어른아이) – We enter more upbeat territory after a string of ballads with Toddler. But we aren’t talking anything overly upbeat. I actually find Toddler to be in the middle ground between what I would consider fully ‘upbeat territory’ and the songs that came before it. The funky instrumental does add colour and a much-needed kick to the album, while her vocals and melodies added an aesthetic touch that also makes Toddler a great piece. (8.5/10)
6. Siren – Like many of the other songs on the album, Siren is quite captivating and consistent. What impresses me about Siren is the chorus. It is impactful without being explosive or doing much. The synth backing differentiates it from the rest, and the presence of the barely audible sirens in the background was a nice addition. Taeyeon’s vocals are riveting (as always), and I quite enjoyed the spoken rap-like delivery that subtly changes things up in the second verse. (9/10)
7. Cold as Hell – Cold as Hell is probably the most relatable song on this album at this moment in my life. Winter has started (not formally, but it definitely feels like it), and it is Cold as Hell. Anyhow, back to the song. I like how the instrumental embodies strength and power, opting for an instrumental that features splashes of trap, haunted house music and rock. It was sinister and creepy, but also has that empowerment tone to it. And the EDM drops give it a cool effect. I liked how Taeyeon’s vocals build in this, though I think her vocal delivery could have been more memorable in this song. (8/10)
8. Timeless – I like the upbeat pop energy that Timeless has. It is vibrant and colourful, which is much appreciated following two songs that were on the serious side of the spectrum. The instrumental was more on the ordinary side, however. I liked how Taeyeon’s vocals soared in Timeless, and how simple the melody was. But unfortunately, this wasn’t enough to make Timeless the most memorable or strongest song on this album, but it has its merits. (7/10)
9. Heart (품) – Another track that undoubtedly highlights Taeyeon’s vocals. I just like how her vocals inclines in the chorus, making it a memorable aspect/sequence of the song. This is different to her vocals in the verses which were a lot quieter and more grounded, and so I didn’t get much out of those verses. The instrumental takes on a pop ballad profile, driven by guitar riffs in the verses and constant piano tapping in the chorus. Again, a bit ordinary. But there were some good elements in Heart. (8/10)
10. No Love Again – The beat to No Love Again is quite addictive and definitely foot-tapping worthy. In addition to the beat, the guitar work and Taeyeon’s vocals come off as quite striking. While these elements should have been enough to make No Love Again stick for me, it interestingly did not. I guess it is a matter that the album had better songs, that ended up shoving No Love Again out of the spotlight. (7.5/10)
11. You Better Not – You Better Not is my absolute favourite from this album. The song doesn’t shy from its rock roots, with the constant strumming guitar strongly indicating the direction in which You Better Not goes in. But the chorus still manages to surprise with its textured approach. It adds that head banging potential that I mentioned in my last song review. Also, the way Taeyeon’s deliver the pre-chorus was also a positive sign that I was going to enjoy the song. Taeyeon’s vocals were soft in that part (and for the rest of the song, as well), but was jammed packed into a tight timeframe to appear fast tempo. The falsetto at the end of each line at the start of the chorus was also a really nice touch. (10/10)
13. Ending Credits – Taeyeon wraps up the album with a song appropriately titled as Ending Credits. Taeyeon’s tone and the music did a great job with closing out the album, conveying the right level of each to signal the end of the album. The synths brought an ethereal-like atmosphere to the song (though I might argue that they are slightly overpowering), and the actual ending of the song faded out so satisfyingly. It is lovely, overall. (8/10)
Restarting another weekend focused on solo artists is WOODZ, with his newly release single I HATE YOU, which dropped on Wednesday of this week. I HATE YOU leads WOODZ’s fourth mini-album, Colorful Trauma. It is also WOODZ’s first comeback since the release of WAITING and ONLY LOVERS LEFT in October of last year.
I HATE YOU steers WOODZ’s discography into pop rock and punk direction. I quite liked the track, as it is both fun and exciting, which works extremely well with the lyrics of the song. WOODZ expresses that ‘he does not need to sad because of the person he once loved’ (taken from SOOMPI). And the energy that is exuded from I HATE YOU (and just the general direction of the pop rock/punk influence) acts as a great conduit to represent the emotions that WOODZ is feeling in this song. I really like the chorus for its head-bopping potential (though I am sure this could be turned into ‘head-banging potential’ should the song be put on blast) and its overall intensity. The most memorable section of the song has to be the English lines in the bridge (i.e. ‘I hate you, I forget you‘). The sequence stood out when I first listened to the song, and it just stuck with every listen that follows. What also really stood out in I HATE YOU is WOODZ himself. His vocals feel right at home in this song, with his raspy tone put on full display throughout the song. It is an amazing texture to bring to the song and adds a cool dynamic. Also, I liked how he slips in and out of rapping effortlessly. This furthers that already mentioned dynamic, and the rapping just gives I HATE YOU a neat kick. I do think I HATE YOU could have been better had it delivered more in all departments. But as it is, I HATE YOU is another song that just satisfies.
I really like the contemporary art museum concept that WOODZ went with for this comeback. It definitely looked cool, especially with those scenes during the pre-choruses, where he is surrounded by the swinging metronomes or activated alarms. The video opened up with WOODZ in that wacky air protective outfit. This made sense to me as the outfit signifies he is protected by his sad emotions. But at the end of the video, the air filled outfit had popped and this represents that he no longer needs to be sad, just as expressed in the lyrics of the song. The other pieces we saw follow a similar mindset, but also gave off either edgy vibes, stylish vibes, or just plain creepy (i.e. those people covered from head to toe in the ‘I Hate You’ tape). The chorus scenes where his mouth appears to be bloody was a bit much for me, but I guess it does add more to that edgy vibe. Overall, a cool video that leaves a strong impression on you.
I am surprised that there was choreography for this comeback. I was expecting WOODZ to perform this song with a band in the background, just like in the music video. Anyway, WOODZ doesn’t really participate in the choreography other than jumping and that kick at the start of the first chorus. Instead, he puts all his energy into his vocals. But this pays off, as his stage presence and energy (and with the assistance of the dancers) turns this ‘head-bopping’ song into a ‘head-banging’ performance.
Song – 8.5/10 Music Video – 9/10 Performance – 9/10 Overall Rating – 8.8/10
iKON returned earlier this week with their long awaited comeback, BUT YOU. It is the title track off the group’s fourth mini-album, FLASHBACK, which also dropped on the same day. This is the first comeback made by the group following their Why Why Why comeback last year and their participation on the show Kingdom: Legendary War (also last year).
To me, BUT YOU comes off as a mild synth pop that has a ‘just right’ feel to it. There are also 80s retro influences in the instrumental. Sure, retro influences and synth-pop is very much the norm nowadays within the industry, but iKON’s take on the trend with BUT YOU is extremely satisfying. However, the instrumental only only makes up half the reasoning to the ‘just right’ or ‘extremely satisfying’ descriptions. The other half of the reasoning to why I gave BUT YOU such descriptions is the melodic glide that it has throughout both verses and choruses. It just gives off a really smooth and polished atmosphere that moves along so nicely. It is also the most memorable aspect of the song, for me. Put the two halves of the reasoning together, and you have another winning combination. To make the melodies work as well as it did, the vocals had to be spot on, and iKON definitely nailed this department of the song. Rapping (in general) and Bobby himself takes a bit of a back seat in BUT YOU. I did like his rapping sequence, especially for its rhythm (as I felt it worked well with the melodic glide I mentioned before), but I wished he broke the barriers a bit and delivered a more striking, bold and/or impactful sequence. This would have definitely made him standout more. I also wished the final chorus was a bit explosive, just to give something more to the end of BUT YOU. I think there was opportunity following the climax to really bring it home, but BUT YOU missed that opportunity. Apart from those minor issues, BUT YOU is a satisfying single that I will be revisiting.
The start to this music video has to be one of the most stunning and aesthetics introductions I have seen this year. It may also be one of the most stunning introductions I have ever seen. I am a sucker for simplicity, and I felt the dark background, lights moving up and down along each member and the sparkling glitter falling down was just so aesthetically pleasing to watch. It was also just perfectly fitting for the atmospheric introduction to the song. The rest of the video has this bittersweet type of feel to it. The members appear to have moved on by going clubbing and getting back out there. But in reality, they still harbour feelings for their ex-lover who has moved on from them. The only scene that I have to be critical about is Bobby’s solo scene on the back of that truck. I just don’t get it. I might be missing something, but I saw no relevance.
They started the choreography by doing a slight twist without moving their feet. I felt that was pretty cool and had the same aesthetic as the start of the music video. I thought the hype sequence that they followed up with was a bit odd. It just didn’t feel right for the stage performance as there wasn’t really anyone to reciprocate it (but that might just be due to the lack of audience). But aside from that, I am liking the smooth ‘You‘ movements with the two hands/arms, and their dancing with the female dancers throughout the routine.
Song – 9/10 Music Video – 8.5/10 Performance – 8/10 Overall Rating – 8.7/10
And now we skip back to the present day to review a new release for a brand new group. Source Music (the former home of GFriend and a HYBE Labels subsidiary) has been working on a new female group for a while now, and today they finally unveiled the new group. Named LE SSERAFIM (an anagram for I’M FEARLESS), the group consist of six members. Two members are former IZ*ONE members, Sakura and Chaewon, while the third member is Yunjin, who eliminated from Produce 48 and placed 26th on the show. The final three members include Kazuha, Kim Garam and Hong Eunchae. They debuted today with the FEARLESS, the title of both their single and mini-album.
FEARLESS opts for a subdued funky pop sound. It is an interesting direction for a debut track, and it is one that actually pays off. FEARLESS has to be one of the most unique debut tracks that I can remember, simply because FEARLESS is anything but subdued. The track is bold and memorable in its own way, setting it apart from competition of trending tracks and other newly released songs. I really liked the pairing that subdued funky pop instrumental I already mentioned and the somewhat hush-hushed whisper-like vocals that the group started off with. It creates a sleek atmosphere that aids with the message of confidence included as part of the lyrics. I like how this same pairing is replicated in the chorus, though they did throw in some catchy hooks (such as the ‘What you, What you lookin’ at?‘ and similar repetitive lines) and amped up the funky influences in the instrumental to create a winning centre piece. I did skip over the pre-chorus, which I felt needed some of its own attention. I liked how they offset FEARLESS‘s overall subdued nature with a bit of oomph in the pre-chorus instrumentation and explosiveness via the vocals. It gave FEARLESS some meat to its bone. To me, the weakest moment comes during the second verse with the autotune. I get that it is an attempt to add some texture to FEARLESS, but it didn’t work as intended for me at least (whiny is how I would describe the autotune). But apart from that, I am digging FEARLESS and its bold execution. A great introduction to LE SSEARFIM, as well.
What a music video! It definitely carries over the sentiment as ‘a great introduction’ to the group. The visuals of members and quality of the video were definitely amazingly flawless. There was some great chemistry between the camera and the members throughout the video, which works wonderfully with that confidence that I mentioned in the song component of this review. I quite enjoyed the big crown set, especially as the pyrotechnic waterfall came down, and the dance studio shots (it is as if the group was aware that people were looking at them!). The CGI was also well used in this video. The use of black, white and silver was also a nice way to bolden the video’s visuals, creating a somewhat sterile environment that allowed other colours to pop (i.e. light blue in the studio set, the golden pyrotechnic shower at the end, the pink in the car scenes etc.). I do wonder what the final words at the end of the video mean – ‘Do you think I am fragile’ – possibly a hint towards their next release?
I agree with the commentary that music video version of the choreography felt a bit much when it featured some inappropriate choreography for minors (the ‘Swalla’ move), to which some of the members are. So I am glad that it was switched out the move for the stage performances. It definitely shows me that finally some companies have some awareness, though was it necessary to have to begin with. But other than that, I liked the choreography and the charisma that it brought along.
Song – 9/10 Music Video – 10/10 Performance – 9/10 Overall Rating – 9.3/10
Time to jump back to last week, with the next review focusing on Kim Sung Kyu’s solo comeback, Savior. Savior is the title track off Kim Sung Kyu’s fourth mini-album which shares the same name. This is Kim Sung Kyu’s first release following last year’s departure from Woolim Entertainment, him signing on with Double H TNE, and the release of HUSH and Won’t Forget You. He is also due to continue his domestic tour of South Korea, which began earlier this month in Seoul.
To me, Savior is a throwback to Kim Sung Kyu’s past solo work. If you were to put his past solo releases side by side with this latest one, this one would blend right in. And I quite like the idea of that. While I am a strong advocate for artists to change their music style once in a while, Kim Sung Kyu is one of those acts that I am happy to stay within the rock realm, simply because he will explore different areas of the genre each time he releases new music. This time around, Savior is a mid-tempo pop rock sound that has stunning potential. I find the pop rock instrumental to just extremely satisfying. The mix of ethereal synths alongside the rock gives Savior that potential I mentioned. I also find that Savior doesn’t overwhelm nor overpower, which is why I like Kim Sung Kyu’s music so much. He knows how to make his vocals standout, and he ensures the rock backing (no matter what style he is diving into) assists with this. I do think the instrumental can go slightly bolder in some parts, just to give Savior some oomph, but what we got is another case of ‘good enough’. As I have touched on already, Kim Sung Kyu’s vocals are amazing throughout the song. There is a warm and comforting feeling to his vocals. This might just be the nostalgia speaking, but I find this tone to work well with the lyrics of the song. I also like the power he adds to his vocals during the chorus, which helps makes the piece more riveting. The ‘Ooh Wa Ah Ah~‘ was quite catchy. I also really like the heavenly touch the falsetto gives Savior at the very end. Overall, Savior is a great single to return to the industry with for Kim Sung Kyu, and I am definitely looking forward to more work from the soloist into the future (and a potential Infinite reunion, please!).
I quite liked the artistic yet simple nature of the music video. It doesn’t overcomplicate or clash with the song, which is just perfect. It is all shot in a studio, but the scenes all look much more than just a studio. To me, each scene (whether it was the boat scene or with the band) went beyond the boundaries of the studio, and this made it looks effortlessly stunning to watch. In particular, I feel like the video touched on that ethereal description I had for the synths in the song. Whoever produced and/or directed this video did an amazing job. I do have to say some of Kim Sung Kyu outfits though looked a bit awkward. But apart from that, its a great video.
Song – 9/10 Music Video – 9/10 Overall Rating – 9/10
Another solo comeback that occurred during the week was Yoon Ji Sung, who returns to the stage with the single BLOOM and his third mini-album, MIRO. This is Yoon Ji Sung’s first comeback in a year, following Love Song. This is also his first release under a new entertainment company, DG Entertainment.
BLOOM is a sweet and pleasant song, consisting of a city-pop instrumental. It is not the knockout track that Yoon Ji Sung needs in his solo work, but it suffices. There wasn’t a second whilst listening to the song since its release did I find it boring, which actually surprised me, given that I find BLOOM to be one of those that are consistent from start to end (and I tend to find that a bit draining). However, time will tell if that statement holds true or not. What I like about BLOOM is how dreamy everything felt. Yoon Ji Sung’s vocals were extremely pleasant and definitely captivated me. The melodies were smooth, peaceful and soothing to listen to. And I liked how the instrumental doesn’t overpower. Even when the guitar solo moment came into play, it all balanced out. Sure, the song could have used a bit more of something, just to give it a bit more uniqueness (but not lose its sweet and pleasant charms). Maybe this something could have been in the bridge, as that was where I felt the least pull. But what BLOOM ended up giving us is quite nice and enjoyable.
As the name suggests and the season in which South Korea is currently in (i.e. Spring), it is expected that the flowers would make some sort of presence in this music video. Well, we ended up getting a heavy presence of them. They definitely made the video pretty to watch. The colours of the flowers and the green leaves really popped out in this video, with all other colours appearing pale in comparison. Other than that, this video isn’t my cup of tea. But it worked well with the song.
The choreography for this comeback was good. But I felt that they tried to jam a lot into the routine, which I didn’t think was necessary for this track. The choreography should have been more graceful. Also, it looked a bit awkward with Yoon Ji Sung dancing alone, whilst the dancers were paired off. I wished they had another dancer to pair with Yoon Ji Sung, just so that the performance looks a little natural.
Song – 8/10 Music Video – 7/10 Performance – 7/10 Overall Rating – 7.5/10
I am jumping around today with my reviews this weekend to focus on solo artists who have released songs over the last few weeks that I have yet to cover on my blog. First up is actually a release from this week. Moonbyul is back with a new single, C.I.T.T (Cheese In The Trap). This is a pretty quick comeback for the solo artist, given that Moonbyul just release a mini-album earlier this year, headlined by the title track LUNATIC. But I am not complaining!
C.I.T.T doesn’t give me much to complain about, anyway. I am a big fan of upbeat tracks, in general. Extra points are given if the song makes me smile. And C.I.T.T fits the bill perfectly, fulfilling both criteria that I had outlined just now. C.I.T.T has this strong and satisfying pop rock sound that energises you as you listen to the song. Its undoubtedly fun, playful, bright and catchy. I am of the opinion that more could have been done to make the instrumental a bit more exciting and unique, but it works extremely well as it is presented to us. What makes C.I.T.T even more enjoyable is Moonbyul herself. The song plays towards her strengths in both the vocals and rapping departments, My favourite part of the song is the pre-chorus, with the raspy nature of her vocals perfectly highlighted for the ramping up sequence of the song. Her vocals in the chorus and second half of the bridge are also great moments. The melodies and hooks were catchy enough to make the song memorable and addictive. I can definitely see myself returning to C.I.T.T, which is the highest compliment that anyone can pay a song.
In this video, Moonbyul is a student who wants to experience love. Everyone around her is getting confessions, flowers or are in a relationship. She turns to a tape that teaches her how to put the ‘cheese in the trap’, which in this case is code for ‘make someone fall in love with her’ (i.e. trap them). But instead of following the tape itself, Moonbyul decides to embrace her true self to find that someone, instead of following some cheesy instructions from a tape. She would be more comfortable and this will be attractive to many people! Aside from the cute storyline, I really liked all the different looks that Moonbyul donned throughout the video. From the typical school student look to the punkish rock star at the end, she definitely showcased multiple sides of herself, which is fun and appealing.
I liked how the choreography embodied the fun side of the song. Nothing stood out, but it was a great routine that matched the energy of the song well.
Song – 9/10 Music Video – 9/10 Performance – 8/10 Overall Rating – 8.8/10
Quick comebacks do not happen often (not counting pre-releases, as we are usually given a heads up to the bigger releases that would follow shortly), but they do occur from time to time. And the most recent group to attempt this feat is VERIVERY. Just a month ago, the group dropped their digital single O, which I described as ‘a solid track from start to end’. No one was aware that the song would ultimately serve as a side track on the album that would drop after a months time. Fast forward to earlier this week, the group returned with their first studio length album, Series ‘O’ Round 3: Whole, and the title track Undercover.
If Undercover and O were compared to side by side, O would emerge as the superior song. My thoughts on the earlier track have already been documented in its own review. In regards to Undercover, it is considerably underwhelming. Personally, I think the start of the song and the first verse was just fine. The preachy sample that kicked off Undercover was intriguing. But the verse was quite plain, and plain is never a great impression to start off with. But I have heard songs recover from such starts. Unfortunately Undercover doesn’t do this and just proceeds to the chorus without any acceleration, ramp up or intense building of any sort. Within the chorus itself, there wasn’t any memorable synths, hooks or melodies that would have made Undercover engaging for me. And then the cycle continues onto the second verse and chorus. It is not until the bridge does Undercover gets interesting thanks to the guitar work. There was some guitar work with potential in the verses/chorus to begin with, but they didn’t really make much of a statement until the bridge. From the bridge onwards, the guitars definitely added an oomph factor (however, subtle though) to the song, which I would emphasis as much needed. The guitar work continues on, and paired with the bass ended up being quite appealing to me. The deep vocals and the rapping that follows closes out Undercover was miles away in terms of strength and memorability to what the song’s centrepiece was. Overall, Undercover was quite lacking for majority of its body and needed something dynamic to spruce up the song. As result, it underwhelmed.
Unlike the O video, I might have a bit of an idea of what is going on in the video (but I am not entirely too confident about my interpretation). The Get Away music video introduced the idea that there were alternative versions of each member. And from the ending of Get Away, the alternate versions take over their identities in the ‘real world’. In TRIGGER, the group we see are the main character are the version of the group that died in the previous video. They are tormented by a different version of themselves, but end up escaping after the circular building collapses (which opens this video). In this video, the members escape and go on the offense, by seeking their alternative selves (that took their lives in Get Away), defeating them and restoring the balance between the two worlds (based on the barrier between the two sides at the end of the video). That is my best guess to what is going on in this universe of different worlds, though I am unsure how O fits into the video. Maybe that can be an investigation for a future Music Video Theory series.
The stage performance helps makes the song feel a lot more dynamic. This is a good definitely a good thing, as without it, the entire comeback would have become lacking. While the routine is good, there just wasn’t much within it that was memorable.
Song – 6.5/10 Music Video – 7/10 Performance – 7/10 Overall Rating – 6.8/10
MONSTA X made their official comeback to the stage yesterday with a new song and mini-album. Titled LOVE and Shape of Love respectively, it is the first time we are seeing the group (sans Shonwu, who is currently serving his military enlistment) since November of last year through their Rush Hour comeback. This comeback also follows KIHYUN’s solo debut with VOYAGER which occurred last month. The comeback was originally scheduled for earlier in April, but was postponed by two weeks due to COVID-19. But the members have since recovered and are ready to crush the stage with LOVE.
MONSTA X’s affinity to EDM in the past for their title tracks has made it synonymous with the group’s sound. I quite liked this aggressive, powerful and intense side of the group, even when others didn’t. LOVE steps away from that reliance on EDM and re-enters old school R&B and hip-hop territory. Despite how I started this section of the review, I must say that there is definitely nothing wrong with this sound profile as MONSTA X expertly executes and showcases the two sides of song really well. What I quite enjoy about LOVE is how within the instrumental, the two sides of the song were distinct and clearly identifiable. But what really glued the song together were the vocals, which blurred the boundaries a bit (i.e. hip-hop melodies in the R&B instrumental territory and vice versa). It is an interesting blend, and one that MONSTA X pulls off successfully. I also like the colourful nature of the instrumental, from the brass that literally felt oozy to the punchy synths. For me, the standout member for this comeback was Jooheon. His vocals and rapping worked so well on both sides of LOVE, and I quite liked how energetic and upbeat he was throughout the song. Definitely made it captivating. His growls were very alluring and hit at the right moments. The other members did excellent in the song, as well. In terms of weaknesses, LOVE should have stronger hooks that were more defined and memorable. What we got just didn’t really feel enough for this song, and there was moments where they could have gone further. But overall, LOVE was a nice departure from their usual sound.
Visually, MONSTA X shows off two sides of themselves in this video. The first is a more casual side, and the second is a more elegant side. Both were captivating to watch, but the elegant side was a lot more alluring. Though I might be bias due to that cool stage set and the gold on black colour palette that made everything feel so expensive. I guess that might say something about my taste. The glittery closeups of Hyunwon and Kihyun also may have played a part. I also liked how the video acknowledges that MONSTA X is a six-member male group even though they are promoting as a five member group at the moment. At the very end of the video, we see six microphones, with the sixth microphone corresponding to Shownu (who is currently enlisting as already mentioned). What a warm way to end off the video.
The choreography felt extremely fitting for this song, with the choreography’s intensity feeling just right. I also enjoyed the bounce the choreography had, particularly in Hyungwon’s part in the bridge. Some other observations I had whilst watching the stage performance includes wanting better utilization of I.M’s cane (its adds a classy touch, but felt under used) and that Minhyuk’s visuals were so good.
Song – 8.5/10 Music Video – 8.5/10 Performance – 9/10 Overall Rating – 8.6/10
Apologies once again for the break I took this week. Work took a lot of energy out of me again. But I am back this weekend with reviews for you all. Starting off this weekend of reviews (and more!) is DKZ’s Cupid, which was released on 12 April 2022. For those who might think DKZ is a new group, they are not! DKZ is actually DONGKIZ, originally a five member male group from Dongpyo Entertainment which debuted back in 2018. Earlier this year, it was announced the group would under go a rebranding from DONGKIZ to DKZ. It was also announced that member Wondae would depart from the group due to health reasons, and the group would be reformed into a seven member group with the addition of 3 new members. The release of Cupid also follows the success of Jaechan’s acting in Semantic Error. This is also my first review for the group since their 2020 comeback Beautiful.
The reason to why I picked up Cupid for my first review after almost a week’s absence is because I have been thoroughly enjoying Cupid this week. I remember upon its initial release that I found Cupid to be lively and upbeat. And while that still remains to be the case, Cupid has definitely snowballed for me since then. Cupid had grown into an exciting, fun and playful track that is super catchy and definitely worth every replay I have given it. The melodies and the song’s main hook (i.e. ‘Forget me, Want to me, Bounce on me‘) are definitely elements of Cupid that have been keyed into my mind (just ignore the poor of English in this song). The brassy pop instrumental has a nice punch to it when it gets to the chorus, which helps makes Cupid super energetic and gives the chorus a chance to really pop out from the standard verses. I also like how shouty the members get in the second half of the chorus, which undoubtedly complements the energy driven nature of the chorus. In addition to the shouty delivery, I liked the vocalists in choruses, as they give Cupid a really abrasive texture with their scratchy voices which contrasts with the rest of the song and also gives oomph to the song. My favourite bit has to be the ending, when Jaechan shouts ‘Encore‘ and the same instrumental that backs the choruses comes into play for a final round. There is just something about this section that just stands out even though it is just a repeat sequence. Overall, I can see why a lot more people are attracted to Cupid.
The music video is pretty standard, but it offers a fun and lighthearted story that works well with the song. (despite it also being cringy at the same time). Essentially, DKZ operates a business that searches for others’ loved ones (similar to how Cupid connect people together). They get a few random clients at the start, but nothing really interests them. However, when a mysterious female character steps in and asks the group to search for a person, they all jump on board and accept her as a client. She hands them a bunch of pictures of this person’s features, which the members start using as clues to find this person. Well, it turns out they weren’t searching for one person, but rather than seven persons (i.e. themselves), as each image corresponded to each member. In the end, the members were rounded up by the mysterious female character who actually is the police and the guys go to prison. A bit of a reach towards the end, but hey, the video is meant to be comical and not taken serious. Other than the plot, I really like colourfulness of the video, which help boosted the vibrancy of both the visuals and the song.
Like the song and music video, I would say this choreography is fun. My favourite bits was during the chorus, when the music was intense and their moves matched said intensity. I did wish the final sequence of instrumental (following ‘Encore‘) was more freestyle, as that would made the routine a bit more exciting. But overall, a fair effort.
Song – 8.5/10 Music Video – 8/10 Performance – 7.5/10 Overall Rating – 8.2/10
Once again, I am travelling back in time to a few weeks back for the next review. Making her comeback on 11 March was Park Bom, with the single Flower. It features Kim Min Seok, who is part of the duo MeloMance, and has been trending recently for his remake single Drunken Confession (originally released by Feel in 2005). This is the first time I am covering Park Bom on the blog since her 2019 release 4:44, which featured Wheein from Mamamoo. However, she has had a few releases since then that I didn’t review, including First Snow (with Sandara Park) and Do Re Mi Fa La Sol (with Changmo).
Following her track record of recent solo singles, it comes as no surprise as Flower opts for for the ballad genre, as well. But while ballads are in huge abundance in the KPOP scene, Flower manages to stand out as a stunning piece that I find quite indulging. It starts off with a simple piano backdrop (with a brief hint of strings). It isn’t anything amazing instrumentally, but the repetitiveness of the piano was rather striking in its own way. The simplicity of the background also allows for Park Bom’s unique vocals and tone to take centre-stage, and she sounds amazing in her solo verse. For the chorus, strings are added to the background and Park Bom’s vocals build in a manner that makes the chorus stilling and gripping. Kim Minseok, the other half of the Flower collaboration, takes over the second verse and chorus, and adds a hint of smoothness to Flower that was missing from Park Bom’s section. Here, Flower‘s instrumental also stands building, developing the simple piano instrumental into an orchestral piece. Despite that, I really liked how Kim Min Seok’s nasally tone pierces through and manages to stay on top of the developments underneath it. The pair comes together for the bridge and final chorus, with Park Bom leading the vocals and Kim Min Seok handling the ad-libs. I quite liked they weren’t forced to harmonise for majority of this section, and were instead allowed to focus on their own strengths and complement each other at the same time. A clear balance was achieved. We did get one line at the very end of the Flower in which the pair does sing together, closing out the song with the expected union of the two. It also felt fitting to keep this moment until the last second, based on the breakup of sections for each singer preceding it. The instrumental became dramatic (in an orchestral sense), peaking alongside the singers and helped really drive momentum in Flower. Overall, a captivating listen that salsifies my personal craving for a rousing ballad.
The music video was also quite striking. The grayscale filter really helped set the serious tone of the video. I also quite liked the location. It felt very different from your usual setting for a ballad, but the producers really knew how to use the space to help emphasise the dramatic side of the song. As for the ‘content’ of the video, Flower‘s music video can be split into two halves. One half of the video features both Park Bom and Kim Min Seok in their closeup shots, singing their sections of the song. Even though they would be consider ‘solo shots’, some of the wide shots showed the pair were in somewhat close proximity with one another, allowing Kim Min Seok to walk over to bring the pair ‘together’ for the song’s final moments. The other half of the video features two interpretative dancers, with the female dancer intertwined with Park Bom’s solo moments and the male dancer intertwined with Kim Min Seok’s solo moments. And like the singers who came together in the final moments, so did the dancers.
Song – 10/10 Music Video – 9/10 Overall Rating – 9.6/10
I have finally moved onto albums from February! Hooray! (That being said, I don’t have time to write up studio album reviews over this weekend, so there might be one or two from January coming in the next few weeks). Anyhow, first up in the start of the post-January album reviews is TREASURE with their first mini-album, THE SECOND STEP: CHAPTER ONE. It is the group’s first album release in over a year (their last being MY TREASURE from January 2021) and features the title track JIKJIN. Three additional side tracks are featured on the album as well, making it a shorter mini-album with four songs in total.
Overall, a fair mini-album from TREASURE. It seems like the title track focused more on the hype energy that is synonymous with YG Entertainment’s release, while the side tracks focused more on the vocals and softer side of TREASURE. Both show potential and promise for the group, and definitely has me wanting more from the group in the future.
2. U – U starts off with a piano melody and sounds like a soft track from the beginning. But U emerges as a groovy track from the first chorus. Both sides of the song stay from then on, creating a neat pop track that is fun and showcases the group’s vocals. With the chorus, I liked the short and sharp guitar riffs that brings the groovy/funky nature of U to life. I also liked the slight glitchiness we get ahead of the final chorus, which helps keeps the song interesting (and not repetitive) in its final moments. (8/10)
3. DARARI (다라리) – As far as I am aware, DARARI is supposed to get its own music video and that it has been shot already. But it appears that it hasn’t been released just yet. Hopefully, we don’t have wait long for said music video. Anyhow, DARARI is an extremely pleasant upbeat R&B track that has very catchy and memorable hooks. I like how everything rolls off so smoothly in this song, and how easy on the ears it is. Again, the group’s vocals are on display in this song, and they sounds really solid throughout DARARI. (9/10)
4. IT’S OKAY (괜찮아질 거야) – Final track on this short mini-album is a ballad. I guess YG albums aren’t immune from having the mandatory ballad (quite sure I have used this joke somewhere before). My impression of IT’S OKAY is that it is pleasant. For a mellow guitar-driven ballad like this, this is a good impression. The vocal work is nice, and I liked how they added definition via backing vocals and harmonies in the chorus. The ad-libs at the end showcased their abilities really well. Also, the way they incorporated the rappers felt logical and fitting for this mellow style. (8/10)
Overall Album Rating – 8.5/10
THE SECOND STEP: CHAPTER ONE / JIKJIN Teaser Image
Max Changmin made his return as a solo artist earlier this year in January with his second solo mini-album, Devil. It features the title track of the same name, two pre-release tracks (Fever and Maniac) that I had previously reviewed in a double review format, and three additional side tracks. It is his first Korean solo release since Chocolate (name of both title track and his first mini-album) back in 2020. Devil is the focus of this album review.
Devil is such a dynamic album. It starts off intense and extremely aesthetic. As the mini-album progresses, it slows down a bit, but still maintains that dynamic nature. It isn’t until the final song does the mini-album slow down considerably. Nonetheless, this mini-album is a strong one and this expected from such a legendary artist that is Max Changmin. Do you agree with me? Let me know in the comments below.
4. Alien – Alien features a groovy Latin instrumentation that I thought was quite neat. What really impresses me the most in Alien is Max Changmin’s vocals. It didn’t take long for Max Changmin and Alien to win me over. He ultilises both his high and low ranges in this song extremely well, and the entire track comes off smooth. The ending changes up the dynamics of Alien, by featuring a high pitched autotune backing vocals. It is interesting and gave off a unique effect to the song. (10/10)
5. Dirty Dancing – The instrumentation for Dirty Dancing is quite interesting. It also plays into the Latin sound. But instead of just being Latin influences, Dirty Dancing adds bass and synths to make Dirty Dancing a bit modern and robust. The bass in Dirty Dancing allows the beat to really come to life, whilst also making it powerful in a subtle manner. Max Changmin provides solid vocals for this song, and the hooks was super catchy. Another strong track from the solo artist. (9/10)
6. Airplane Mode – Final song on the mini-album is Airplane Mode, and it is the album’s most mellow track. It is so much softer compared to the previous tracks, and it is a nice way to ease out of an intense mini-album like this one. It also feels quite refreshing. I really liked the laid-back manner of the instrumentation, and the soft and delicate nature of Max Changmin’s vocals. It is quite a warm and lovely song. (8/10)
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