Making their comeback on Wednesday of this week was VIVIZ, their official first comeback since their debut as a trio earlier this year with BOP BOP!. Leading the group’s second mini-album, Summer Vibe, is the title track LOVEADE. This comeback also follows the group’s participation on the show Queendom 2, to which they placed third. Fun fact – VIVIZ is the fourth competitor from the show to comeback following the show’s end in May of this year.
Let me start by affirming that LOVEADE is genuinely a decent song. It has all the elements it needed to be a fantastic summer track. LOVEADE had an upbeat and energetic funky retro pop instrumental with a fun beat. There was an undeniable refreshing and bright atmosphere that is brought to life by both the instrumental and higher pitched vocals. Though the description is most accurate for the latter during the chorus’ and the more powerful moments such as the bridge (which was a showstopping section of LOVEADE). And there were light melodies that I find to be a catchy aspect of the song. All of this ticks the many boxes for a great song. But unfortunately, a part of me also feels that LOVEADE was constricted, confined and limited. I wanted the song and the members to go the extra mile with LOVEADE. One of the prime examples of this desire to go the extra mile can be applied to the main hook, the repetitive ‘I love it … love it, ice loveade‘. Admittedly, it has caught on thanks to multiple replays of the song, but it did feel flat to me at first. The same feeling emerges when the main hook is repeated at the end of the song every time I play it. Had there been a bit of a different backing other than the stripped instrumental, or they approached in a slightly different manner (all of which I would consider to fall under the ‘going the extra mile’), I think the main hook would have faired better. Similarly, the vocals in the verses were just dry and plain. They don’t really offer much to the song, and this is quite disappointing. I wished more was done in regards to this, just to give LOVEADE an overall equal level of flair and colour to make the song more exciting and enjoyable.
The accompanying music video for this comeback was quite pretty. It felt summery and bright. The song likens a couple’s love to a refreshing ade beverage (taken from SOOMPI), but I got more of a ‘make the best out of a situation’ with a side of a crush from the music video. But that’s fine, as it is still refreshing and enjoyable. I found the idea of a guy pierced with the arrows that Umji shot (and subsequently missed) to be quite funny. I really like the dance set with the mirrored walls. The different ways of styling made it feel different every time, and this would help cut down on costs. Quite a clever tactic.
The small heart shapes and motions they make with their hands was quite cute and a memorable aspect of the performance. I also really like the triangle formation just before the final chorus, where the members just did small swings while standing in one spot but the camera did the moving, so it felt like there was a fair bit of movement. Adds another clever tactic to the performance side of this comeback.
Song – 8/10 Music Video – 8/10 Performance – 8/10 Overall Rating – 8/10
Also making their comeback on Tuesday this week was WINNER, who returns with their fourth mini-album Holiday and their latest single, I LOVE U. This comeback follows a two hiatus for the group, where members Yoon and Mino focused on solo activities while JINU and Hoony enlisted into the military. Their last comeback as a group occurred in 2020 with Hold and Remember.
I LOVE U is a fun song that I did not expect to like as much as I did. Not too sure why I didn’t have much expectation for this comeback, as I tend to dive into the news of a comeback and check out teasers to help build an expectation, especially for a group of WINNER’s calibre. But I guess being busy the last few weeks have gotten in the way of that. What is great about I LOVE U is that it is a great distraction from all of that. The vibrant energy that is exuded from I LOVE U‘s pop like background was very much straight forward in a no nonsense way, infectious and enjoyable. This mixture of retro, funky, pop and brightness made the entire 3 minute run of the song very appealing. I like how the vocals of Yoon and JINU are also quite vibrant throughout, matching the energy of the song and adding more vibrant layers to the song. The melodies in the chorus were memorable. At first, the exclamatory ‘I LOVE U Ooh‘ felt off putting and shrilly. But the power of multiple listens has helped it catch on, and they are now my favourite part of I LOVE U. As for the rappers, they add quite a playful and fun dynamic through their rapping. My favourite in particular is when they alternated during their rap verse. I LOVE U follows the now standard rule that YG releases need an anthem or chanty like sequence. For I LOVE U, I liked the wholesome feel of this sequence in the final chorus, and how it was backed up by one more round of the actual chorus. Slightly different to what we usually get in a YG song, but still in that same frame of mind.
Matching with the song, the music video is also quite fun. Everything felt like a show, from the start with the intro introducing us to the return of the WINNER show, to the behind the scenes shots of show’s studio, to the retro performance set up we get at the start. We also get a glimpse of their change rooms and make up rooms, and also some of the shows being shot (i.e. the crime and romance shows). It is a lighthearted concept that makes me smile and goes a long way.
Choreography-wise, I quite liked it. It matches the fun and playful vibes of the song. The chorus bit looks great and I liked how they mimicked hugs during that part. The final chorus, with the swinging heads which I am sure was at one point a TikTok trend, and the change up with the arms was a really fun way to finish the performance.
Song – 9/10 Music Video – 8.5/10 Performance – 9/10 Overall Rating – 8.9/10
Following their massive win on Queendom 2 at the end of May with the single AURA, WJSN makes a speedy return this week with Last Sequence, their latest single since the release of UNNATURAL in over a year (March 2021). But WJSN hasn’t exactly disappeared following their last comeback. In addition to Queendom 2, Last Sequence also follows the debut of WJSN’s second subunit WJSN The Black with Easy, the return of WJSN Chocome with Super Yuppers! (which I have yet to review), their 2022 concerts and some other music releases and solo ventures.
Last Sequence is another solid track from WJSN. One of the things I really enjoyed about the song is the consistency of Last Sequence. Again, I have made some comments in the past about how consistency is an issue with some songs, boring me because the song just feels same all throughout. Last Sequence is consistent, but the energy that comes from the dance based instrumental keeps the song exciting and enjoyable. I also like how it feels refined. Many songs would blast us with synths and details – sometimes it is great and other times it is quite overwhelming. But while Last Sequence is also synth-based as well, it doesn’t blast or overwhelm me. The instrumental keeps to itself in the background of the song, in a manner that is still noticeable and not subtle. What I am trying to get at is that the instrumental doesn’t dominate the song, which helps makes Last Sequence more enjoyable. There are additional perks to this, such as showcase of vocals that we get in Last Sequence. I liked how vibrant everyone was in the song. Yeonjung was probably a tad too loud and upfront in the chorus, overshadowing the vocalists who preceded or succeeded her. I wished her vocals were toned down by a notch, just so the other members have a better glow to their parts. Exy’s rapping felt too constricted as usual, and I felt the upbeat nature of Last Sequence enables Exy to have a more substantial part in the song. As for the hooks and melodies, I thought they were great and meaty, allowing Last Sequence to be catchy and addictive.
The music video has an underwater concept which I personally felt looked refreshing and cooling for the Summer season we find the release currently in. I believe that a mermaid concept would be more accurate, given that some scenes, their comeback showcase and teaser images allude to that. However, I do think the scenes in the video were a bit weak and didn’t show that mermaid concept as strongly as it could have been. I quite enjoy the idea of having a fashion show mixed within the underwater/mermaid concept, which is a fantastic and different idea. Not as innovative as it can be, but still adds a more interesting element to the music video. The members looked stunning throughout the video and the colours were so light but vibrant and showstopping.
I quite liked the two sides to the performance. On one hand, you have graceful set of moves that feels elegant and smooth. On the other hand, there is a intensity and charismatic vibe that feels like a different extreme. But somehow WJSN (and their choreographer) moulds the two sides together to create a cohesive and worthwhile piece.
Song – 9/10 Music Video – 8/10 Performance – 8/10 Overall Rating – 8.5/10
Kick starting this week is ENHYPEN, who makes their return with with their new single Future Perfect (Pass the MIC) and their third mini-album MANIFESTO: DAY 1. This follows Blessed-Cursed (their Korean comeback from earlier this year) and the release of Always (their first Japanese single, which was also released early this year).
Moving on from their last series of title tracks, it appears that ENHYPEN has gone with a tougher and powerful sound with this comeback. While it was executed successfully, I do think Future Perfect was mundane. There were parts this in hip-hop based track that I wished went a bit harder and should have had more bite too it. For example, the hype parts of the song, such as the final round of the chorus, didn’t really add much energy to the song. This would have been the perfect opportunity to finish off Future Perfect in an energy tense manner that really drives the song home, but this was not the case. In addition, the ending just kind of came along, and to me Future Perfect didn’t finish in a satisfying enough manner. Other parts of Future Perfect felt quite satisfying, such as the vocals in the pre-chorus, which gave us a nice breather from the rapping before it and following it in the chorus. I also liked how they fit into the bigger picture. The brass elements in the chorus of Future Perfect gave the song a subtle yet effective fanfare element which made the chorus interesting for me. I also didn’t mind the shouty nature of the chorus, though I wished their delivery a tad more dynamic and possibly had catchier hooks somewhere. Overall, Future Perfect is a fair song, but it is a step (once again) into more typical territory for me. And I wished ENHYPEN (and the producers of Future Perfect) did more with the song.
Based the ending title card, it appears that this music video is connected to ENHYPEN’s fictional webtoon, Dark Moon: The Blood Altar. It sounds cool in theory. But as someone who has not seen the webtoon, I can’t tell what is going on. Cloaked figures are being burned alive, while other cloak figures are watching the members. There is some time travel involving a stop watch. And a private jet as well. All of this was done in an urban setting. If there was context, maybe the darker themes of the video would make more sense. But to me, this video features random scenes with a very thin string to bind it all together.
The performance definitely shows off a tough and powerful exterior to the members/group, fitting for the song that went down that path in terms of sound. Nothing really stood out at me for the choreography, though I did like how aggressive and serious their facial expressions and how captivating it was to watch them perform this track, as a result.
Song – 7/10 Music Video – 7/10 Performance – 7/10 Overall Rating – 7/10
After seven years, the first member from TWICE is finally making her solo debut. The honour goes to TWICE’s NAYEON, who debuted as a solo artist last Friday with the single POP! and the mini-album Im Nayeon. I personally wonder if this solo debut is a backup plan in case TWICE’s contract negotiation falls through (which I hope is not the case). I just find it suspicious that the group is only a few months out of the standard seven year contract, and suddenly one member (so far – I hope there is more solo debuts on the way) make her solo debut. But I guess time will tell. Until then, this is my review for POP!. This is also the first TWICE related release of the year, as well, following the release of Doughnut in Japan and SCIENTISTin Korea.
POP! is an okay track. Since its release, I have listened to it a few times. And while it nice and decent, I am not exactly head over heels for this solo release. As mentioned yesterday, maybe time will help make the song grow on me. But as for now, I am pretty neutral over POP!. I liked the instrumental’s percussive and upbeat underlay, which was a pleasantly consistent element in the instrumental. It brought on a refreshing vibe to the song, undoubtedly fitting for the Summer season that this comeback falls in. The brass in the verse and the electric guitar in the chorus were nice additions to add extra life and colour to the instrumental. Together, they create a relatively simple pop instrumental for the likes of POP!. As for NAYEON’s vocals in POP!, they sound good. But I am not overly excited by her vocals. They felt somewhat plain. Similar comments can be said about the song’s melodies. I just expected something more jumpy or vibrant. We get part of the way there, but it just isn’t enough. Her spoken hook (i.e. the pops) were probably the most exciting part of the song. Though, I do think POP! would have benefited from something more punchy and colourful. The rapping felt unnecessary and adds an overly cute sequence into the song that felt too sugary and saccharine for my taste. Overall, I feel the strong and weak points of POP! cancel each other out, leaving me without much feelings for the song. I neither hate nor like POP!. I am just somewhere in the middle.
The music video fairs better than the song. It is everything you can ask for in a Summer concept music video. Bright, colourful, vibrant. The sets look amazing and fun, as well. I quite like the look of the post-production treatment, as it help adds so much more life visually to the video. On top of that, Nayeon is stunning and looks amazing throughout the video. Her smiles also make the a whole lot of difference to the video, adding more to those bright and vibrant descriptors I have mentioned.
I thought the choreography was great. The small pops that come via the hips and body movements looked fantastic and adds a vibrant and fun element to the routine. I also like how the dancers made the popping come to life following the second chorus when they stand behind Nayeon (and then fan out).
Song – 7/10 Music Video – 9/10 Performance – 9/10 Overall Rating – 8/10
Making this solo comeback last week was Youngjae with his second mini-album and title track, both of which are titled SUGAR. This is his second comeback following his solo debut with Vibin’ in October of last year (his first was via the winter single Walk With Me, which I didn’t review). Youngjae’s solo comeback also follows GOT7’s recent long awaited return to the industry, to which Youngjae and all his fellow members participated in, after almost 1.5 years absence from the industry.
SUGAR has yet to really catch on like how Vibin’ did. But more time could change that. And based on what I am going to be saying in this review, I expect that it will. Nonetheless, SUGAR has proven to be an extremely enjoyable track. The funky pop instrumental made up of pronounced guitars was quite consistent throughout the song. While consistency has been an issue in the past for some songs, the consistency issue is not really a thing here in SUGAR. This is thanks to the guitar work, which is so vibrant and punchy that it offsets any consistency concerns. That being said, there is also a bit of trap thrown into the mix for the second verse and finger clicks in the bridge that gives some variety to the background. SUGAR features strong vocals from Youngjae, whose tone matches the vibrancy of the guitar in the instrumental. It really allows him to pop out in the song. He also adds a bit of sweetness to the song, which works really well with the title of the song. His ad-libs at the end channels a fair bit of energy, as well, creating a dynamic end. Youngjae also tries his hand at rapping for the second verse. It was a fair effort. I do think maybe a featuring rapper could have made it more dynamic and enticing, but Youngjae did well on his own. I quite like how he handled the ‘That’s how you do it‘ line midway through the second verse. The melodies of SUGAR were also quite catchy and enjoyable. Overall, SUGAR is a nice follow-up single to his debut track.
The video starts off a bit dark, with Youngjae awakening from a slumber at the dinner table, just in time to see a female presence leave the room. He has a flashback of the nights event, and runs after the female. We are then shown what happened. The day started very bright and outside. He seeks the attention of the female character from the beginning of the video, trying his best to look cool (which I personally think he achieved, but that might be my bias for him talking now). He then throws a classy dinner party. He is so infatuated by the female character (as expressed in the lyrics). and continues his cool streak that he fails to catch on her efforts of putting him to sleep. The motive is unclear, but I guess she and her friends want to have a good time at the expense of Youngjae (who in the credits is shown asleep, while everyone else has fun at his party). I quite enjoyed the chemistry that Youngjae had with the camera throughout the video, looking quite confident and cheeky. The settings were also really nice.
Like in the music video, I quite like how charismatic he is on stage. It creates a strong atmosphere for the performance. Aside from that, I liked the energy he and the dancers channel throughout the performance. Nothing really stood out, until the end, where he pushes through the dancer dramatically. That I felt was a cool moment.
Song – 8/10 Music Video – 8.5/10 Performance – 7.5/10 Overall Rating – 8.1/10
It has felt like it has been a while since we have heard new music from Sunmi, even though we have heard the odd single or two from her since her last official promotions of You Can’t Sit With Us from August of last year. Since then, she has released two special singles (Go or Stop? and Oh Sorry Ya). But as already mentioned, neither were promoted (and hence no review was written for them). Today, Sunmi returned with the new single Heart Burn.
Described as the day version of her pporappippam (a song that depicts a Summer night’s atmosphere), Sunmi describes Heart Burn as the heat of a Summer’s day. I quite enjoyed the likes of Heart Burn, simply for the pleasant nature of the song. Yes, it joins a string of pleasant songs that we have gotten thus far this year. But with a heavy presence of EDM still dominating the likes of the industry, pleasant songs like Heart Burn are much appreciated by yours truly. I quite like the easy going atmosphere that the song has, making it quite ‘easy on the ears’, as I always say. The melodies and instrumental were relatively simple, but they were still quite appealing and catchy nonetheless. The guitar and percussion creates a low-key pop instrumental, which came off as refreshing to me. I quite liked the sparing use and intriguing nature of the high pitch squeaky synth that fills up the non-vocal sections of the song. It was a simple use of the synth, but I thought it was clever to confine it to just those moments so avoid overuse, which in turn made it quite attractive. I also like Sunmi’s vocals throughout Heart Burn. They blended very nicely into the song, keeping true to the pleasant and easy going nature of the song. Her vocals were quite consistent throughout Heart Burn, never really breaking free from a standard motif. But somehow it works and makes Heart Burn more appealing. When compared to her other works, however, Heart Burn doesn’t really stick out for me. But it is still a really neat song.
The music video starts off quite innocent and almost cutesy in a way, with Sunmi playing about in the garden and playing with a dog. But it was soon revealed that Sunmi is an immortal femme fatale, who has caused the death of multiple men throughout history. She strikes in 1856, 1926, 1966, 1969 in the scenes, causing at least four deaths (that we know of). Sunmi’s portray is very fitting, given her sensual style we have seen in past music videos. I did wish the change of emotions of sorrow and guilt to happiness that we do see in the video was a bit more snappy and sudden, just to make the story a bit more apparent. And maybe a modern day shot of her going for her next victim would have been a nice closer to the video. But I guess that might lead into cheesy territory.
Usually, you see idols put a bit of energy into their performance to come off sensual. But what I saw in Sunmi’s performance was very little energy, but it somehow manages to come off as effortlessly sensual. I am amazed at her skills. I also liked the fans throughout the performance. They are aesthetic and artsy. They also added a fair bit of oomph to the stage.
Song – 8.5/10 Music Video – 9/10 Performance – 8.5/10 Overall Rating – 8.7/10
Also making his comeback today is HUTA (a.k.a Lee Minhyuk from BTOB) who returns as a solo artist after three years with the title track and his second studio length album, both titled BOOM. HUTA did make a small comeback in 2021 with the single, Good Night, but that flew under most people’s radar and wasn’t reviewable due to a lack of promotive material. So I won’t consider that a full fledged comeback, and so BOOM follows HUTA’s 2019 solo debut release, YA, and his first studio length album, HUTAZONE. HUTA also recently promoted as part of BTOB, who made their grand return earlier this year with The Song.
BOOM lives up to its name, as it is explosive and packs a punch. This is thanks to two elements – the instrumental and HUTA himself. BOOM is described to be a ‘hybrid wonk trap style song with an elaborate bass line’ (taken from SOOMPI). The percussive and trap elements combined with the bass brought a dramatic flair to the song that gets your blood flowing. The wonky sub-genre, which I personally have not heard of before today (or I may have, but never had it described to me as ‘wonk’) or experience in KPOP before, doesn’t really help bring out the explosive side of the song. But it comes through the most during the choruses, and adds a background centrepiece to BOOM‘s centrepiece. Combining the two, you have a pretty powerfully unique track that doesn’t hold back. HUTA himself brings aggression into the song, with his iron solid rapping extremely bolstered and passionate at the same time. This aligns with the instrumental strongly, creating a dynamic piece. But interestingly, it isn’t the instrumental or rapping that takes the cake for me in BOOM. It is HUTA’s vocals that somehow managed to steal the show, especially the ‘aight‘, ‘high‘ or ‘hi‘ we get in the lyrics. He goes high pitch with these words, which contrasts really well with the deeper and harder sounds. The rest of his vocals are smooth, yet maintains a raspiness to them. The chorus was catchy and memorable, thanks to the ‘Boom Shaka Laka‘ line. Overall, HUTA kills it with BOOM and impresses me with his versatility, once again.
Three music videos into HUTA’s solo career (YA, Tonight (With Melody) and now BOOM), and HUTA shown his abs once again. I sense a theme and a connection with fellow soloist WONHO. Anyhow, the music video for BOOM is dark and edgy, as one would expect. The video also uses a lot of red or orangey-red lighting, which I persume is to highlight and emphasise the aggression that HUTA brings to the song. All of this feels very appropriate for BOOM. I liked the forest background for some of the shots, as it felt a bit more freeing than the closed sets we got and managed to still work in tandem with the rest of the shots. I also liked it when he punched the camera. And of course, HUTA looks great throughout the video (abs or clothed)!
BOOM also shows off HUTA’s performance skills with a cool choreography. Based on what I saw in the video, it isn’t exactly groundbreaking. But it had aggression, it had smoothness, it had sensual moves. It practically had everything! What does freak me out are the masked dancers. It takes the idea of masks to a whole new level, as there are no eyes holes on the mask. Instead, the front of the mask is decorated with shiny stones that reflect the light. Sounds cool in theory, but very dark in practicality. The floating throne (made up of the dancers) at the start was a pretty cool idea.
Song – 9/10 Music Video – 8/10 Performance – 8/10 Overall Rating – 8.5/10
Making their comeback today is fromis_9, who returns with their new single Stay This Way and fifth mini-album, From Our Memento Box. This follows the group’s last comeback, DM, which occurred earlier this year and really stole my attention for many many weeks. The group was originally going to kick off promotions with a comeback showcase, but some members were unfortunately injured over the weekend in a car crash and the decision was made to cancel the showcase. It is currently said that the affected members do not have serious injuries, but it is currently unsure whether promotions can go ahead this week.
Stay This Way continues the pleasant nature that fromis_9 visited in DM. Majority of the song felt similar, and so Stay This Way thrives on the familiarity front – fitting for a song titled Stay This Way. Their vocals were super nice, and the melodies still had a bounce to them that made them enjoyable. I could also easily carry over DM’s description for the instrumental ‘a pop track with no frills, and is quite light, soft and pleasant (in a positive sense) as well‘, though I felt Stay This Way had a minute difference (more on that in a second). I am just glad that the producers have allowed fromis_9 to explore more of this pleasant style, since its suits them so well and DM proved to be a very successful for them. But there are differences between the song that makes Stay This Way its own song. One obvious difference is the presence of rapping, which I thought added a different dynamic to the pleasantries. But it is delivery in a way that is kept in line with the pleasant nature of the song. Is it the best rap performance? Not really. But it does the job and adds something else to Stay This Way, as already mentioned. Less apparent is the instrumental which I already mentioned to be similar. But I also felt that Stay This Way which had a slight kick to it thanks to what felt like a faster tempo to bring up the energy since it is a Summer release. The repetition of the song’s title was also a neat change and hook to the song, though unimaginative. Overall, Stay This Way carries on what I really enjoyed from their previous comeback but does what it needs to to be its own song.
Most of the video looks super fitting and logical given the current season the song is released in. I believe it also fits in with the lyrics of the song, as well. The members appear to having fun in the outdoors surroundings. When the members are smiling and look like they are enjoying the outdoors, the video felt natural. I believe the pale filter helps heighten this. However, there were moments when the members felt a bit forced, especially when they looking serious and throwing model looks at us during solo and unit shots. Not really the natural vibe there, to be honest.
Based on what I can see in the music video, the choreography for this comeback looks good. It seems like the chorus would be the most attractive point, as the chorus’ choreography parts drew my attention the most. I might return to this review and update it once a live performance happens.
Song – 8.5/10 Music Video – 8/10 Performance – 8/10 Overall Rating – 8.3/10
The next album to be reviewed is Moonbin & Sanha’s second mini-album, RFFUGE, which dropped mid-March this year. It features the title track WHO, and four additional singles including Ghost Town, which served as the mini-album’s pre-release single. Moonbin & Sanha’s comeback follows the debut of ASTRO’s second subunit, JinJin & Rocky, who made their debut with the single Just Breath and mini-album Restore. Their comeback precedes ASTRO’s Candy Sugar Pop comeback and the group’s third studio album, Drive to the Starry Road (which I will be reviewing at a later date).
I can’t remember the exact reason why I chose to review REFUGE, as it has been a while since its release. I just have it down as ‘TO REVIEW’ in my notes. It has been bumped up slightly, however, as I don’t think I can handle another full length album review this weekend, but thought it would be nice to still put out an album review. And REFUGE was the first mini-album on my list to review. Overall, REFUGE was a decent album with some good and weaker songs. It is still worth a listen, as you may find something you like, as I did.
2. BOO – BOO takes on the R&B genre. I personally like the beat, the brighter tone, the clear vocals and the intriguing nature of the twangs we get in the instrumental. But beyond that, I find BOO to be just a decent track. Unfortunately, the melodies or hooks weren’t as memorable as they could be. And compared to the other tracks on the album, BOO easily becomes the forgotten single. (7/10)
3. DIA – DIA is more of my jam. The disco influences in the crunchy instrumental brought a more dynamic profile to the song (which I find to be extremely memorable), and I find myself having a boogie in my chair every time this song comes on. I really liked their vocals throughout DIA, with this song showing off their vocals in the best on this album. There is no standout hook in this song, as the instrumental really dominated the track for me. But I feel there is enough in terms of melodies to help boost the song’s memorability factor. (8/10)
4. Distance – Distance brings forth balladry energy. Distance starts off with an acoustic centric instrumental which I thought was really soothing and nice, before developing into a more bolstered instrumental that somehow maintains the acoustic roots it began with. I find myself swaying along to the song, as the pair delivers very captivating vocals and melodies. I am not entirely keen on the siren-like synths, but they do help fill up the background of the song, creating a heftier number. (8.5/10)
At the start of February this year, Wonpil made his solo debut with Pilmography, two months prior to his military enlistment. This release comes in the form of a studio album (which is a rare form of a debut, though it has been done before), which is lead by the single Voiceless. In addition to Voiceless, there are nine other addition tracks on the album – some of which have been performed live by Wonpil in some form following the album’s release. Today, I will finally be reviewing the album (almost five months after its release).
Going into the album, I thought we would be getting ballad after ballad for some reason. I guess Wonpil looks like a ballad type of guy. But I was genuinely surprised that ballads only make up a small portion of the album. Instead, we got different song styles coming through. It is all in the realm of music that can be performed by a band, but it isn’t all rock (as one might think when it comes to band music) or ballads. I highly recommend you check out this album, as some of the songs are stunning. Others are surprising or just plain old pleasant. But all are very good songs.
2. Sincerity (지우게) – At first, I thought Sincerity was a straight forward ballad with striking piano, which I totally enjoyed. But as the song continues, it unexpectedly changes momentum via the insertion of synths during the choruses. It isn’t a complete shakeup though, as the beat is maintained and the song reverts between the two as its progresses along. I also found it to be quite cohesive, as a result. I enjoyed the way Wonpil’s vocals climbed to match the intensity that the synths bring and how he brought an airiness of the verses to give it some colour. (9/10)
3. A Writer in a Love Story (소설 속의 작가가 되어) – You can tell that A Writer in a Love Story is a lot more cheerful compared to some of the other song, thanks to its upbeat and jazzy tone. I feel that this brought a warm feel to the album as a result. And since it is cold where I am, I was really feeling it. I also like how Wonpil’s vocals compliments different genres, with his vocals sounding splendid in this enjoyable and pleasant song. (8/10)
4. Walk With Me (우리 더 걸을까) – The acoustic nature of Walk With Me feels very fitting for the Springtime in which the album was released in. It felt like a song that easily could have risen in the charts had it been standalone and well promoted, just like how some other Spring songs tend to rise out of nowhere during the Spring season on the Korean charts. Wonpil sounds sweet and warm touch to the song, complimenting the lyrics and overall feel of the song, which highlights the loving nature of the song. (8/10)
5. Stranded (외딴섬의 외톨이) – One of my picks for best song on Pilmography is Stranded, simply because I don’t mind having this song on repeat. It brings back synths, bringing forth a jazzy city pop vibe, and an upbeat tempo. Both are appealing aspects on a vocal centric album like this. I find Wonpil’s voice to be the best in Stranded, as he pulled out a few different techniques to make the song more interesting on his part. I particularly enjoyed his interaction with the backing vocals in the pre-chorus for this song. (10/10)
6. Someday, Spring Will Come (언젠가 봄은 찾아올 거야) – If you are looking for a softer and an ‘easy on the ear’ song, Someday, Spring Will Come is the song for you. It is, however, a more bittersweet song, reminding us that there is always good news down the track or ‘light at the end of the tunnel’ (for this song, the good news or light is likened to be Spring). The instrumental is interesting, bringing in horns and flutes into the mix. Not unheard of, but it a bit different set of instruments commonly heard. I enjoyed the percussion in this song, which made the song extremely pleasant. Wonpil’s vocals are good, but they felt a bit flat in this song. (7/10)
7. Pieces (휴지조각) – Another favourite of mine from this album. Pieces takes on a pop profile and explores Wonpil’s lower registers, both of which hasn’t really been touched upon on this album in great detail yet. I really like the pulsing melody in the verses and throughout instrumental. It creates an intriguing and different dynamic that is quite cool. I also enjoyed the building momentum towards the lyric-less chorus. It’s a bit abstract, but that makes the track unique and individualistic, which I am always for. (10/10)
8. Last Goodbye (늦은 끝) – We re-enter ballad territory with Last Goodbye, with features a piano only instrumental that is quite beautiful. It actually didn’t occur to me at first (only as I was typing this review) that the instrumental was just piano, as the piano compensated for what usual is present (i.e. some form of percussion, strings etc.). With such an instrumental, the focus is squarely on Wonpil. And as indicated throughout this album, he shows off his vocals in a manner that is extremely pure and untouched. (9/10)
9. Unpainted Canvas (그리다 보면) – Unpainted Canvas is an uplifting pop rock song that is so captivating to listen to. While I try hard not to think of DAY6 whilst writing this album review since this is Wonpil’s own work, I felt that Unpainted Canvas is the most DAY6-like track thanks to the rock band feel that the instrumental brings. I also enjoyed the lyrics, conveying one’s journey from young to present via the idea of painting or drawing a future. I also liked Wonpil’s vocals throughout this track, as well. (8.5/10)
10. A Journey (행운을 빌어 줘) – Final song on this stunning album is A Journey. Wonpil saves one of the best to the very end. It closes out with the message that he will be back as a better person and to wish him luck for what is to come next in his journey. It is also the most surprising track on the album thanks to its synth/band instrumental that drives the song forward. The chorus is just so vibrant and cheerful, and I like how Wonpil matches this energy with his vocals. (10/10)
As mentioned in my last song review, two Queendom 2 participants made their comeback this week. Now it is time for the second group and runner up of the competition to get their review. LOONA has made a comeback with a special Summer mini-album, Flip That, which features the title track of the same name. Aside from Queendom 2, this is the first time we are seeing the group following their PTT (Paint The Town) Korean comeback and their Japanese debut Hula Hoop.
Compared to their last few releases (which have been more powerful and intense releases), Flip That brings a very different colour to the group’s discography. Flip That is described as a house based track. But instead of the usual likes of house EDM, Flip That is more subdued, light and airy. That being said, there is still heft and bass to the instrumental. This creates an interesting and almost aesthetic atmosphere that feels unique and different. Their vocals take on a sweeter and brighter tone profile, which I find to pair extremely well with the instrumentation and its subdued nature. Keeping the song is check and balance are the rappers, who too brought a smidge of heft to the song. But while this sound combination sounds successful so far, I don’t find Flip That to be LOONA’s most riveting piece to date. This determination came down to the melodies and hooks. A small part of me felt Flip That‘s melodies and hooks were memorable to a degree. But a much larger part of me a feels that the melodies and hooks were underwhelming, underdeveloped and underplayed. It didn’t feel enough, if you understand what I mean. I wished it was teased out a bit more and brought a more dynamic touch to the song. Overall, Flip That does have its pros and cons. At this stage, I like it for its uniqueness and thinks that this compensates for the rest of the track.
To match the song’s subdued sound, Flip That‘s accompanying music video takes on a more lighthearted and innocent look compared to their recent music videos. Its bright and airy. There is a lot of colour (though not bold or heavy handed, which I find it be quite nice and easy on the eyes). I really love the forest background that was selected for one of the choreography shots in music video. Its so vivid, and the producers put a lot of thought in ensuring that the video remained balanced with the 12 members and bright white outfits. Not entirely sure if the video is trying to tell a story of some kind, but it can easily be summed up as the members enjoying their time outdoors (or towards their next location/comeback).
Just like the song and music video, the choreography takes on a lighter, cuter and more delicate feel. I like what they did with the formation of the second chorus, and the chorus routine in general. And also, I like that they kept their signature synchronisation. But as a whole piece, I didn’t feel like it was as captivating as the performance could have be.
Song – 8/10 Music Video – 7.5/10 Performance – 6.5/10 Overall Rating – 7.7/10
This week started off with two Queendom 2 acts making their comeback. First up on the reviewing block is Kep1er, who makes their grand return with Up!. This is featured on the group’s second mini-album, Doublast. This comes after the group’s debut back in January 2022 with WA DA DA, and more recently, their participation on Queendom 2 (as already mentioned).
Up! comes out at the right time, capitalising on the current Summer season in which Korea (and Northern Hemisphere) is in. This is the time we want to hear bright and vibrant songs, and I feel that Up! hits that part of the brief with no doubts. The track also capitalises on the group’s youthfulness, and brings about a fun and upbeat energy to a mix (which is synonymous with the Summer season). Both goes hand in hand in setting up Up!. There are a few aspects in the song that I quite like. The synths used in this song are felt refreshing and didn’t feel like a repeat of what we have heard thus far this year in terms of Summer songs. Up! features some really cool rapping that adds some deepness to the song and keeps the song grounded. The chorus was brought a trendy pop sound to the table and was pleasantly catchy. I do think a stronger melodic hook would have been more satisfying overall, but what we got in Up! is perfectly fine already. On the other hand, the post-chorus felt weak and didn’t feel concentrated enough. In addition to that, I also felt that Up!‘s reliance on cuteness is a hit or miss I wished it was toned down as it is a bit too cliché. A summer track can be youthful, without the need to steer into the cute domain. The vocals were plain in comparison to the rapping. Even with the autotune, it didn’t do much for me. And finally, the second half of the instrumental break in the bridge felt forced. The brighter first half was fine and fits in with the rest of the track, but the more intense second half (taking on a dubstep like approach), was unnecessary and creates an imbalance with the rest of the song. But overall, Up! is a decent Summer track.
A very colourful and vibrant video accompanies the release. No surprises there. For the most part, the video was decent, alongside the music. I did see them trying to push a cutesy agenda, which I am not entirely a fan of. But at the same time, it wasn’t a terrible concept for this video. There were some scenes that I could have done without, such as the awkward laptop POV scene and the lemon charging scene. They felt very random and didn’t make much sense to me.
I quite liked what they did with the chorus in this routine, with the arm wave at the start and the two lines of members. As for the dance break, I liked how bouncy the first half felt. And as much as I disagree with the second half of the dance break, the routine was pretty good. The rest of the choreography otherwise felt standard for me.
Song – 7/10 Music Video – 7/10 Performance – 8/10 Overall Rating – 7.2/10
As mentioned yesterday on Twitter (yes, I have a Twitter account – @kpopreviewed), there would be two album reviews today (as I was slightly busy yesterday). The second album review of the day is for KIHYUN’s official solo debut, which occurred back in March of this year. The solo debut was titled VOYAGER, and is the title for both the lead single and single album. In addition to VOYAGER, the single album also consist of two additional side tracks. Following his solo debut, KIHYUN returned with MONSTA X through their LOVEand Shape of Love comeback (which I will be writing an album review for some time in the future). It was also recently announced that KIHYUN had renewed his contract with Starship Entertainment.
I am a bit disappointed that KIHYUN’s solo debut came in the form of three songs (i.e. the very typical length for a single album). It is far too short to appreciate what KIHYUN has to offer. He definitely deserves a mini-album, at the very least. But hey, this is what KIHYUN has provided us, so I shouldn’t be complaining. Again, a strong album release from this seasoned KPOP artist. VOYAGER takes the cake for best song on the album, but the other two songs have their own charm. Continue scrolling to see what I thought about those songs.
2. , (COMMA) – COMMA continues the pop rock vibe from the title track, but opts for a much softer and more emotional atmosphere, expressing his own desire to take a break or rest when he is lost, similar to how a comma brings a brief pause in a sentence. It is a completely different energy to what we got before it, as KIHYUN’s vocals convey more emotions in this song. I quite like the oomph he puts behind his vocals during the chorus, in contrast with the softer approach he takes in the verses. It makes for a slightly more riveting piece. The instrumental feels on trend, but I wished it was a bit more innovative, just so COMMA can have a bit of an edge. (8/10)
3. RAIN – RAIN opts for a more intense instrumental piece, featuring what felt like a slow burning rock instrumental. The intensity is so gripping, it was quite hard to be distracted from the song (or to turn away from the song). KIHYUN’s vocals are powerful and felt so loaded, particularly during the chorus, which in turn felt relatively explosive. I did like how he kept held himself back throughout RAIN, keeping that energy and intensity simmering away until the end to make it a captivating piece. (9/10)
It has been almost a month since my last album review. But I am finally getting back to writing them and posting them on weekends. But be aware as I am quite back up with a very long list of many great albums I want to review, so please bare with me. The first album I want to visit is BTOB’s third studio length album, Be Together, which was released back in February of this year. Featured on this album is the title track The Song, nine side tracks, an intro, an interlude and an outro track. So it is definitely jammed packed. This album, for those who may not recall, was also BTOB’s grand comeback as a full group since 2018 and follows the military enlistment of all members (aside from Peniel).
As a quick summary. I find myself to be a fan of every song on this album in one way or another. That is the greatest outcome for any album. Knowing BTOB’s background and successful songs, there are obviously ballads on this album. But some of the album’s standouts are not ballads and are more so hidden gems on this album (as they are placed in the midst of the many ballads on this album). But obviously, more on those songs as I get to them. So without any more delays (or else this might get delayed), let’s me get straight into the first album review after a while, BTOB’s Be Together.
Be Together Album Cover
1. Intro: The Trace (Intro: 발자취) – The album starts off with a fairly simple introductory track. Over a really nice piano melody that sets a balladry tone for the album, we can hear someone walking through the snow. It is piece I can vividly imagine and see myself in.
3. Blooming Day (봄이 피어나) – My favourite aspects of Blooming Day are the presence of the raps in the verses. Minhyuk really pushed the song to the next level with his sequence, while Peniel brought a nice flow. They also brought whole lot of intensity to the ballad, which peaked my interest in the song and made it so captivating. I also liked that the chorus follows the momentum of the raps creating a powerful centrepiece. The ad-libs in the final chorus also builds the intensity and gives off a similar effect. (10/10)
4. Be Together (우리) – Be Together, the namesake for this album, continues the album’s ballad focus. Be Together is a beautiful one with a swayable atmosphere and melody that you will know I would like. I really like the rock elements in the instrumental of this ballad, which throws out the idea that a ballad has to be classically instrumented in order to beautiful. The vocals stand out in this one, showcasing strong and powerful vocals. The rappers held themselves back with small and slighter sequences, but I liked how their parts still had intensity. (9/10)
5. My Way – My Way changes the momentum of the album up with a more upbeat track, delving into a R&B and hip-hop mix. It sounds quite urban, and is a song that I wouldn’t mind listening to whilst walking through a hip neighbourhood. I like how everyone brought their A-game for this track. Unlike the preceding track, both vocalists and rappers’ factions of the group were on par with each other and brought great energy to the song. I particularly like the echoing effect of the post-chorus hook. (9/10)
6. Whiskey – Whiskey follows My Way’s more urban feel, but opts for a R&B instrumental that feels groovier while the lyrics are a lot sexier. There is also a sleekness to the song’s instrumental that I totally digging. I really like the character and personality that the members put behind their vocals. It just adds depth and energy to the song that would have felt plain had more standard vocals/raps been used. It also demonstrates BTOB’s vocal versatility between members, but their ability to also remain cohesive. For example, Peniel’s more hip-hop aligned breakdown in the second verse was a surprising presence, but fits into the bigger picture that is Whiskey. (8/10)
7. Interlude: Re – The album features an interlude track, Re, which is a minute and a half of a soothing piano melody. It brings down the energy of the album following some upbeat tracks, enabling the next track to be placed.
8. Lonely – Lonely is another ballad on this album. But rather than being your typical slow or flowy ballad, Lonely is a fairly intense ballad thanks to the presence of the strings throughout the track. Not in the dramatic sense, but more so in a captivating sense. In addition to the strings, the members’ vocals also build up the intensity of the song and adds to that captivation. It isn’t a smashing ballad like the others earlier on this album, but Lonely is still a strong one nonetheless. (8/10)
9. Dance With Me (춤) – Dance With Me bring up the album’s energy levels with another dynamic track. The energy is quite refreshing and thoroughly enjoyable. And for that, I deem it as one of my favourite side tracks on this album. Dance With Me features some really cool and intriguing guitar work at the start. But that is not only where we get the guitar work. I liked how the guitar makes a presence throughout the song, pulling the different segments together. The powerful vocals are a highlight in this song, while the upbeat nature enables the rappers to dive into their parts. (10/10)
10. Higher – Thanks to its rock influences, Higher is definitely the odd one out on this album. But instead of me questioning its presence on the album, Higher steals my attention and carries me away. Before I know it, the song is over and I am left wanting more. I remember it leaving me floored when I listened to the album back in February. And after four months, Higher still leaves me on the edge of my seat and gets me head banging! I quite liked the snowballing effect the energy has, which is thanks to both the rock instrumentation and the members’ powerful energy they channeled through the song. (10/10)
11. Thank You – Thank You is the type of song to bring a smile to your face. At least, it did for me. Thank You had a tall order in following the likes of Higher, but I think it handled it pretty well. The song is much sweeter (to match the lyrics) and less energy driven, but it wasn’t as an extreme step down in terms of upbeatness. I like the jazzy notes within the instrumental, the more loving vocals the members provide to the song and the random burst of brass we get consistently in the backing. (8.5/10)
12. It’s All Good (흘려보내) – The second last song on the album remains in upbeat territory with its pop rock instrumentation, but you can tell that the group is slowly tuning down the energy to help ease us off the album. It isn’t as a riveting piece as it could be, but it has its charms. I really like the soaring and floaty melodies that It’s All Good has. My only critical note about the song is Minhyuk’s powerful and strong entrance in the bridge, which contrasts practically everything in the track and it feels a bit unexpected. I am not entirely sure what to think of this. It works with the idea of a pop rock instrumental, but it doesn’t work in harmony as with the rest of the song. (7/10)
13. Outro: Encore – Ending the album is an outro track, titled Encore. Usually, when the title includes the ‘Outro’ tag, it is something brief, and not a full-fledged 4-minute-long track like how Encore was. It is fitting that the album closes out with a ballad, just like how it started. I enjoyed how stunning this one was, from start to end, vocals to raps. I really liked the high notes in this as well, giving the track a breathtaking element. Encore is classically and acoustically instrumented and was quite riveting. An amazing end to the album. (10/10)
Naturally, the night I decided to take off (yesterday) had multiple comebacks. But don’t worry, I will (slowly) get around to them! First up (and I will explain why I chose this one to be first up from yesterday’s options for a review) is OMEGA X’s PLAY DUMB, which is the title track off their 1st studio length album. This is the group’s first comeback that I am reviewing since their debut with VAMOS last year, Story Written In Music. However, OMEGA X has had two comebacks since their debut which I have yet to cover including What’s Goin’ On and Love Like This, both of which will be reviewed in some form in the future. As for now, here is my review for their third comeback track, PLAY DUMB.
Out of all the releases from the 15 June 2022, PLAY DUMB was my favourite. And it was so for a very simple reason – it was fun and had strong ‘feel-good’ vibes which I needed after a long day. PLAY DUMB isn’t an innovative pop song, but it also doesn’t feel like a straight up copy of another bright and vibrant pop song from the top of my head (though one could say it is similar to other songs of an equivalent nature and I wouldn’t disagree with them). In addition to the vibes that I already mentioned, I found PLAY DUMB to have lively but also pleasant instrumental, stepping away from the heaviness that synths that we hear so often nowadays. I love the funky vibes that the guitar brought to the post-chorus hook. PLAY DUMB also features a strong showing of vocals and raps from the members, which is always appreciable. It also contains some decent hooks and melodies which I thought tied the song together really well. I really enjoyed the inclination of the pre-choruses, which helped drive up the energy of PLAY DUMB to make the chorus even better. There was something about the melody and the instrumental combination that worked really well and attracted my attention towards the song. I do think PLAY DUMB would have benefited from a more centric hook or melody for the actual chorus sequence, just to drive up the memorable factor of the song. But the hooks and melodies we did get in the song still works fine. Overall, PLAY DUMB is definitely a fun release, with its vibrant and brightness suitable for the Summer season.
Listening to the song, the accompanying music video had to fulfil one criterion for me to be considered successful – be fun. And I feel like that was nailed perfectly. The members looked like they were having a blast with one another and there were some funny scenes throughout. I also like the vivid colours of the video, which just works extremely well in bringing out that vibrancy from the song. If you missed the concept that was consistently present from start to end, it is just tennis. The sport was the pure focus of the video (aside from laughs and having fun). I did wonder what happened to the massive tennis ball that featured at the start of the video (the one that came crashing into Earth, put on displayed and subsequently stolen by one of the members so they can sketch it). I thought that whole ‘plotline’ was a bit of fun and would have liked it to make some sort of reappearance in the video at the end or something. it just disappearing didn’t make sense to me, and I am a bit disappointed by that.
The choreography was nice and worked well with the fun and energetic side of the song. I liked the refreshing vibes the members brought to the stage. I would have liked more bounce to the choreography (I think the song calls for this), but what we got was perfectly fine!
Song – 9/10 Music Video – 8.5/10 Performance – 8/10 Overall Rating – 8.7/10
KPOPREVIEWED 