[Review] X-Ray – GHOST9

One last review for this week before I head off for the long weekend (Happy Easter to those who celebrate!). For this review, I have decided to bounce back in time to last week to review GHOST9’s X-Ray, which dropped last Thursday. It is the title track off the group’s sixth mini-album, Arcade: V and is also the group’s first comeback since the release of Control in November of last year.

When I consider the verses of X-Ray, the song is pretty much your standard dance track. Nothing more, nothing less. I wished the instrumental hit harder, as the song’s intention of being powerful and heavy just doesn’t hit the mark for me. While there are some productions that excel at this style, there is a large majority of releases that tend to fall into the ‘typical’ pile of this style and doesn’t 100% deliver. And X-Ray‘s verses falls into the latter pile. However, X-Ray has its chorus to thank for disrupting this typicalness, inserting a refreshing element and taking it in a different direction. The chorus features Junhyung (standout member alert!) delivering his line at a higher tone, which offsets the intended heaviness of the song. The melody was also quite memorable. Had the instrumental been a bit more innovative (it is fine as it is, just it lacks some sort of punch that potentially could have taken the song to the next level), X-Ray‘s main centrepiece would have been aesthetic as heck. But it is still a standout moment in this song. I like how the song’s main hook’s melody was repeated in a chanty form at the end, which finishes off X-Ray in a neat yet revamped manner, but also keeping it close to its foundations. Elsewhere, the vocal work and rapping were fine. Though, I felt they could have gone harder to infuse and give off more energy, intensity and power. This would have been a big help to X-Ray.

Most of the music video also felt typical. The settings chosen by the producers for the video had that (i.e. the abandoned room, the hallways, the outside of the building scenes) were staged to look edgy, but I necessarily didn’t get that vibe from those scenes. However, the grayscale scenes and some of the editing of the music video (i.e. transitions) looked really cool and had a level of visual aesthetic that was memorable. I particuarly enjoyed the grayscale closeup that focused on hair colour instead. That was the most promising aspect of this video.

I liked the performance’s ‘snap & release’ moves that featured heavily in the chorus. It looked good, and definitely showcased the song in much stronger light. But other that, it was a good performance, but with little else standing out.

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

[Review] MAISON – Dreamcatcher

Dream Catcher also made their comeback earlier this week with MAISON and their second studio length album, Apocalypse: Save Us. MAISON follows the release of July 2021’s BEcause and the special mini-album, Summer Holiday.

MAISON is Dreamcatcher’s most electrifying title track yet. Right off the bat, the song brings in a electronic guitar riff that definitely promises great things. This keeps MAISON within Dreamcatcher’s niche of rock influence title tracks, as synths are shortly brought in and infused with the electronic guitar to create a dynamic and powerful backing piece. I liked the balance shared between the two sound profiles during the verses, but I was left disappointed with how the balance was continued into the chorus. As it stand, I find it incredibly hard to pinpoint the end of the verse and start of the chorus for MAISON, no matter how listens I have given it. It just sounds too alike. I wish one profile (either the rock or the synths) popped out more during the chorus in an intensified manner, This would have really helped give the chorus more definition and not have it blend in with the verse. At this stage, I have decided the section that contains the ‘Save my home in the …‘ to be the chorus, as it is MAISON‘s main hook and it is very catchy. For a brief moment, MAISON does take a breather from the intensity by inserting a melodic piano piece and I quite like how this climbed in intensity to return the song to its original mix of rock and synths. I also liked how they inserted that choir backing in the final chorus, for an additional dynamic touch. As for Dreamcatcher’s vocals and rapping, both were solid throughout and showcased intensity that complemented the powerful nature of the instrumental. MAISON is another strong song under the group’s wing, but does need a bit of refinement in its production.

The entire video was shot in front of the green screen. Not entirely sure how I feel about this. Usually, the green screen is applied to the background of a built set (especially for the choreography shots), and I think MAISON should have gone down this route. But this style isn’t that bad. It just feels overly artificial when it didn’t have to be. MAISON “sends a message to those who shamelessly destroy the environment in this current state of the earth, which is gradually losing its original state due to the actions of humankind” (taken from SOOMPI) and you could see this message in this music video, as it shows the world in an apocalyptic state. It also affects their world, which appears heavenly and beautiful in one scene, but broken and destroyed in the next.

I quite enjoyed how powerful the performance looked. This might appear to be an obvious statement as the performance matches the music and it reflects well, given Dreamcatcher’s past stages. But I found the group to be super charismatic on the stage whilst performing this track. Their moves, formations and transitions were strong, and it left a strong impression on me.

Song – 8/10
Music Video – 8/10
Performance – 9/10
Overall Rating – 8.2/10

[Review] DICE – ONEW (SHINee)

After another brief absence, I am back and coming to you with more reviews. This review focuses on the second comeback that occurred on Monday. The track in question is DICE and belongs to SHINee’s leader ONEW, who is returning to the music scene as a solo artist for the first time since 2018. He debuted as a solo artist in 2018 with the single BLUE and mini-album Voice. Since then, ONEW completed his mandatory military enlistment and last year returned as part of SHINee through Don’t Call Me and Atlantis. He also resumed his acting and musical careers, whilst also releasing a few collaborative singles and solo OSTs.

DICE is a retro city pop track that is extremely pleasant. For those who have been reading my blog knows that the word ‘pleasant’ can either be a good or bad thing. With DICE, the use of the term is a bit ambiguous. The pleasantness of DICE makes it palatable and balanced. But at the same time, however, the pleasantness is a bit of a disappointment, as I expected the song to kick it up a notch along the way. But it never did. ONEW sounds really good in this song, with smooth vocals bringing life to DICE. It was silky and the flow from one end of the song to the other just felt flawless. The retro influence on the instrumental gave DICE a very nice subtle groovy touch, whilst also being rhythmic. For the final chorus, I liked the leadup and that refinement when it came to the mini explosions in the instrumental. There were some smooth hooks and I can see the song growing on me even more as I continue to replay the song. But whilst DICE comes off as a great song, it ultimately lacks oomph. There is definitely potential for DICE to really have a bit more meat to it in both the instrumental and vocals department. It didn’t have to just be pleasant. We all know how good ONEW’s vocals are, as evident through the many hits SHINee have provided us. And we all know how good city pop songs can be if the instrumental was just a tad bulkier or bolder. Overall, DICE is promising and a nice return for ONEW, but it definitely felt like more could have been done.

The music video features ONEW as the main character, who notices the female character from afar. But she is soon kidnapped by these pale green masked people and ONEW goes in pursuit to find her. At the start, you can tell that ONEW is a bit scared and timid when going into the hotel and following the path of green gloop. But as he roles the dice, he becomes more comfortable and relaxed in his surroundings (though there are parts of him that is still scared and timid). He notices some unusual practices in the hotel including injecting lemons with some mysterious substance (that seems to be the life source of these masked people) and the use of chainsaws throughout the hotel. He later finds the female character, who has dealt with the masked people herself (i.e. ending their lives with high heels), and she runs away with ONEW in a happily ever after type of ending. I thought it was a neat video, with a small plot twist and creepy factor, all rolled into one.

The performance felt pleasant as well, which works well the version of the song that we got. But it is bit plain and looked loose. Had DICE had what I felt was lacking from it, and the choreography was intensified and made to look sharper and tighter, this would have been a smashing performance piece.

Song – 8/10
Performance – 9/10
Performance – 7.5/10
Overall Rating – 8.2/10

[Review] Anthem of Teen Spirit – EPEX

A new week means new comebacks. And starting off this week is EPEX, with Anthem of Teen Spirit. This is the title of the group’s latest comeback and the title track of the group’s third mini-album, Prelude of Anxiety Chapter 1. ’21st Century Boys’. Anthem of Teen Spirit comes after the group’s debut with Lock Down and Do 4 Me comeback, all of which occurred last year.

Anthem of Teen Spirit has all the hallmarks for a standard intense dance track. The key word in that statement is ‘standard’. Unfortunately, for the most part Anthem of Teen Spirit was pretty generic. You have to get through the first verse and first half of the first run of the chorus to get to anything worth talking about. And since this was the case, Anthem of Teen Spirit was a bit bland from the start. The opening verse didn’t have much going on, and the first half of the chorus has that stock standard shouty nature to make the song seem edgy. The hooks here are pretty shoddy here, as well (i.e. ‘Click, Clack, Brrr, Like‘). The instrumentals were also pretty generic and doesn’t score points for innovation. However, Anthem of Teen Spirit takes a turn from the second half of the chorus onwards. The ‘Brom pom pom‘ caught my attention for fully encapsulating that intended intense nature of the song within a span of two seconds. Highly effective, if you ask me. It doesn’t make up for the start, but it is a sign that Anthem of Teen Spirit is heading the right direction. The chorus is then followed up with some really fast rapping that left me impressed. Powerful rapping also featured in the bridge, and my impressed thoughts extended to the bridge as well. I also like how the instrumental intensifies in the bridge as well, creating a nice and satisfying peak to the song. Overall, the generic nature of Anthem of Teen Spirit outweighs the positive aspects of the song. But it does get better as it progresses along.

My thoughts on the music video also follow a similar pattern. The video is dark, suitable for an edgy sound. But this one is just dark. You are pretty much thrown into this world without any context. Some of the members are being hunted by other members, but for an unknown reason. My best guess is that this whole video is based on a fight between two members. But it is unclear. Ambiguity is good in some case, but not when it leaves question marks throughout the whole video about what is going on. I also question the dance set with the diamond fixture, but with a more curious demeanour. Its intriguing and could be a symbol that represents one side of the members. But once again, it is unclear. However, it does look cool.

The choreography portion of this comeback fairs the best. I liked how powerful and intense the stage looked, and it also helped translate to a better listening experience. The moves during the ‘Brom pom pom‘ hook was cool and best part of the performance.

Song – 6.5/10
Music Video – 6/10
Performance – 7.5/10
Overall Rating – 6.6/10

[Album Review] 6equence (2nd Mini Album) – Moonbyul (Mamamoo)

The final album review for this weekend is for Moonbyul. Mamamoo’s rapper returned as a solo artist back in January with the title track LUNATIC. This follows two pre-releases in December 2021, G999 (ft. Mirani) and Shutdown (ft. Seori), both of which are featured on the 6equence mini-album as well. In addition to the title track and pre-releases (per usual, you can find the links to their respective reviews in the body of the album review), there are two more side tracks, an introductory track and the English version of her title track (not factored into the final album rating).

6equence definitely shows Moonbyul’s range. She goes from a fun title track to very emotional and heavy ballads. I would love to hear Moonbyul explore more and attempt different styles, given that her parts in Mamamoo’s songs tend to be quite limited (however, that has changed more over time after she gained more confidence in her vocals). Continue reading to find out my thoughts on her side tracks and more!

6equence Album Cover

1. Intro: Synopsis – Starting off the mini-album is an intro track titled Synopsis. It is a smooth R&B track that exudes a sensual and alluring atmosphere. The long instrumental segments of this song tell me that Synopsis would be more of a performance piece (Spoiler: it definitely was a captivating one, based on a performance I found at her solo concert from earlier in the year, capturing the smooth and sensual descriptions I just mentioned). We do get some vocals, and they work well with the instrumentation. (8/10)

2. G999 (ft. Mirani)Click here for the full review for G999. (8.5/10)

3. Shutdown (머리에서 발끝까지) (ft. Seori)Click here for the full review for Shutdown. (9/10)

4. LUNATIC (Title Track) Click here for the full review for LUNATIC. (8/10)

5. For Me (너만 들었으면 좋겠다)For Me enters R&B ballad territory. The instrumental features straight forward acoustic guitar and simple percussion. Sometimes simplicity is just enough, and this song proves just that. The simple nature of For Me also allows the focus to be placed squarely on Moonbyul’s vocals. You can tell just from her tone (and of the instrumentation) that For Me is an emotionally loaded song, and the melodies make For Me quite riveting. A strong song, ‘for me’. (8/10)

6. Ddu Ddu Ddu (내가 뭘 어쩌겠니?)Ddu Ddu Ddu adds a slight kick to it that puts the song into mid-tempo waters, thanks to its band instrumentation. But that doesn’t really change much else, as Ddu Ddu Ddu continues the emotionally loaded direction of the album. And Moonbyul’s vocals a definitely top notch here. I find the band instrumental to be more up Moonbyul’s alley, as it enables for a smoother transition into rapping and Ddu Ddu Ddu’s style definitely fits her vocal tones. (9/10)

7. LUNATIC (English Version) – Refer to my full review of LUNATIC linked above.

Overall Album Rating – 8.4/10

6equence / LUNATIC Teaser Image

[Album Review] IN:VITE U (12th Mini Album) – PENTAGON

The next album review belongs to PENTAGON and their 12th mini-album since debut, IN:VITE U. This one also dropped in January (although I am now making a start on albums released at the end of January, which mean I am slowly catching up on the backlog of albums I want to review. Just ever so slightly, however.). IN:VITE U features the title track Feelin’ Like and five additional side tracks.

After finishing writing this album review, my summary comment is that I am very impressed with IN:VITE U. The quality of songs on this mini-album was well above average. But that shouldn’t come as a surprise, given that I have previously enjoyed PENTAGON’s albums in the past (We:th springs to mind instantly). There are two 10/10 songs on this album, along with a slight alteration to the title track’s original song rating that I gave in the full review. Keep on reading below to find out which songs earned the perfect rating.

IN:VITE Album Cover

1. Feelin’ Like (Title Track)Feelin’ Like has grown on me since its release considerably. I have decided that I shall revisit this song in the future to update my review. In the meanwhile, I have decided to bump the song rating for Feelin’ Like to a 8/10. Click here for the full review for Feelin’ Like. (8/10)

2. One Shot (한탕)One Shot delves into alternative rock that actually comes off as quite sleek. I can imagine a cool and modern (because it is PENTAGON) cowboy style music video for this song. I quite liked the energy that comes from One Shot, especially during the chorus where the energy become quite relentless and subtly intense. Their vocals were quite clean throughout the One Shot, as well. But the scene-stealer moments of the song have to the ‘Are you ready?’ that starts off the song; is present at the start of the chorus and in the bridge; and merged into the background at the end of the song. Definitely pulled out the sleekness that I mentioned earlier. (10/10)

3. The GameThe Game kicks off with an opera one-liner, courtesy of Jinho. Right off the bat, this makes The Game super unique and intriguing to listen to. It doesn’t stay an opera piece, however, as The Game develops into an epic sounding dance track that thrives on intensity from both rock and EDM synths. What I appreciate about The Game is that opera influence isn’t lost. It re-incorporated into the song for the second verse. Overall, The Game is another standout track from this mini-album, and one (as a whole) that left a strong impression on me. (PS. Would love to see a live performance for this track, as well.) (10/10)

4. Call My NameCall My Name goes for bolder vocals (shouty at times, but I don’t mind that) that are extremely clear and clean. It is layered over funky instrumentation that also makes Call My Name a highlight on this mini-album. Electric guitars also played an important part in this song, giving it some cool twang and emphasises that funky sound. I also liked how catchy the song was, despite how straight-forward the repetitive hook was. (9/10)

5. Sparkling Night (관람차)Sparkling Night tones down the energy a notch, going for a (relatively) softer approach with its instrumentation. It is a synth pop track that has a melodic touch, both of which helps create and exudes a dreamy atmosphere. The hooks a bit more generic in this track, but they had a nostalgic vibe to them that helps make Sparkling Night an appealing listen nonetheless. (8/10)

6. Bad – An acoustic ballad closes out the album. The music doesn’t necessarily hint towards this, but the song is actually an emotional one. Again, the vocals are extremely clear and clean throughout this song, and the acoustic instrumentation is rather straight forward. It doesn’t score any innovative points. But what I did enjoy was that Bad still had an upbeatness to it, which I think makes it fitting for this album (i.e. after such songs that had intensity and strong energy, the album didn’t end with an overly slow and typical song). The balladry nature still was a nice way to finish off the album. (7.5/10)

Overall Album Rating – 8.8/10

IN:VITE U / Feelin’ Like Teaser Image

[Album Review] Restore (1st Mini Album) – JinJin & Rocky (ASTRO)

The next album review covered this weekend is Restore, the debut mini-album for ASTRO’s newest subunit, JinJin & Rocky. Restore, which is another album that dropped in January, features the title track Just Breath and four side tracks, three of which are solo tracks from the two members (one for JinJin and two for Rocky). The remaining side track is another single from the pair.

Compared to the other subunit under ASTRO (i.e. Moonbin & Sanha, who also recently came back), JinJin & Rocky have a very different and unique vibe that is more fun and bright. It comes as no surprise, given their witty and funny personalities and a title track that is as fun and outrageous. Let me know if you agree with my thoughts below and the summary of the album I just gave!

Restore Album Cover

1. Just Breath (숨 좀 쉬자) (Title Track)Click here for the full review for Just Breath. (9/10)

2. Lazy (ft. Choi Yoojung (Weki Meki))Lazy is JinJin’s solo songs on this mini-album, and it features Weki Meki member Yoojung. Lazy is a fairly simple song, consisting of a consistent piano and hip-hop based instrumental that comes off as lighthearted and fun. This lightheartedness and fun vibe is important in Lazy, offsetting the repetitive nature of the song. JinJin’s rapping is a bit heavy with the autotune, but is balanced out with Yoojung’s higher pitch vocals. Overall, a fair effort. (7/10)

3. Lock DownLock Down is my pick for best side track on this album. It is extremely dynamic, thanks to the bass and funky rock guitar that is present in the song. It almost felt like a stomping effect – quite effective in grabbing one’s attention. Both JinJin and Rocky showcased power in this song in their own way. JinJin obviously did it with rapping, while Rocky showed power through his vocals. I liked how both peaked at the end of the song, giving the song a strong ending that was unforgettable! (10/10)

4. Complete Me – Rocky’s first solo song comes in the form of Complete Me. Complete Me is quite a textured hip-hop dance song, with textures coming from both the instrumentation and vocals. It might be overwhelming for some (it did at first for me!), but repeat listens have helped lessen it. Now, I find Complete Me to be quite robust. Since Complete Me is a dance track and the textures gives it interesting potential, the song probably lends well as a performance piece, which is something that is definitely up Rocky’s wheelhouse. (8/10)

5. CPRCPR is the second solo song from Rocky, and it also closes out the mini-album. It is a pop ballad that explores more of Rocky’s vocals. I liked the energy, passion and power Rocky puts behind his vocals for this song. I was thoroughly impressed with him in CPR, especially when it came to the ad-libs and high notes that we got. I want to hear more of Rocky like this in ASTRO’s work, as he has proven himself to be a capable vocalist. I also enjoyed the 90s instrumentation that CPR had in the background. Not spectacular, but definitely nice. (9/10)

Overall Album Rating – 8.6/10

[Album Review] Midnight Guest (4th Mini Album) – fromis_9

It is the weekend, so it is time for another album review. This album review is focused on fromis_9’s release from earlier in the year (you guessed it, another January release), Midnight Guest, which is the group’s fourth mini-album since their debut. The mini-album features the title track DM and four other new songs (including two unit tracks). Midnight Guest also serves as the group’s first album release after it was announced that the group would be exclusively managed by Pledis Entertainment (the home of SEVENTEEN, and former NU’EST members Minhyun and Baekho).

Midnight Guest is a pleasant album, and this was the reason why I picked it up for an album review. Furthermore, I really enjoyed DM as a title track and wanted to delve more into their side track. Have a read of my thoughts on the individual songs on the album, and leave a comment below on whether you agree with me.

Midnight Guest Album Cover

1. Escape RoomEscape Room starts off the mini-album in such an unexpected, but also exciting manner. Escape Room takes on a sexy R&B sound that is unexplored territory for the group. And fromis_9 definitely nailed this song. Hoping we hear more of fromis_9 in this style in the future. I enjoyed the slightly groovy nature of the chorus, and their smooth vocals definitely showcased their talents and capabilities. I would have loved to hear some rapping in this song, just to break the song’s consistency. (9/10)

2. DM (Title Track)Click here to read the full review for DM. (8.5/10)

3. Love is Around – The first unit track on the album, Love Is Round, features Lee Saerom, Song Hayoung, Jang Gyuri and Lee Chaeyoung. It takes the form of a ballad that is soothing and calming to listen to. It isn’t the most memorable track on this album, simply because it is soft ballad. However, at the same time, Love Is Around does have its merits, thanks to its soft ballad nature. The members sound really nice, while the instrumental was atmospheric and drifty, similar to what you expect with a lullaby. Altogether, it is warm and comforting to listen to. (8/10)

4. Hush Hush – The second unit track features the other half of the group (Park Jiwon, Roh Jisun, Lee Seoyeon, Lee Nagyung and Baek Jiheon). I found Hush Hush to be a pleasantly upbeat track. For this song, I use the word ‘pleasantly’ in a positive manner, as I quite enjoyed the song. While nothing in particular stood out within Hush Hush, I found there to be this happy energy and feel-good vibe to the song that helped it become appealing to me. (8/10)

5. 0g – Ending the mini-album is a city pop track. 0g takes on a slower profile, which is a nice way to ease out of this mini-album. The vocals in the song are silky and extremely pleasant (again, used in a positive manner), complementing the slower city pop instrumentation. Stronger and memorable hooks and melodies would have added an additional layer of appeal to the song. But overall, a good ending to this mini-album. (8/10)

Overall Album Rating – 8.3/10

Midnight Guest / DM Teaser Image

[Review] LOVE DIVE – IVE

In December 2021, IVE made their debut and took the industry by storm with their first single, ELEVEN. Four months on, the monster rookie group is back with their first comeback, LOVE DIVE, which dropped earlier this week. The group surely has some tough competition this week, but they are definitely have proved that they can hold their ground on the charts.

My first listen to LOVE DIVE yielded a very bland response. I just wasn’t feeling it the first time around. Not entirely sure why, but maybe I was feeling a bit off that day or I didn’t pay close enough attention to the song. But that response was short-lived, as I was reaching for the replay button after my second listen to LOVE DIVE. A lot of LOVE DIVE ended up appealing to me. It felt just as catchy and momentous just like ELEVEN, but it was more subtle and lowkey, whilst also taking on a mature and darker profile (compared to their title track). I also felt that a lot of the different segments of LOVE DIVE were quite dynamic, textured and robust in their own right. For example, the opening verse left a strong impression on me (just like how ELEVEN‘s did); the ‘Narcissistic, my God I love it‘ line was super memorable and impactful (and I quite enjoyed the subtle knocking sounding that played during this part); and the choruses’ ‘Woo‘ was smooth and ambient. These sections do repeat themselves, but they still felt fresh the second time around. LOVE DIVE‘s weakest point, but not by much, was the instrumental break we get in place of a bridge. While I liked the whispery vocals and the light but consistent percussion, that constant alarm-like whistle just didn’t work right for me. The part did need something there to fill the void, but the chosen sound just didn’t cut it. Once again, there were strong vocals from the members, with some of my favourite moments already mentioned above. Overall, LOVE DIVE is a strong addition to IVE’s portfolio that adds to the groundwork laid out by their debut track.

The music video was fun and worked well with the song. But there was not much of a personal connection to really ‘pull me’ into the song. For the most part, the video showed images of the members enjoying their time and hanging together. I didn’t really get much else of the video. The song had a strong independence message, with the lyrics portraying how one should dive into love anytime if they have the courage to love (description taken from SOOMPI). I would have liked to see that better reflected in the video. The good thing was their choreography shots showed us confidence and power, which aids with the first bit of the song’s description.

The entire performance for this comeback is top notch! I liked the entire look and feel of the choreography. It showed off the charisma and stage presence of the group extremely well, with this being felt strongly during the dance break section of the performance.

Song – 9/10
Music Video – 7.5/10
Performance – 10/10
Overall Rating – 8.8/10

[Review] Still Life – BIGBANG

The biggest comeback of this week is undeniably BIGBANG’s, who returned on Tuesday with their latest single Still Life. This new release ends the four year BIGBANG drought, with their last official group release being Flower Road, which was over four years ago. It has been even longer since we have heard from the individual members. While the group has been inactive over the last four years, a fair amount has happened. The members each undertook their military enlistments, Seungri retired from both BIGBANG and the KPOP industry due to a scandal and T.O.P ended his contract with YG Entertainment (but will remain a member of BIGBANG going forward).

Still Life is a subdued rock track that focuses on two elements – vocals and emotions. Both goes hand-in-hand within Still Life, making this both a somber and powerful release. Still Life‘s instrumental starts off slow and builds as the song progresses, allowing the song to grow towards the peak (i.e. the ‘La La La‘ sequence of the song, which really bundled Still Life in a nice, warm and comforting manner). There isn’t anything mind-blowing with the instrumentation, but it acts as a beautiful background to the members. Each member stunned me with their delivery. Taeyang started off Still Life with his warm and hopeful vocals, while Daesung followed up with his signature husky and raspy vocals. G-Dragon and T.O.P follows with vocals and expertly weaves in some powerful rapping, completing the BIGBANG reunion. The melodies in Still Life are remarkable, captivating and elicit that swaying effect that I talk about a lot when it comes to ballads (or other slow songs). Big ticks from me. I am also in awe with the way the song’s Korean title rolls off from both Taeyang and Daesung’s tongues. It just comes out beautifully. While the melodies and vocals act as an effective carrier of those emotions, it is the lyrics that are deep and meaningful. When I read the English lyrics, it just makes the members’ melodies and vocals just so much more impactful, and I recommend that you do the same for this song. Overall, Still Life marks the return of one of the legendary and famous KPOP groups, and does so in such an emotional and stunning manner that was expected of BIGBANG by all fans.

The music video was a beautiful accompaniment for this comeback. It appears each member represents a particular season, which would be in line with the song’s title. My best guess is that Taeyang represents Spring, thanks to the presence of the flowers and lamb; Daesung’s blue background felt refreshing and so represents Summer; G-Dragon’s umbrella and harsher reds represents the Autumn seaon; while T.O.P’s scenes features darkness and snow, which one would associate with Winter. I believe this order (which is the order in which they appeared in the video/song) matches up with the Korean title of the song. The video has also been theorised to be hinting at a possible disbandment. And personally, I do see that angle, with the members being separated and never coming together. We do see a glimpse of four chairs, but they are never all filled. Taeyang is featured with a lamb on a ship, which might represents his child and his journey into fatherhood. Daesung appears to be looking at himself in the present (based on the silhouette of the person we see in the background with the same hair) and is seen taking a picture with the four chairs, which might suggest that he is hanging back to hold onto the BIGBANG name/title. G-Dragon’s scenes featured a stage and a ‘behind-the-scene’ foldable chair, which might represent his desire to still be part of the industry, but in a producing or off-screen role. T.O.P’s scenes are on a different planet, which might represent his departure of YG, but his presence in the video confirms that he is still loyal to BIGBANG. At the end, we see each of the members walk away, leaving behind their empty set. Regardless of what the meaning and intent of the video, it is one that works extremely well with the song and is definitely nice to see the members in a video once again.

Song – 9/10
Music Video – 10/10
Overall Rating – 9.4/10

[Review] Glitch – Kwon Eun Bi

Also making her comeback earlier this week was Kwon Eun Bi, who returns with her new single Glitch, and mini-album, Color. This is Kwon Eun Bi’s first comeback, following her solo debut with Door in August of last year. Since then, the former IZ*ONE member/leader also released a single titled ESPER (which I highly recommend you listen to as it is an awesome dance track) for Universe Music and UNIVERSE mobile application.

The instrumental for Glitch takes on a ‘glitchy’ approach, which felt extremely appropriate for a song titled as Glitch. What I like about this glitchy approach is that it isn’t contained to just one part of the song. Instead, it run as a common theme throughout the song, making the entire 3:45 minutes a unique and aesthetic listen. Glitch is described as having ‘neuro bass sounds’, which itself is a unique sound in KPOP and unexplored territory. The latter description of Glitch having a ‘minimalist start and a dynamic second half’ was quite accurate as well. The start had minimal instrumentals, yet it was still textured enough to give off an interesting vibe. The funky underlay to the instrumental provided momentum and the buildup to the chorus was extremely satisfying. As for the chorus, I quite like the consistent beat, followed by return of the upbeat and funky instrumental that is slightly amplified to help give the centrepiece a bit more definition. From there, the dynamic nature of Glitch is stepped up, with an abrasive turn in the instrumentation for the second verse, before a turn towards dubstep-like territory at the end in a successful last ditch effort to incorporate some energy to Glitch. You don’t really expect these turns and changes in sound, so Glitch definitely keeps on your toes. As for Kwon Eun Bi herself, I liked how light she kept her tone and vocals throughout the song, contrasting really well with the bass of the instrumental. It also came off as striking, and helped increase the uniqueness to the song. If anything, I wished the song had more hooks, just to make it even more memorable. But as it is, Glitch is already quite memorable already.

As for the music video, the glitchy effect comes through in a visual sense thanks to the post-production. It makes sense that they also went in this direction for this music video. But I like how it the video wasn’t just an overwhelming amount of just post-production that made the video look cool. There was actually really promising shots and cinematography throughout this video. Some of the choreography shots relied on a glitchy background displayed on the big screen, and I liked the subtle yet prominent blue colour theme in this video. Kwon Eun Bi also looks awesome and very pretty throughout the video, with her outfits showcasing an awesome sense of style.

Not exactly sure if this choreography would be described as tutting, but there were some moves that reminded me of tutting, in general. But for the most part, the performance was more delicate rather than sharp (with the latter being a hallmark for tutting). But the delicate nature was also offset by a strong attitude vibe, which helped make the choreography and Kwon Eun Bi sleek and confident. The dubstep part also looks powerful.

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

[Review] Grey Suit – Suho (EXO)

Starting off this week is SUHO, who makes his long awaited solo comeback with Grey Suit, the title of both his second mini-album and title track. This is the first time we are hearing from SUHO after his solo debut back in 2020 with Let’s Love and Self Portrait. Following his solo debut, SUHO enlisted into the Korean military and recently completed his civic duty back in February of this year.

I quite enjoyed Grey Suit as it is. The slow and soft rock style of the song is totally up my alley. And I found that there was a lot to like about the song. Within Grey Suit, SUHO showcases divine yet emotionally loaded vocals that are just so captivating. Within the delivery of Grey Suit, I found that SUHO brought a hint of huskiness to some parts of the song to give it a really welcoming texture, while there was also a presence of a higher tone during the bridge and chorus that sounds charming and heavenly. All of which helped emphasise and reiterate the pleasant side of Grey Suit. The melodies in which SUHO brings to life in Grey Suit are drifty and gives off that swaying effect I commonly refer to when I review ballads. As for the instrumentation, I liked how it clearly differentiates the different parts of the song by amping up the background and playing with the intensity. It is quite appreciable, especially when there are a number of recently released songs that blur the different parts together (in some case, too much). I guess it is the small things that ultimately win me over. I did feel that Grey Suit could have been a bit more adventurous. I did notice that there was some backing ‘spoken words’ that resembled a bit of rapping for me. I think this could have brought an interesting dynamic to the song and given Grey Suit a bit of uniqueness. But overall, a nice track.

There really isn’t much going on other than SUHO feeling grey throughout the entire video, which is the whole point of the song. I quite liked the idea of the closet full of grey suits. Your outfit is where you would bring out the colour from within you (i.e. your mood, your personality etc.), and grey is usually a used to depict emptiness and plainness. To reiterate the emotions he is feeling, I noticed that the colours are glitchy around SUHO at first, to represent the conflicting emotions. But this also suggests that it is something that can be changed and it is most likely one’s outlook is preventing from experiencing the colours again. At the end of the video, when SUHO escapes the wardrobe, you will notice the colour is consistent and confirms that he had moved on from post-breakup emotions. I also like how they managed to also bring the band into the video, which works extremely well with the rock sound.

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

[Album Review] Illusion (1st Mini Album) – Kim Yohan (WEi)

The next album review is for Kim Yohan’s first mini-album, Illusion. No surprises here, but it is also another album release from January. It features Kim Yohan’s comeback single, DESSERT, and four other tracks. Illusion is his first solo release since debuting as part of WEi. He previously made his solo debut back in 2020 with No More.

Illusion was a decent mini-album release. While majority of the song’s shared that decent description (DESSERT is unfortunately one of them, but I have warmed up a bit to the lead single since its release), there were two knock out songs on the album that I highly recommend you check out. Keep on reading to find out which two songs they are. And let me know if you agree with my thoughts.

Illusion Album Cover

1. DESSERT (Title Track)Click here to read the full review for DESSERT. (7/10)

2. SELFISH – Kim Yohan’s vocals is freaking amazing in this track. I am always in awe with his vocals in this track every time I have played Kim Yohan’s album. I really liked how he employs his deeper tone in this song, making himself appear mature and emotive. When it comes to the chorus, his vocals paired with the synth instrumental makes the main centrepiece explosive and nostalgic for me. I am thrown back to the pop tracks from the 00s with this song. His deeper tone allows for a flawless transition into rapping. SELFISH is an awesome song that I just want to go back to. (10/10)

3. BADBAD makes a strong impression from the start as it starts off with a slaying rap verse (and replicates a similar effect for the second verse). It is definitely the song’s strongest moment, and one I like reliving by the number of times I have been drawn back to BAD. The chorus is another strong moment in the song. It’s busy with the synth heavy hip-hop instrumentation and the hype/energy that Kim Yohan brings via the vocals. But it isn’t overwhelming and creates a stunning centre for the song that I am all for. I just wish the hooks for BAD were a tad stronger. (9.5/10)

4. Landing On You (저공비행)Landing On You follows a hip-hop trajectory, but is also playful and youthful. Unfortunately, I think Landing On You a bit typical and the whole instrumental feels a bit dated (particularly since it follows dynamic songs like SELFISH and BAD). Interestingly, I am not entirely turned off by Landing On You. It instead becomes a pleasant listen, even though Kim Yohan does hit it hard at some moments in the song. (7/10)

5. Star (반짝이는 별들처럼 나침반이 되어줘요) – Finishing up the illusion is Star, serving as the mini-album’s mandatory ballad. It is definitely soothing and calming track with a pleasant acoustic instrumentation. Kim Yohan sounds nice and dreamy, and I am liking the harmonies with the background vocals (especially at the end). I did wish that he was incorporated better into the song, however. There were moments where it sounded a bit awkward, with him and the instrumental not feeling connected, if you understand what I mean. I am also not a fan of the rapping. It distracted me from the pleasant nature of the song. But overall, a decent listen still. (7.5/10)

Overall Album Rating – 8.2/10

Illusion Teaser Image

[Album Review] VILLAIN (3rd Mini Album) – DRIPPIN

The album review that I was supposed to post last weekend (which ended up being delayed to Monday and then Wednesday) was for DRIPPIN’s third mini-album, VILLAIN. It is also another January release (only three months behind now, no biggie). The mini-album features the title track that shares the same name as the mini-album, an introductory track and four side tracks.

VILLAIN is the first time I am covering DRIPPIN in the album review segment. I remember vetting the album way back in January to see whether I should write an album review for it, and it got my attention then (that explains the existence of this album review). While my excitement for the album and its track has probably evaporated over the last three months, I am still keen on looking at new artists in segments. Furthermore, one of the songs on the album earns a 10/10 rating from me. Keep on reading to find out which one!

VILLAIN Album Cover

1. 7Villaz – DRIPPIN sets the tone for this mini-album with the super intense and powerful intro EDM track, 7Vilaz. It contains samples of the title track’s main hook in the background, which is a nice way to tie the intro to the title track (which is next up on the album). It has been a while since I heard some I was describe as high octane, so this is quite a fulfilling piece. (8/10)

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

3. Switch Switch continues on from VILLAIN with a groovier instrumental. If I had to describe it in a particular way, I would say that Switch’s instrumental sounded almost ‘retro sci-fi like’. There is also a familiarity with Switch’s background. Aside from that, Switch had a lot of good energy and momentum, which makes it is a very satisfying side track. In addition to that, you have solid vocals and rapping from the members. My favourite parts have to be pre-choruses and the brief rap sequence at the end of the bridge that starts off with the line ‘Break the rules’. Both were memorable manners of delivery, in my opinion. (9/10)

4. SHY – The album mellows out a bit with SHY. To me, it sounds like a nice summery track that sounds sweet and cheerful. There were a few good hooks in the song that helped make SHY pleasant and enjoyable. It isn’t the most amazing track on the album (it is more so typical), but still a decent listen. (7/10)

5. DelusionDelusion is my pick for best side on this album release. The intensity that comes from this track is one reason (and leads into the next). Another reason is that when I listen to this song, I am picturing an action-based story music video would be the ideal accompaniment to the song. Furthermore, I liked the consistent vocals in Delusion, which brought forth an emotive side to the song. I found that quite interesting and I am all for it, as it has impact. (10/10)

6. Remember – The album ends with another summery sounding track, thanks to the tropical elements of Remember’s instrumentation. Its upbeat and quite satisfying to listen to. Like the other summery track on this album, Remember isn’t as memorable as the other side tracks on the album. I wished it (and SHY) was released on a separate summer album, that way the song would feel more ‘at home’ and give way for DRIPPIN to deliver a more consistent album. (7.5/10)

Overall Album Rating – 8.3/10

VILLAIN Teaser Image

[Review] memeM – PURPLE KISS

Another group to make their comeback this week was PURPLE KISS, who returns with their third mini-album and title track, both titled memeM. This is their first comeback, following their debut with Ponzona early last year and Zombie comeback in September of last year.

memeM feels like it is a song that sounds like it has been done elsewhere in KPOP before. It feels familiar, but not nostalgic as I mentioned in my last review. Rather, it is more typical. And this is the case of most synth heavy dance tracks in KPOP nowadays. Of course, there is the odd release that I like as it comes off as fresh. But for the most part, songs like memeM don’t really offer anything new to the playing field. At least the producers of memeM and PURPLE KISS were able to infuse a few elements that gives the new song some uniqueness and individuality. Such elements include a unique repetitive hook, the ‘Look at my eyes, Deep inside...’ line over no instrumentation that opens up the second verse and, interesting vocal textures and deliveries (which includes that soaring high note). Whether they are enough, I can’t be 100% sure. Talking about vocals (which also leads onto their rapping), I did enjoy how powerful the members were throughout memeM. This helps creates a powerful tone and adds onto the already powerful nature of the metallic and clangy instrumentation. One thing I thought was a massive letdown to the song was the ending, in particular that weakening/winding down ‘memeM‘. After such power and energy in memeM, the ending just weakens the integrity of the song for me. Overall, a fair comeback. Though I wish to see more individuality from the group.

I was amazed with this music video. The spinning mirrors during the first dance shot, the floating black orbs and the other dance shot with the arms in the background (which zoomed out was inside a statue’s head) was super cool. I would love to see more of this imagery in future music videos. The closeups help give off an edgy vibe, which suits the powerful nature of the video. Other post-production edits applied to the video made it look cooler. Overall, I am impressed with this music video.

The choreography looks good, as well (based on what I can see in the music video). I like the intensity, edginess and darkness they infused into the choreography. It matches the powerful nature of the song and shows off their performance skills.

Song – 7/10
Music Video – 9/10
Performance – 8/10
Overall Rating – 7.2/10

[Review] JAWS – BAE173

Coming back earlier in week was BAE173, who returns after almost a year with their new single JAWS and mini-album, INTERSECTION : BLAZE. Very little has happened since their last comeback, Loved You, as far as I can remember. Let’s hope their next comeback is a quicker turnaround. But until then, here is my review for JAWS.

Loved You earned high praises from me thanks to the nostalgia it had. I ended the song section of Loved You‘s review with the statement ‘… putting them on the radar for new artists to look out for…‘. Well, I hate to say it, but I have since scrapped that thought. Not only didn’t they make a second comeback in 2021, they chose JAWS as their next main track. JAWS doesn’t really offer anything new to the music scene in KPOP. Their last comeback also didn’t offer anything new technically, but at least it had nostalgia. JAWS didn’t even have that. Instead, it is a very boring ‘noisy’ track. Emphasis is placed on the ‘boring’ part of that description, because it has such a profound effect on the song. For example, the intention of a song like JAWS is showcase the group in an edgy light. But the boring nature of the song just doesn’t let it get through. The synths are pretty lackluster. I noticed that the producers used the same main synth (the mechanical-like whirling) throughout the verses and chorus to different degrees, and then employed very typical trap and percussion to fill out the rest of JAWS. Not really groundbreaking or exciting stuff. The shouty nature of the chorus (and the chant half of the bridge) also don’t add much value to the song in terms of excitement or hype. As JAWS was a hip-hop song, it was quite heavily focused on the rapping. For the most part, the rappers sounded fine in the verses. A more dynamic instrumental would have helped enhance their parts. The vocal moments were the most promising aspect of JAWS, with those moments at least giving me something interesting to sink my teeth into. Overall, a disappointing comeback track.

Another video you can tell from afar was shot with a small budget. But I liked the simplicity of the video. The locations were good, and they played with the white background with coloured lighting and filters to make it feel different. I also like the application of the green colour to the background of the helipad. To make the video appear edgier, there were glitchy effects added post-production. I personally didn’t mind them. However, I felt the comic-like images they added to the video detracted from the goal and made the video seemed childish.

I liked the edgy vibe the performance gave off. along with the synchronisation of the choreography between the members. The intensity during the chanty half of the bridge was top notch!

Song – 6/10
Music Video – 7/10
Performance – 7.5/10
Overall Rating – 6.6/10