Mamamoo is nominated for Best Vocals for Where We Are Now in the 2021 KPOPREVIEWED Awards. Support Mamamoo by clicking here to vote now!
Moonbyul, Mamamoo’s resident rapper, is gearing up for a solo comeback in 2022. But while that is the formal comeback timeframe, Moonbyul will be teasing her return with a few pre-release singles. The first is G999, which dropped earlier today. It features Mirani, who is an independent South Korean rapper who debuted last year. This is the first solo release from Moonbyul since her solo debut with Eclipse at the start of last year.
G999 tackles retro hip-hop, with a newtro background and old school vibes that takes you back to the 90s. G999 comes off as fun and vibrant, which is pretty typical for the influences in this day and age. However, the typicalness in this song is not an issue, as I find myself grooving along to G999 since the very first listen. I also find the song to be quite light despite being heavy on those retro synths. The lightness helps make it sound pleasant, but also aids in the fun side of the song as well. I like how it doesn’t mess with the sound, staying consistently retro hip-hop 90s throughout. As they are rappers, both Moonbyul and Mirani fits in very well into the track. Their rap sequences definitely had nice flow and their delivery was pretty good. Nothing mind-blowing at all, but that doesn’t upset G999. Moonbyul also throws in vocals for the chorus and she sounds really good. I am glad that she has found her confidence to sing, as it pays off each time she does! The lacking element of G999 are the hooks. I would have liked to have heard something more punchy and memorable. That would have made G999 even more powerful and impactful. Melody-wise, I think that pleasant description I used comes back to me. Overall, G999 is a pretty nice break from the heavy synths of today’s electronic music or the classical instrumentation that comes in ballads and Christmas songs typical of this time of the year, and you thank that to the G999’s retro instrumentation and well-executed vocals/raps.
As expected, the video also takes a page out of 90s hio-hop era with video that would fit right into that era. The camera shots, lighting, post-production and even their white outfits are all a callback to that era. I like the splash of colour they added to the video via the random paint on the plastic curtains and lime colour lighting as well. My only gripe about the music video is how empty it felt. While the pair look like they are enjoying their time, I wished there was more people in the background to make the video a bit more exciting. Maybe COVID-19 prevented them from getting background people in, but I feel that would have made this video better.
Song – 8.5/10 Music Video – 8/10 Overall Rating – 8.3/10
Kai is nominated for Best New Male Soloist and Mmmh is nominated for Best Male Choreography – Solo in the 2021 KPOPREVIEWED Awards. His group, EXO, and some of his fellow members are also nominated in a number of categories. Support Kai and EXO by clicking here to vote today!
Next up on the album review front is Kai’s latest mini-album, Peaches, which was released on November 30, exactly a year from his solo debut with Mmmh and Kai (the debut mini-album). The new mini-album is lead by the title track Peaches, and also features another five new tracks from Kai. You might notice that this is a newer release, compared to the albums in which I have recently reviewed (which were released a few months back). I have decided to fast track a few newer albums this month, so that I am not pushing too many of the ‘current’ albums out many months later, which might be the case due to the Christmas break. So without further ado, here is my album review for Peaches. (PS. Don’t worry, I am still writing up reviews for albums released a while back that I haven’t been able to review just yet!).
2. Vanilla – Vanilla is a very aesthetic song. Its minimalistic nature was very intriguing and you might pass the song off as a bare song. But I recommend you give Vanilla a detailed listen as it is a very charming song. I found the song to be quite peaceful and sensual at the same time. The latter obviously being something that is right up Kai’s wheelhouse. Peaceful doesn’t seem to be something I associate with Kai, and so Vanilla comes off as a pleasant surprise for me. Delving into the song’s elements, Vanilla is quite interesting, given that the atmospheric instrumentation was actually percussion. But it was extremely subtle, but brought enough texture to the song to prevent it going into the ‘boring’ pile. The same can be said with the autotuned vocals, which was quite soft and so you barely noticed a disruption of Vanilla’s flow. The rest of his vocals follow the same softness, but also showcased some of Kai’s skills, and Vanilla’s simply repetitive hook was quite catchy. (8/10)
3. Domino – Prepare for a change in direction when you check out Domino. The peacefulness is out and is replaced with heavy bass and beat that would fit easily into a club setting. This is the style that I would associate more with Kai. I really like his deep tone during the chorus, and it proves to be a very memorable element of Domino. However, I do think Domino is very consistent throughout, and I wished the song changed it up a bit towards the end or introduced something to the song to cut the consistency. I can see myself getting tired of the song if it is played on a loop or I replay it too many times. (7.5/10)
4. Come In – Come In kicks up the album a notch in terms of its volume. Everything in Come In is a lot louder and vibrant, compared to the song that preceded it. I like the pulsing beat, the bass and the textural synths used in this song. It all comes together to create quite a dynamic background. The chorus, in particular, definitely captures that dynamism really well. While Kai’s vocals were more typical in this song, I still found its pairing with Come In’s instrumentation to be captivating and a worthwhile listen. (8/10)
5. To Be Honest – The album’s most upbeat track comes in the form of To Be Honest. It instantly became a highlight for me as it made me dance along (in my chair) the first time I heard it. And while such feelings tend to rub off over time, that urge to dance has remained during subsequent listens. To Be Honest is a pretty straight forward song, with nothing special in the pop instrumentation or Kai’s vocals. But being straight forward isn’t necessarily a bad thing al the time, and I feel that To Be Honest proves that this time around. (9/10)
6. Blue – The album tones it back down for its final song. Blue is a R&B song, and once again, is pretty straight forward. I really like his vocals in this track, simply because it was extremely satisfying to hear him with such melodies and ad-libs. The instrumentation was pretty much typical for a R&B song, but I did note that I liked its breezy exterior. Overall, a decent ender to the album that I think sums up the album well. (7/10)
WOODZ is nominated for Best Male Soloist and Rising Star in the 2021 KPOPREVIEWED Awards. Support WOODZ by clicking here to vote for WOODZ!
The next album on the reviewing block for today is WOODZ’s third mini-album, ONLY LOVERS LEFT, which was released in early October 2021. The album features two title tracks, WAITING and Kiss of Fire (which I have not reviewed yet as there is no music video for it). And in addition to those two tracks, there are another four tracks on this mini-album. As a quick summary of this album review, ONLY LOVERS LEFT is another high caliber album from WOODZ and definitely follows the likes of his previous album releases. Have a listen to the track below and see if you think the same!
ONLY LOVERS LEFT Album Cover
1. Multiply – Starting off ONLY LOVERS LEFT is a rather pleasant song in the form of Multiply. The instrumentation for this track is pretty typical with its lo-fi beats and acoustic guitar (which provided the song with a relatively brighter and summery feel) and this typicalness did drain my attention. However, the pre-chorus featured a brief addition of classical instrumentation, which helped enhance the background. But I didn’t think it was enough to totally compensate that typical energy. Overall, I would say Multiply is a nice starter to the mini-album. (7.5/10)
2. Thinkin Bout You– Thinkin Bout You is more vibrant and upbeat than the previous song, but continues that consistent pleasantness. Because of the enhanced vibrancy and upbeatness, I am more drawn to Thinkin Bout You, which finds it influences in both the pop and EDM genres. I like the punchy hooks, driving up the memorability of the song. I also really enjoyed his vocals throughout the song. In addition to his already strong vocals, he presents with a range of delivery methods including breathy vocals and falsettos that helps makes this song complete. (9/10)
3. Sour Candy – We enter retro territory with Sour Candy. While this isn’t anything new, I really like how WOODZ showcases himself in this song and how concentrated the 70s influences got in the song. You could tell from listening to Sour Candy that he was totally in the mindset of the retro influences, and that he was having a ball recording this song. That all translated to fun energy that made Sour Candy so much more appealing to listen to. We are also treated to some rapping from the soloist in this song, which came at the right time and added additional fun energy to the song. It was hard to turn away from this song, and so it is my pick as a hidden gem on this mini-album. (10/10)
4. Kiss of Fire(Title Track) – Kiss of Fire is a title track, but it never got the music video or promotional treatment like WAITING did. It did get a live clip, but that made it no different to Chaser, which was a side track. Anyhow, Kiss of Fire is another song that showcases WOODZ in a spectacular fashion and I can see why Kiss of Fire was selected as a title track. His vocals are on full display and the melodies/hooks of Kiss of Fire are quite memorable. The rapping was also a nice addition to the song. But what really sells me the song is the groovy touch of the instrumental, especially in the chorus, which makes this song so sleek. (9/10)
5. Chaser – Chaser was a blast to have on repeat! What I really liked about Chaser is how WOODZ went all out in the song. While this sounds like he went to the extreme with Chaser, this was not he case. He simply just put his all into the song. Chaser takes on a rock instrumental background, but there is a groovy touch within it that reminds me of some of the King of Pop’s (Michael Jackson) earlier hits. I don’t have much else to say about Chaser, but it was definitely a highlight on this album. (10/10)
Support your favourite artists, songs and performances in the 2021 KPOPREVIEWED Awards by clicking here to vote today!
It has been over two years since we least heard from FT ISLAND through their Korean promotions of Quit and Zapping, their 7th mini-album since debut. Since their last comeback, Choi Jong Hoon left the group following the Burning Sun Scandal and Son Seung Hyun left the group to pursue his acting career. Lee Hong Gi, Lee Jae Jin and Choi Min Hwan (who also became a dad) remains as part of FT ISLAND and enlisted into the military throughout 2019 and were released earlier in the year. The band has since reformed, and on Friday released their 8th mini-album, Lock Up, which is lead by the single Unthinkable.
As soon as I started listening to Unthinkable, I knew it was up there with the rest of FT ISLAND rock ballad hits. It is a short song, spanning for just about three minutes. While I would have liked Unthinkable to be longer, that doesn’t stop the nostalgia! The song starts off as a simple ballad, with piano and Hong Gi’s raspy vocals. The piano brought on a suspenseful vibe. Not one that is dramatic, but rather you could tell from a mile away that the song was going to buildup. Hong Gi’s vocals gave off that sense of familiarity and nostalgia that I mentioned before, but was also captivating. He gets even more captivating once the chorus hits and this vocals become more powerful, with the piano experiencing an uptick in its momentum as well. Up until now, we have only heard piano. From the second verse onwards, the band instrumentation comes into play with the piano before Unthinkable settles for a rock ballad sound in the second chorus and beyond. And with that trajectory, Lee Hong Gi’s vocals also build with the music. I really enjoyed the emotions he puts behind this vocals as well, which further captivates and definitely gives the song its ‘icing on the cake’. The song wraps up with just the piano and the same melody that started off the song, bringing it full circle. As mentioned earlier, I would have liked the song to be longer. There was definitely room to make the song even more powerful, heartfelt and breach its current boundaries. But the three minutes or so we did get from Unthinkable was also quite sufficient enough, especially if you are into rock ballads, a casual listener of FT ISLAND who has stuck around or are Primadonna (FT ISLAND’s fanclub).
To aid in the emotional appeal of the song, the music video brings forth an emotional story about friends and lovers. It isn’t clear who was in the car, but it was revealed at the end of the video that there was a fatal car accident. There are two directions that I think the story could be told. The first theory I have is that all four people in the video (Lee Hong Gi, Lee Jae Jin, Choi Min Hwan and the female actress) were in the car. The car crashed and Lee Hong Gi survives. He stumbles home, which was shot in a manner to make it look cold and empty, and this signifies that his friends and lover had died in the car crash. He is visited by the members and the female character, though these are only memories. He is shocked at first at their presence, but ends up smiling at these memories. However details in the last moments of the music video poses a second theory, which is that Lee Hong Gi’s character dies in the car crash alone and the other three people are not aware. Lee Hong Gi’s walks home and has final memories of his lover and friends that bring some warmth into the cold afterlife. The reason why this theory came about because there was only one seatbelt engaged in the car, which meant there was still only one person in the car (i.e. the driver, who was most likely Lee Hong Gi). I think the second theory is the most plausible, but the first theory felt more obvious at first. Regardless of whichever story I go with, the music video was definitely a heartfelt one.
Song – 9/10 Music Video – 9/10 Overall Rating – 9/10
ATEEZ is nominated for Best Stage Presence, while ATEEZ’s sixth mini-album, ZERO: FEVER Part 2,isnominated for Best Album in the 2021 KPOPREVIEWED Awards. Jongho is also nominated for Best Vocals. Support ATEEZ, ZERO: FEVER Part 2, Jongho, your other favourite artists, songs and performances by clicking here to vote.
As mentioned yesterday, I have been a bit busy especially in the last few days to review. But I am not busy at the moment, and so I will be reviewing the releases from the last few days. One of these releases is ATEEZ’s latest (?) title track, The Real, which is featured on the group’s 8th mini-album, Zero: Fever Epilogue. Actually, this isn’t a new song per se. The Real is ATEEZ’s final song on Kingdom: Legendary War, but has been revamped to be the new lead track for this album. This follows the release of Turbulence last week and their two comebacks from earlier in the year, Fireworks (I’m The One) and Deja Vu.
At the end of my previous review of The Real, I did mention that I would like to hear ATEEZ explore this unrelentless hype style. However, I had in mind that the group would do this through a different and original song, rather than the original. As mentioned already, The Real (Heung Version) has been been revamped to be the title track for this new album. I do have to say that the revamp was not extensive, though. If that is what you are after, then I prepare to be slightly disappointing, as I would say just under 90% of the new version is the same as the old version. In the The Real (Heung Version), there was more traditional instrumentation added, a slightly altered introduction, a more hype-inducing buildup for the pre-chorus and an extended final chorus at the end, which features an instrumental break that contains a prominent touch of traditional folk instrumental. Otherwise, the same delivery from the members, the exact same order and the same abrasive synths as per the original version of the song remained the same. I did wish that they went a bit further with the revamp like with the delivery (i.e. both rapping and vocals) and more pronounced changes, rather than subtle changes. That would have been a more mind-blowing experience. But while the changes described aren’t major, I did think that they did a good job of adding flair and continuing both momentum and unrelentless exudation of energy of the song (the latter being a massive selling point of the original version for me). Did I like the changes? Yes. But I think my original rating of 8.5 for the song component of the original version of The Real still stands with the Heung version.
In the case you were wonder the score for The Real (from the Kingdom: Legendary War post) on the blog is 7.9/10, which factors in the stage performance. The 8.5/10 song component of the release was never made public before.
I am not too sure what is going on in the video. It seems like the members are all of different factions and rivalry (based on that dance battle we get on the streets), but they come together to summon Yeosang back (who appears to be much more confident and arrogant (in a good way)). Something happened to Yeosang’s character at the end of INCEPTION and Deja Vu (and he is presumably the masked figure at the end of Fireworks (I’m The One) music videos), which were the main videos that made up the Fever series, hence why he needed to be summon back. The THANXX, Eternal Sunshine and Turbulence music videos might also factor in somehow, but I can’t think of how from the top of my head. Happy to hear any theories that you might have! After full reuniting, ATEEZ celebrates with one big street party! Aside from my haphazardly theorised theory on the music video, I thought it was a fun video that definitely draws from that side of the song.
Unsure if the performance has changed given the revamp, but the dance moves I saw in the music video were previously captured on stage at the Kingdom: Legendary War final stage. It seems like the moves in the music video a bit more oomph to them, and it looks much better than the stage version. I can’t fully make a judgement here, but it seems to head in the right direction.
Song – 8.5/10 Music Video – 8/10 Performance – 8/10 Overall Rating –8.3/10
Support your favourite artists, songs and performances in the 2021 KPOPREVIEWED Awards by clicking here to vote now.
Mino is back to round out the year with TANG!♡. The song is featured on his third solo studio album, which is titled To Infinity. Things have appeared to be fairly quiet for Mino, who we last saw during his Run Away and Take (his second studio album) promotions a year ago. He did hold a solo concert back in October, in which he performed TANG!♡ for the first time.
For me, Mino’s releases comes and goes. I don’t remember much of Run Away (nor his other solo songs) a year on since its release and have to remind myself by re-listening to the song and reviewing its review in order to compare releases. Now that I have done that, I can say that I prefer the likes of TANG!♡ over Run Away. However, that doesn’t mean I think TANG!♡ is the perfect song. There are flaws and there is still a fair way to go to reach that level. Of course, there are a few elements that stood out for me, namely the instrumentation and Mino’s rapping in the second verse. The instrumental has this slight reggae-like rhythm to its percussion, which was interesting. There was also a certain colour to the song that I would describe as playful and fun, even though I would say the beat was ‘paced’. But for the most part, the body of the instrumental was pretty much hip-hop. I also did like the addition of the electric guitars in the background, which also helped change up the song a bit by inserting a moody vibe to the song. Mino’s rapid rapping in the second verse also amazed me. It wowed me there, and was by far the most positively memorable aspect of the song in my opinion. The rest of his rapping in TANG!♡ was also quite good, and worked well with the pace of the instrumentation. Unfortunately, there was one thing that I didn’t like as much, and thought that it was pretty undercooked. The repetitive ‘Tang Tang Tang‘ chorus was not my cup of tea. It didn’t feel fulfilling, and I was itching for more. I guess it plays towards that fun nature of the song, but I wished it did more. Overall, TANG!♡ isn’t a bad song. But I wished the main centerpiece was a bit more teased out.
As for the music video, it was pretty good. TANG!♡ concept was a virtual reality one. At the start of the video, Mino is pretty much your standard bachelor who plays TANG, which is a love game. The game puts Mino into a few scenarios, where I assume he needs to win the female computer character over. In the first scenario, he is a cowboy who is dressed coolly to look the part. He throws out a pick up line, shows off money and dog and buys her dinner. But she leaves and gets distracted, which means he lost that round. In the second scenario, he shows off his money again by being a materialistic person, buying and wearing high end stuff. He also buys a whole heap of presents for the female character. But his dog gets in the way, and stuffs that rounds up! In the final round, he prepares a romantic proposal like situation, in which he gifts the female character a bouquet of roses and a massive teddy bear. But he is reminded that this game is fake, and she disappears in a glitchy manner. In the end, he opts for some real life interaction, where he sends a text message to a real like female to meet at the bar to discuss something. I thought the video was fun, and like usual, I enjoyed the post-production applied to the video.
Song – 7/10 Music Video – 9/10 Overall Rating – 7.8/10
I.M is nominated for Best Rapper, while God Damn is nominated for Best Rap or Hip-Hop Song in the 2021 KPOPREVIEWED Awards. MONSTA X is also nominated for Best Stage Presence and Best Concept for GAMBLER. Support I.M, God Damn and MONSTA X by clicking here to vote today.
We return to the ongoing transmission of reviews for songs nominated under Best Rap or Hip-Hop Song category. Today’s review is the final one for the category, and is focused on I.M’s GOD DAMN, which was released way back in February of this year. It formed part of his first formal solo album release, Duality. You might recognise the song, as it has been on my ‘Coming Soon’ page for a very long time. And today, I am finally getting around to it. Since the release of GOD DAMN, I.M has participated in MONSTA X’s GAMBLER and Rush Hour.
Out of all the nominees for the Best Rap or Hip-Hop Song category, I.M’s release is the most sensual. It is a slow song for those who are tuning into GOD DAMN for the first time, and that might be a turn off for some. I completely understand that. But I guess multiple listens (and nine months later), GOD DAMN becomes a lot more appealing. For me, the slowness of the track emphasis that sensual energy, and allows I.M to use a huskier tone and a more drawn out approach with his vocals. All of this helped make GOD DAMN as appealing as it is. We usually get something powerful and fierce from I.M in his MONSTA X works, so this change in sound intrigued me to the point in which I enjoyed it. My favourite and what I felt to be the most memorable aspect of the song has to be the sequence between 2:08 and 2:12, where it seemed like he was murmuring the lyrics. It stood out at me, and stayed with me ever since it was first released. I also like the pulsing and trap instrumentation to a degree. It was plain enough to become a blank canvas, so I.M could do all of the above with the song. But there was also enough trap elements in the instrumentation to ‘fill up’ the background so that it isn’t a sparse and empty. I did think was a bit too consistent, and wished that the instrumental intensified. It didn’t need to be anything hardcore. But rather a subtle yet noticeable intensification to just change up the song a bit would have made the song end on a much stronger note. Overall, GOD DAMN was a deliberate sensual number that changed up what I personally know from the artist.
The lyrics of GOD DAMN are about lying to oneself about being happy, and the video depicts this is a logical manner. The video starts off with flashbacks of I.M and his lover, before we enter the reality where she has left him and he pretends to be happy. But in reality, he is alone throughout the video despite the crowd around him. He uses the mask (I assume to depict him getting high) and drinking alcohol as a mask to cover up his feelings of loss and heartbreak, but it seems like they made such feelings more pronounced and obvious without him knowing. I really like the moody and dark atmosphere of the club and of the overall video, complimenting both the song and concept for this release. I.M is also a great actor throughout the video, doing a good job of portraying the emotions mentioned, and also acting as drunk and high.
Song – 8/10 Music Video – 9/10 Overall Rating – 8.4/10
Support your favourite artists, songs and performances in the 2021 KPOPREVIEWED Awards by clicking here to vote today!
I take a break from the reviews for Best Rap or Hip Hop Song category to focus on a new debut! Xdinary Heroes mark the start of their careers today with the release of Happy Death Day. This new band is made up of six members (Gunil, Jungsu, Gaon, O.de, Jun Han, and Jooyeon) and they join the growing roster of groups at JYP Entertainment – the home of 2PM, DAY6, TWICE, Stray Kids and ITZY.
The best way that I can think of to describe Happy Death Day is that it is wild. The song delves pretty heavily into the punk genre, and hits hard during the chorus (which the song begins with). It is a blast of energy that I did not expect, but I thought was great! It captures your attention from the get go, which is a promising start to any one’s career. It also helps that the ‘Tra La La La’ hook, and pretty much the rest of the chorus, was super catchy. What also makes the song standout a bit more is its unique sound. The punk genre has been touched on by some groups in the past, but I don’t think any group or band has gone as hard as Xdinary Heroeos have in Happy Death Day. This definitely sets the group apart from the bands that preceded it and that they may rival (provided they keep this individualistic character in their songs). The members also do a great job with their vocals. They really brought in a lot of character, especially in the choruses, that make the Happy Death Day so much more approachable, individualistic and colourful (in the punk way). I liked how barely of the vocals felt straight forward, especially with those groans and the rap-speak style. It definitely makes the song more memorable and interesting. That being said, the more straight forward vocal sequences such as the pre-choruses and the first half of the bridge were also very good. Overall, Happy Death Day embraces boldness and being different, which sets it apart from the rest of the competition. If they continue to do this, then they for sure will be a force to be reckoned with.
How twisted is this music video? The premise of this music video is a child’s birthday party, where the members are invited to be the entertainment for the party – a clown band. But that image doesn’t fit the song. So the members rip off their clown accessories and proceed to rock out. But what lead them to this? They were sent to bring back the attention of the guests, by pointing out that while the kid was celebrating its birthday, the party guests were all disinterested in the whole event, even being on their phones during the most important part of the party – the blowing out of the candles (most important because you get cake right after). But the message the video was trying to get at is that the party could have been a birthday celebration or a ‘Happy Death Day’ celebration, marking the kid’s one step closer to its death, and the guests would not even notice. I did say it was a twisted video, but well thought out if I was being honest. Elsewhere, the members perform on the roof of a virtual world and the underground basement of a building. The ending seems to suggest a continuation, so I guess we will be seeing more of the virtual world in the future.
Song – 9/10 Music Video – 8/10 Overall Rating – 8.6/10
Do Hanse is nominated for Best Rapper, while Take Over is nominated for Best Rap or Hip-Hop Song in the 2021 KPOPREVIEWED Awards. Support Do Hanse and Take Over by clicking here to vote now.
The second track I am covering from the Best Rap or Hip-Hop song category of the 2021 KPOPREVIEWED Awards belongs to Do Han Se, who is a member from VICTON. News of solo work for Do Han Se was confirmed back in 2020, but he didn’t make his solo debut with TAKE OVER, and his first mini-album, Blaze, until the end of September of this year. Most recently, we saw Do Han Se as part of the latest VICTON release, which was Sweet Travel, a commemorative single celebrating their fifth anniversary as a group.
Two things standout of TAKE OVER for me. Firstly, the instrumental. The clanging instrumentation was just so prominent and exuded a very hypnotic effect, reeling me in. It intrigued and also felt very unique. It was by far the most memorable aspect of the instrumentation. However it was only one part of the instrumental. I also found the bridge to be very interesting, diverting into soothing and atmospheric territory with an elegant piece of music that also felt modern and aesthetic. Definitely a strong contrast to the heavy clangs of the instrumental that featured so prominently. But it somehow works and I find TAKE OVER to be quite cohesive, even though there was clear distinction between each segment of the song. The second element that stands out for me is Do Han Se himself, who added to the hypnotic effect that I already mentioned. There was something with his delivery that kept me captivated. It might have been his charisma, his fast pace in the verses, or the fact that he alone made the song so intense. It could also be the fact that at no point in the song did Do Han Se felt like he was ‘in your face’ about TAKE OVER, which is what I tend to hip-hop songs are like. Regardless, it was hard for me to tear my ears away from the moment I started to appreciate TAKE OVER in all its glory. It also didn’t help that the song’s main hook, Do Han Se’s throaty Take Take Take repetition literally takes over (pun so intended) my head. Overall, TAKE OVER impresses me for being different and mysterious.
His image and concept for this release is so different and unexpected, miles away from the Do Han Se that I remember from VICTON’s releases. The imagery is also so bold and impactful, TAKE OVER‘s music video leaves an impression. I liked how the music video didn’t go with sets, rather a big screen that was showing various effects. It was a minimal approach, but also helped complicate the video at the same time. I also thought the various camera shots, such as the up close shots and the curved camera shots looked quite cool. The video also featured drag queens, which is a fantastic idea. However, I wished their dancing was a bit more dynamic during the second verse to fit well with the song.
Further to the image of this release, I really liked that Do Han Se was not afraid to join forces with the female dancers. It definitely added to the uniqueness of this comeback. The routine was full of attitude and fierce energy. Usually, male and female in KPOP have slightly different routines that blend with one another to create a cohesive performance, or they dance as partners. But here, and on some other rare occasions, everyone share the same routine.
Song– 9/10 Music Video – 9/10 Performance – 8/10 Overall Rating – 8.8/10
BM’s 13IVI is nominated for Best Rap or Hip-Hop Song in the 2021 KPOPREVIEWED Awards. Support 13IVI, your favourite artists, songs and performances by clicking here to vote today.
Today is the start of a very big task. There are a number of songs that I had nominated in the 2021 KPOPREVIEWED Awards that I had yet to review. My aim is to review those nominated tracks without reviews by the end of the year. They won’t come all at once, but will be spread out during the remainder of the month. Today and tomorrow, you will see the reviews for songs that were nominated in the Best Rap or Hip-Hop category. First up, it is BM’s first solo Korean single, 13IVI, which is the lead track from his solo debut single-album, The First Statement. I missed the release when it first came out, and I didn’t really pick up on 13IVI until its final weeks on the Weekly KPOP Charts that I post each Sunday. Note that this isn’t his solo debut single. That was Broken Me, which preceded 13IVI by a month and is an all-English song (which I also missed).
I had no idea what I had been missing out on in the weeks between the official release of the song and discovering 13IVI. 13IVI is a bold, edgy and intense hip-hop track that basically launches you right into chorus (more on that in a bit). Its instrumental was made up of abrasive synths, metallic percussion and heavy beats – all typical ingredients that seem necessary to formulate a very tough and powerful background piece that undoubtedly compliments what we know of BM (if you follow KARD’s work). As a result, 13IVI comes off as an explosive and thrilling track that was relentless and adrenaline pumping. BM follows up the instrumentation, delivering a powerful rap routine that does an amazing job of showcasing his raspy and deep voice. He was fierce and definitely kicked the song up a notch. This, in combination with the instrumentation, did wonders to make the 13IVI repetitive hook so catchy and intense. Earlier, I mentioned how the song launches you right into the chorus, which gets you into the mood for the high octane track from the very start, and I like how the energy continues through the song. I would have enjoyed a three minute long track of this powerful energy, making it fit for a workout playlist. But there was also a period of relief, where BM tones down the energy a bit. But you just know that the song will definitely return to how it started based on the synthetic humming in the background that continues the momentum in a subtle manner. Overall, 13IVI is essentially what I had expected when I think of potential solo tracks for the leader of KARD.
In the music video for 13IVI, BM is a criminal who has been evading authorities for some time. He is captured, tortured, interrogated and locked up behind bars. But his fellow criminal friends break in, kills the police officer who interrogates/tortures BM for answers, before escaping. I liked how BM’s story goes from rock bottom to literally top of the world, where BM and his dancers/criminal peers end up dancing on the helipad of a city building. Aside from storyline, the music video was aggressive and fierce, just like the song was. I wished the video a bit more of a wow factor to, such as taking advantage of that night scene on top of the helipad.
The choreography was good. Once again, bold and fierce comes to mind, but I think any of the descriptors I mentioned above can be applied to the performance. It works well with BM’s hip-hop style, but doesn’t offer anything new or wows me in anyway.
Song – 8/10 Music Video – 7/10 Performance – 7/10 Overall Rating – 7.5/10
Support your favourite artists, songs and performance in the 2021 KPOPREVIEWED Awards by clicking here to vote.
Another September album is up for review, almost three months after its release! The album in question is AB6IX’s MO’ COMPLETE, which is the group’s second studio-length album since debut. It was released on 27 September 2021, features the title track CHERRY along with nine other new songs, and wraps up the MO’ COMPLETE series from earlier this year. This is also the group’s third comeback of the year, following the release of Stay Young (featured on SALUTE: A New Hope) and CLOSE (featured on MO’ COMPLETE: HAVE A DREAM).
MO’ COMPLETE Album Cover
1. SHOWDOWN – Opening the album and SHOWDOWN is a crowd, something that I feel is sorely missed over the past two years. Continuing that high was the abrasive and heavy electronic synths and beats in the instrumental, which definitely packs a punch. And that translates into intense energy from both the instrumentation and the members, who definitely do an amazing job of creating hype energy. SHOWDOWN definitely is a strong start to the album. (8/10)
2. LEVEL UP – Funkiness is the backbone to LEVEL UP, which is another fantastic song with great energy and a fun appeal. The chorus to LEVEL UP was definitely the highlight of the song, concentrating all the energy into a one stop shop moment for the song. It was also very catchy. I can’t help but dance to this song. Woojin’s section in the second verse also caught my ears. It was extremely vibrant and different to what I am used to. My only gripe about the song is that pedestrian light sound that you get in the verse. I did not like its presence and found it annoying. But overall, LEVEL UP is a recommended track! (9/10)
4. DOWN FOR YOU – DOWN FOR YOU jumps onto the Latin-pop trend. For the most part, the Latin-pop trend as pretty much died down with the occasion release. DOWN FOR YOU definitely brought on a mature feel and vibe for the group, as evident by the energy exuded from the song, sultry instrumentation and the heavier nature of the vocals and raps. While I found the instrumentation to be quite bold and ‘loud’, I liked that the members stood out above it. Balance is key, and I think AB6IX nailed it in this song. I also liked the buildup during the bridge of the song. It was definitely satisfying. Another strong number from the group. (9/10)
5. DO YOU REMEMBER (그해 여름) – DO YOU REMEMBER tones down the energy a bit and heads in a R&B direction with the combination of piano and tropical instrumentation. The instrumentation gives off a traditional style, but it also brought a lot of nostalgia to me. The melodies of DO YOU REMEMBER also adds to the nostalgia. Elsewhere, the aesthetics that come off the track is so stunning, and the vocals had so much emotion behind them, and I loved the contrast between the whispery style of the first half of the chorus vs. the bolder and louder exclamation of the second half of the chorus. The rapping was also well executed and added the right amount of heft to DO YOU REMEMBER. Overall, DO YOU REMEMBER comes off as one of the best tracks on this album. (10/10)
6. STAY WITH ME (사라지지 마) – STAY WITH ME was a vibe and an experience. I really enjoyed the atmospheric tone of the instrumentation in the verses, while the chorus had a very pleasant groove to it (which compliments the rest of the instrumentation). The rapping and vocals were so well done. I really liked the delicate tone they had opted for the vocals, and the slower speed at which the raps were delivered, which all contributed to a heartfelt sound that was so inviting and appealing. Also adding to the appeal of the song was the harmonization between vocalist and rapper during the chorus, which I found to be very unique. Overall, another standout track on this album. (10/10)
7. BELIEVE(믿어) – BELIEVE brings the group back to their house roots. I was reminded of their debut track when I heard the intro to BELIEVE. But as the song progresses, a lot more is packed into the instrumentation creating a very hefty instrumental piece for the chorus. But this seems to be the star attraction of the song, with the melodies and hooks not being as strong as per the other tracks. They are still good, but not great. I wished there was stronger focus on these aspects to make BELIEVE better, as there was some potential behind the trajectory of the instrumental. (7/10)
8. OFF THE RECORD – The playfulness of OFF THE RECORD stands out. It feels like a neat follow up to the title track, with a similar playfulness shared between the two. I did like the melodies and the harmonization with the backing vocals in the chorus. But for me, the overall style isn’t my cup of tea. It is a bit sweeter than how I like it, and so I found a hard time getting into OFF THE RECORD. (6/10)
9. SIMPLE LOVER – SIMPLE LOVER tackles deep house, and further brings the group back to their house roots. I liked how substantial the track felt, and dynamic it turned out to be, even though it seemed to also be a bit typical at certain points. I like the vocals in this song, especially the ad-libs we get at the start. The chorus also had a nice grooviness to it, which I liked. Woojin’s rap sequence in the second verse seemed to be infiltrated with pings and glitches, which I thought was pretty interesting. (8/10)
10. 3’’ – 3’’ ends the album with some good vocal work and rapping. But I thought the instrumental was pretty boring. There is a positivity tone to it, which was nice. But the instrumental didn’t offer anything new or interesting for me to dwell on. And so, the album ends on a disappointing note, which is quite unfortunate. (5/10)
ONFis nominated for a range of categories in the 2021 KPOPREVIEWED Awards, including Best Male Group, Best Music Video, Rising Star, Best Pop Song and Best Male Choreography (Group). Vote for ONF in these categories, and support your other favourite artists, songs and performances by clicking here.
Rounding out the past week was ONF, who returned with Goosebumps on Friday, the title of both the title track and their sixth mini-album. This release also rounds out a big year for the group, who has been actively promoting with releases such as Beautiful Beautiful, Ugly Dance and Popping. This will also be the group’s last release for a while, following the announcement that all the members (aside from U) will be enlisting into the military at the same time later this month. This is a big deal, as this showcase their group’s bond and will shorten their hiatus to the minimum (a first for a group facing military enlistment), allowing the group to hopefully relaunch back into promotions in about two years time. But until then, here is my thoughts on ONF’s Goosebumps (the title track).
Goosebumps is one interesting song. The best way I can describe to you is that is quite erratic. There is just so much going on in Goosebumps, with the song taking unexpected turns throughout. But yet, the song somehow is shaped together to become cohesive and whole. I find that to be remarkable and impressive. As a whole, Goosebumps, described as an alternative funk-based dance track with a powerful bass riff, was thrilling and fun, yet intriguing and fascinating all at the same time. The song kicks off with polished vocals from MK, and a funky instrumentation filled with bass and squealing synths. Wyatt and U’s rap-sing sequence follows over the same instrumentation, and was definitely memorable. We then are thrown into smooth territory with Hyojin’s soaring vocals, before launching into crunchy synths that make up the backing of the chorus. Personally, I felt like this was the weakest part of the song. I loved the monotonous ‘Goosebumps‘ repetition that kicks off each line of the chorus, but I felt the vocals that follow after were hidden away by the background, making it a bit hard to understand. I admit there is charm, but it isn’t as strong as the rest of the song. Wyatt returns with some cool vocals (which utilizes his deep tone well), before we are thrown back into an extended version of that smooth pre-chorus from the with MK, U and E-tion. The chorus returns, with the exact same instrumentation, but that deep and monotonous ‘Goosebumps‘ repetition at the start of each line is omitted. Instead, it is replaced by Hyojin and MK’s vocals, which was clearer and more audible over the instrumentation. I liked this version of the chorus. The members all come together for the bridge of the song, singing together a colourful and playful sounding sequence that is ultimately lead to the high-pitch autotuned repetitive ‘Lights On‘ peak. Personally, I found this to be a bit much, but it is getting better each time I replay Goosebumps. The best part comes after the peak, with everyone returning once again for a fun and funky chanty style rap sequence. I freaking enjoyed that part, and is pick for my highlight of the Goosebumps, before launching back into the second version of the chorus to close out the song, amped up by the instrumentation to be quite intense. Overall, Goosebumps is a fun song that seems all over the place at first, but it is actually pulled together nicely once you give it a go.
Per usual, I have no clue on what is happening in this music video. It seems like the members are in a different virtual world escaping those robots from Beautiful Beautiful and Ugly Dance, as they were closing in on the members. But it appears this secondary world is glitchy, based on the members appearing and disappearing, and the background keeps on changing. But this world is also dangerous, with computerised dragons, tentacles, action-packed scenes, a whole lot of guns and bullets. Like the song, it is pretty erratic. But I am sure there is a storyline somewhere that ties the three music videos together. As for the quality of the video, he people who made it has wowed me again, with amazing and detailed graphics. No wonder why ONF’s music videos have been a standout this year.
The choreography for Goosebumps is top notch! I wasn’t sure what direction they were going to go in with this performance, but it embraced the funkiness of the song, felt like it was fun and also quite intense. That whole ‘Lights On‘ sequence left me shocked, while the rap sequence that follows was definitely energy packed! Probably one of the best routines this year!
Song – 9/10 Music Video – 8.5/10 Performance – 10/10 Overall Rating – 9.1/10
ATEEZ is nominated for Best Stage Presence, while ATEEZ’s sixth mini-album, ZERO: FEVER Part 2, is nominated for Best Album in the 2021 KPOPREVIEWED Awards. Jongho is also nominated for Best Vocals. Support ATEEZ, ZERO: FEVER Part 2, Jongho, your other favourite artists, songs and performances by clicking here to vote.
Returning on Friday was ATEEZ, who unveiled a surprise music video for a pre-release single that will be featured on their upcoming eighth mini-album, Zero: Fever Epilogue, which is to be released next Friday (10 December). The pre-release single is titled Turbulence.
Turbulence is a ballad that is heartfelt and beautiful. It might be a departure from what they usually put out (i.e. intense tracks), but this is the work of a pre-release single (i.e. a single to be featured on an album, but is released ahead of the album for a range of purposes. including giving us insight into the album, or to hype up the album release). I am not particularly sure how to classify Turbulence, though I feel like the release offers a new side of the group and hence the song would fall into the latter category of hyping up next week’s release, promising us great things from the group. Anyhow, I find that ATEEZ does an amazing job, showing us a more emotional and sentimental side of themselves. This comes through via a number of avenues. Turbulence‘s instrumentation has an atmospheric vibe that you would find common with ballads. But to give it some extra sentimental energy and also some oomph, Turbulence’s backing also features some classical violins and electric guitars, which helps emphasise that heartfelt tone I already mentioned. The vocal work in Turbulence is no surprise, particularly since the group has the likes of Jongho (who is also nominated for Best Vocals in the 2021 KPOPREVIEWED Awards), and he (in particular) stands out in this song with his high notes. But the other vocalists of ATEEZ also manage to hold their ground, and showcase their vocals capabilities as well. It also helped to soothing, yet vibrant melodies. The rappers of the group also do an amazing job fitting in. Usually I am not a fan of rapping in ballads (with some clear exceptions), but I think ATEEZ’s rappers do a really good job of capturing the emotion of the song and presenting their parts to us in a more subdued manner. They also help cut the overall smoothness of the song, which I think was clever in this song, as ballads can be boring if they are linear. Overall, Turbulence is a strong teaser of what is to come, and I am excited for their upcoming release next week.
The music video for Turbulence has elements seems to have elements that I recognised from their other music videos that formed part of the Zero: Fever series. The school desks reminded me of Inception, while the school bus we see San sitting in reminds me of Thanxx‘s music video. The train on the bridge reminds me of the train in the background of Fireworks. The scenery on top of the roof was also seen in the Deja Vu music video, while the train is also reference in the Eternal Sunshine music video. I think paper planes were previously referenced somewhere as well, as I have a vague memory of it. This is probably just me grasping at straws, but I don’t think these elements are there coincidently. But aside from that, I see a typical music video for a heartfelt and emotional song. The dark lighting is interesting, I guess it makes sense, given the darkness is what they felt at first (lonely, as depicted by the music video). But with one’s hope and such, they are able to see the path forward (i.e. the lights that light up at the end of the video).
Song – 9/10 Music Video – 7/10 Overall Rating – 8.2/10
Support your favourite artists, songs and performances in the 2021 KPOPREVIEWED Awards by clicking here to vote now!
Making their debut earlier in the week is IVE, who kicks off their careers with the single ELEVEN. IVE is a six-member female group under Starship Entertainment, the home to acts such as MONSTA X, WJSN, CRAVITY, Jeong Sewoon and many others. The lineup of IVE consist of Yujin, Gaeul, Rei, Wonyoung, Liz, and Leeseo. Some fans might recognise Yujin and Wonyoung, as they were formerly part of IZ*ONE before IZ*ONE disbanded in April this year.
Even though it has been out for a couple of days now, I find ELEVEN to be an alright song. It is good in some senses, but I felt like it could have been better. The good thing about ELEVEN is that I can tell it will be a grower for me, and probably within a few weeks time, my opinions of ELEVEN might be much more positive than today. But until then, here are my thoughts on ELEVEN as it stands. The tribal-like percussion in the instrumental was very refreshing. I know we have heard it recently in another song, but I find its profoundness and prominence in ELEVEN to be exciting and appealing. For me, the verses were plain and monotonous. I wished there was a bit more flair to this part of the song, especially given the rest of the song. The vocals were decent here (I liked that the nasally tone the second vocalist in the song brought to the first verse), but they just didn’t have too much going on to really interest me. And I feel that this particular comment can also be applied to the entire song. Anyhow, what does make the song interesting those pre-chorus slowdowns. While we do get those from time to time to help make the chorus more explosive, ELEVEN‘s application of this technique is a lot more extreme, as you could really fill that the song was winding down. The rap-speak tone also helps out here. The pairing adds a unique touch to the song, which plays well with my comment of attracting attention. But with such a set up, I felt the chorus was a bit underwhelming. It was not as explosive as it could have been, and the melodies/hooks in the chorus were not as memorable. The only memorable part of the chorus was the ‘1,2,3,4,5,6,7, you make me feel like eleven‘ ending to the chorus, and even that was a bit soft. The rest of the song repeats the setup of the first verse and chorus, both for the second and final section of the song (with a bit of an extension at the end of the song). While this does sound like it would have been repetitive, I didn’t mind it as much. Overall, ELEVEN seems like a strong debut song, even though the song could have been better in some regards.
I know views are not everything. But they are particularly vital for groups starting out, as they are a good way to gauge attraction. If IVE’s debut views are anything to go by (at the time of writing, they have garnered over 28.5 million views within four days), they definitely have a lot of potential. They are doing even better than some of the top groups who have very recently released new music! Aside from views, I really like the mature vibe of the music video, which compliments the song. The sets looks great and elegant, while the matureness flows into some of their outfits (i.e. those white suits and blue gloves are definitely a memorable image from the video). The cinematography also helps make the music video look amazing. Definitely a strong music video!
Like the music video, the choreography for ELEVEN definitely a strong routine. The hip-shaking during the song’s main hook was definitely an unforgettable moment for me. The group’s charisma also needs to be mentioned, as they felt like they have been performing for many years than what they already have under their belt. I liked the contrast that the aggression brings to the performance, with Yujin being the standout member thanks to her aggressive facial expressions. It was subtle, but it definitely made the performance a whole lot captivating.
Song – 7.5/10 Music Video – 8/10 Performance – 9/10 Overall Rating – 7.8/10
EVERGLOW’s FIRST is nominated for Best Music Video in the 2021 KPOPREVIEWED Awards. Support FIRST, your other artists, songs and performances by clicking here to vote today!
Also returning earlier in the week was EVERGLOW, who dropped Pirate and their third mini-album, Return Of The Girl, on Wednesday. This is the group’s second comeback of the year, following the likes of FIRST from May of this year. Today, I am finally getting around to reviewing the new track.
At the end of my song section of my review for FIRST, I noted that their May song did not overtake LA DI DA as my favourite EVERGLOW release. Well, it seems it took EVERGLOW an extra six months to put out a song that nudges LA DI DAout of its position as my new favourite EVERGLOW release. Pirate starts off swinging with some rapping. It was short and quick segment, but it definitely sets up Pirate and promises great things. We are then treated to the chorus, featuring the song’s main and catchy “I’m a pirate” repetitive hook and a beat that you find synonymous with the club. its placement is a bit sudden, but it works. There is something familiar about this hook/instrumental combination, but I just cannot place it. No matter what, it definitely lives up to the promise that the start alluded to and blasts me dynamic and intense energy that I cannot look away from. Following that, we are treated to a two part pre-chorus. The first half features a stripped instrumental, and crisp pop-influenced vocals that really pulls your attention. The second half features a return to the electrifying instrumentation with the same pop influenced vocals, before we are thrown back into Pirate’s catchy chorus. The bridge comes after the third chorus, throwing in what I think is a bit of dubstep before relaunching into a concentrated form of the song’s energy and intensity, merging the likes of the pre-chorus and chorus together to complete the song. It was as if the entire song was put on octane for the entirety of the final sequence. I have to say that like all their previous songs, EVERGLOW has shines throughout the ‘noise’, as some might describe the instrumentation of Pirate. This is definitely a highlight of their songs, and it just makes everything within Pirate so much stronger. Overall, Pirate is that thrilling song that gets the adrenaline pumping and is definitely bold and impressive release for the group. I personally could not find anything within it to fault it.
EVERGLOW becomes space pirates for this music video, donning very fashionable outfits throughout their solo shots that definitely give off a futuristic vibe. They definitely look amazing! The see-through eye patch was pretty cool, as well. The music video was set on a planet which landscape reminds me of the choreography scenes from their DUN DUN music video, and also a space ship. The glitchy effects and the lighting during some parts of the video lift up the dynamics of the music video, allowing it to fit in really well with the song.
Choreography-wise, it looked better in the music video than on stage. I presume this is because on stage, they had to soften the movements a bit so that the members can deliver the performance live. And I think the way the music video was shot, the dance moves came off as more impactful. However, this doesn’t mean the choreography was bad in any way. It still has that confident feel, and the chorus looks sexy and teasing.
Song – 10/10 Music Video – 9/10 Performance – 8.5/10 Overall Rating – 9.4/10
Both Kai and D.O are nominated for Best New Male Soloist, and Mmmh is nominated for Best Male Choreography (Solo). EXO is nominated for Best Return to Industry, while fellow member Baekhyun nominated in a bunch of other categories. Support either Kai or D.O, Mmmh, Baekhyun and the rest of EXO in the 2021 KPOPREVIEWED Awards by clicking here.
Exactly a year since his solo debut with Mmmh, Kai returned with Peaches on the Tuesday that had just passed, the title of both his latest lead single and second mini-album. Since his solo debut, we haven’t seen too much of Kai aside from the return of EXO with Don’t Fight The Feeling earlier this year after a period of two years, and a few television variety shows.
The one aspect that really jumps out at me from Peaches is how aesthetically pretty the song is. If there is anything to get out of this song, it is simply that. This comes about in Peaches thanks to two main elements, the instrumentals and vocals. Firstly, the instrumental of this R&B track takes on this lo-fi type of backbone, with percussive elements added on top. Both the lo-fi and percussive elements were light on. Together, they created a pretty airy, spacious but alluring instrumental for the song. Secondly, Kai’s singing was light on (as well) and soft, fitting for this style of R&B. Peaches is very much vocal orient, and seems to be more straightforward, compared to the likes of Mmmh where Kai was a lot more sensual and teasing with his vocals. But while it sounds like Peaches is all good, I also think the pretty aesthetics was also Peaches downfall. To me, the song focused too much on on being aesthetic and light that it pretty much neglected everything else. Sure, Peaches may be calming and soothing, but I want more from the song. For example, the hooks and melodies in Peaches was nowhere near ‘memorable territory’, and I feel this is the reason to why I am not being pulled back into the song (compared other releases that are dominating the airwaves). Another aspect of the song that I am not entirely sure of is his singing. I mentioned that it is lightweight above and fitting for the song’s style, but I did not mention whether I enjoyed it. Unfortunately, I find that there is this monotone nature to his vocals as well, and that it dries out the song for me. There is just nothing to it. And because of this, I personally think would listen to Peaches a couple more times in the near future, but I don’t find myself compelled to remembering its existence.
When you think of the colour of Peaches, you think of their pinkish yellow cream tone. And I think this entire video was shot with that in mind. They tried to change it by introducing baby blues and light greys, but everything just comes off as ‘peachy colour’ for this video. It is good in the sense that it relates back to the title, but also not so good in the sense that it dulls the video. Aside from colours, Kai looks amazing throughout this video. His outfits seem to be influenced by different time periods and cultures. It isn’t the sexy concept that we remember from Mmmh, but it is within that direction nonetheless.
The pretty aesthetics also extend to the choreography component of this comeback. You can definitely get that sense during the start of the choreography and during the slower moments of the routine. What I liked about the choreography was that there was a balance between slow and sharp. It definitely works well with the lo-fi backing and the more upbeat percussive elements. As a result, the choreography comes off as refined and elegant, which is a side I like to see more from Kai. Also, there is still that sensual energy coming off the choreography, but it is not in your face this time around.
Song – 7/10 Music Video – 7.5/10 Performance – 9/10 Overall Rating – 7.6/10
KPOPREVIEWED 