Next up on my way to review Stray Kids’ second studio album is Surfin’. This side track is performed by members Lee Know, Changbin and Felix, and is the second unit track from the studio album.
Fun, light-heart and care-free are the words that I would use to describe Surfin’. Once again, it is a different dynamic to the other tracks on the album, But this time around, it isn’t necessarily new territory for the group overall. This doesn’t harm the song, as Surfin’ does have some charm. But unlike the other side tracks, I am not drawn to Surfin’ as much as the other side tracks I have/will be looking at. The song’s upbeat nature definitely suits the Summery season, and definitely has this undeniable bright energy within it that I feel would fit the group’s overall personality. But apart from that, I don’t find anything that memorable within the song. The vocal work and rapping felt like it had too much autotune applied to it, which really distracted me. While there is some appeal to it (I assume its main intention is to make the song fun, which kind of came through), I just didn’t like how it was used to style the vocals/rapping in this song. I am usually fine with Stray Kids’ usage of autotune in other songs, but it just doesn’t feel the same in Surfin‘. But Surfin’ still a decent listen, especially if you are looking for something fun in the midst of the loudness that the NOEASY album.
The music video starts off with some spoken vocals, with Lee Know playfully mocking Changbin, who is in turn mocked by Felix. Based on this, you can tell that the video was going to be fun and non-serious. We then get a snippet of them in the dance practice room, before they are magically (by the power of editing) transported to outside. From then on, it all was a pool-side party. It looks fun and feels fitting for the song.
There is a bit of choreography for this release, and I am have opted to review it in a separate paragraph as it felt secondary to the music video. It more so a simple routine that highlights the lightness, brightness and carefree nature of the song.
Song – 7/10 Music Video – 7/10 Performance – 7/10 Overall Rating – 7/10
Next up from Stray Kids’ second studio length album, NOEASY, and the first of the three unit tracks that I will reviewing from the mentioned album is Red Lights. This track is performed by Bangchan and Hyunjin. As mentioned previously, all the Stray Kids reviews I am posting this week are in preparation for NOEASY‘s upcoming album review, which I am hoping to post tomorrow.
Red Lights is quite a surprising and different release. Usually, we get very intense or fun releases from the group, with the occasion mellow song from the group. But Red Lights opts for a mature and sensual vibe that is very different and also quite surprising. I quite liked Red Lights, more so that it explored uncharted waters, and a different side Bangchan and Hyunjin. But it seems like Red Lights offers a bit more than just a change in sound, based on my more detailed listen. The instrumentation is a really cool dramatic but slow piece. I find it to be the most memorable aspect of the song, simply because it is what pulls you in from the start. We get strings and electric guitars throughout the verses, and dubstep in the chorus. All comes together to create a sleek atmosphere that oozes out that mature and sensual vibe that I mentioned at the start. I also quite like the intensity. It isn’t in your face as per their more formal releases, but it is definitely still prevalent and prominent. I feel the vocal work was great, but it wasn’t the strongest aspect of the song. The vocals felt more neutral for the most part, but I did like how Bangchan’s adopted a deeper tone in the second verse, and Hyunjin adopted some falsettos. I find these well balance out the song, and adds flair to the song on top of their usual ‘more standard’ sounding vocals. Overall, Red Lights successfully introduces us to a side of Stray Kids that pushes boundaries in a completely different direction of what we are used to.
That mature and sensual vibe is on display in this music video. Both member’s acting and facial expression definitely take this video to the next level. Based on the lyrics and what I can see in the video, the duo are struggling with the unhealthy obsession that they have of their respective partners. They chained to beds and tables, and are struggling to get out of those chains. Even when they make it out of their rooms, they struggle to get far. The black and white filter heightens those mature and sensual vibes, while the use of red lights made complete sense (as it is the song’s title). I also combined the performance aspect of my review, given that it makes up a very big component of the music video and adds more of that mature/sensual essence to the video. Definitely a choreography to watch, as it is quite captivating and very artistic.
Song – 8/10 Music Video / Performance – 10/10 Overall Rating – 8.8/10
Onto the next Stray Kids review. As mentioned yesterday, I will be reviewing some Stray Kids releases from their NOEASY album, where there is a music video. Yesterday, I reviewed The View. Later today, I am hoping I can smash out three reviews for the three unit tracks that Stray Kids have featured on their album, before posting the full album review on Saturday. But for now, here are my thoughts on CHEESE.
My favourite part behind this particular side track is how Stray Kids creatively addressed the hate they have received for their music. I really liked how they took their famous lines from some of their previous hits (I can identify references to Awkward Silence, God’s Menu, Side Effects from the chorus, and I assume the ‘pigeon and magpie’ and ‘A-class vibes’ are references to other songs – not too sure), and revamped them to be stern and serious for inclusion in CHEESE. This is on top of their references to cheese, which seems random and an unexpected topic for a song. But they bring a fun element to the song. The stern and serious tone from the lyrics comes to life via the members’ rapping and vocal work. I quite liked the seriousness that they brought, adding in powerful attitude and showed me that Stray Kids wasn’t going to hold back in this song. I will also say the same thing when it comes to the synth heavy instrumentation, which is very intense, energy-packed, industrial and rough throughout. Everything comes together to help Stray Kids makes a statement and throw punches back at their haters. What also really helps sell CHEESE are the hooks that we get. Definitely made CHEESE memorable for me.
Stray Kids is very carefree throughout the video, not afraid of the haters and are willing it do their own thing. I quite liked that message, as it compliments the idea that they are being themselves and are comfortable with their music. I also liked the sarcastic attitude that the members bring to the video, especially I.N during his solo shots. The video also focuses on the other ‘Cheese’ – that is the phrase you say when you take pictures. I.N in his solo shots is a prime example of this ‘Cheese’ in action, with the other members jumping in as well. We also get some serious photos of the members throughout the video as well, which also brings forth this form of ‘Cheese’ as well.
Song – 9/10 Music Video – 9/10 Overall Rating – 9/10
Making their comeback yesterday was LIGHTSUM, with their new single VIVACE. It leads their second single album, Light A Wish. This release follows their debut from earlier in the year, Vanilla. Vanilla was a decent debut, but let’s see if VIVACE is any better.
And indeed it does. I quite enjoyed VIVACE, even though it doesn’t strike me as a unique song. To me, VIVACE is quite familiar, as it sound overall felt quite similar IZ*ONE’s sound had created for themselves before their disbandment earlier this year. It seems like CUBE is once again taking the sound of one group and giving it another, like what we saw after the sudden disbandment of 4MINUTE and the change in CLC’s sound. I am not too troubled by this and also feel like it also a step in the right direction for LIGHTSUM, provided if this is just a once off and LIGHTSUM doesn’t continually release similar sounding tracks that all sound the same! VIVACE isn’t boring, thanks to the plentiful vibrant elements from the instrumentation. There is a lot of synths and percussion going on in this pop song. I particularly like the brassy synths that you hear after the first and final choruses, as that brings out a party tune that I quite liked. I think the weakest point of the song are the vocals. While they are as loud as the synths and they do stand out (which I appreciate), I do feel like they lack personality and individuality. I wished there was a bit more to the vocals, as this could have taken VIVACE to the next level. I did like the use of vocals to transition between the second chorus to the bridge of the song. That was rather cool and smooth. Overall, VIVACE a vibrant second step for LIGHTSUM that falls into familiar waters.
The music video could have been better. It is quite plain and wasn’t that memorable. It offered nothing more than choreography and closeups. Yesterday, I did make a comment about how this combination was warranted for yesterday’s video. But remember, this combination should be circumstantial and sparingly. In this video, we see the combination in action. And like many others, it just didn’t work as well. The music video sets felt like your typical box sets, though the colour added a bit of vividness to the video.
The choreography was quite nice and enjoyable. I liked how the routine capitalises on the explosive synths, which helps makes the choreography more vibrant.
Song – 8/10 Music Video – 5/10 Performance – 7/10 Overall Rating – 6.9/10
As flagged on Sunday, I will be posting reviews for the side tracks from Stray Kids’ second studio album, NOEASY, that we have music video for, in preparation for their upcoming album review this weekend. This include two group tracks and three unit tracks. First up is The View. It was promoted alongside Thunderous as a secondary promotional track and its music video was released in early September.
To me, The View was a standout track on the album. It went in a different direction to their other singles on the NOEASY album despite it being in the same boundaries of EDM. It was relatively light and quite atmospheric to listen to, and I find such qualities make The View fitting for the Summer season (in which it was released). I also appreciate the simplicity of the song’s melodies, which gave the song an overall sing-song approach that was flowy, breezy and just easy to get into. Thus, the vocals flourished effortlessly in this song. The View also was a great platform for the rappers. Felix (with his infamous deep voice) took things slow, making his voice more approachable than his usual harsh delivery. Jisung went with a much faster approach, throwing energy behind his delivery but still keeping it in line with the rest of the song. My favourite bit has to be Changbin’s section in the song. His section (in the second half of the bridge) was like a curveball, changing the momentum of the song ever so briefly with the heavier trap sequence and adding a bit of a ‘growl’ to The View. It changed things up, but doesn’t go overboard. His section just stuck out at me and really added a bit of a wow factor (for me) into The View. Overall, simplicity is sometimes key and I think The View is a prime example of this.
To match the breezy feel of the song, the music video was shot in the fields. It was very fitting and the closeup concept felt appropriate. I also quite enjoyed the scenic views throughout the video. However, I did want choreography scenes in this music video. As much as I find the ‘formula of closeup and choreography’ to be unoriginal and generic, I think it would have been a good inclusion for this music video. I also liked the tie in with the other videos at the end (i.e. the scene with Felix blowing out the candle and the other members are surrounding him). It is like a continuation of the events of Mixtape: OH, where he wished for the members to reunite.
I liked the performance, as it was light-hearted. I thought this was very appropriate for the song and match the vibes of the song that I mentioned above. The chorus had a nice bounce and the members looked like they were having fun on stage throughout.
Song – 10/10 Music Video – 8/10 Performance – 9/10 Overall Rating – 9.2/10
ENHYPEN returns with this week with their latest (but delayed) release, Tamed-Dashed. It leads their first studio-length album, Dimension: Dilemma, which was also released today. This is the group’s first comeback since their last one – Drunk-Dazed and the mini-album, Border: Carnival. Originally, this comeback was confirmed for end of September, but unfortunately some of the members tested positive for COVID-19, which ended up delaying this comeback. The members seemed to have quickly recovered from the illness and thus this only pushed out their comeback plans by less than a fortnight.
Tamed-Dashed is a pretty cool dance song, though I do have some reservations with it. What I really like about the song was its intense instrumentation. It was very consistent throughout, thus adding more to this intensity. There is a mixture of guitars and synthesizer used throughout the song, at times blurring with one another. This feels intention, so the song can come off as cohesive (which it does!). The bass really drives the song and it is what really pulls me into the song. It is also what makes Tamed-Dashed so satisfying and weighted for me. The guitar blends into the mix by opting for deep effect, it literally grumbles along but also adds so much texture to this song. The synthesizer is what adds energy to the song and really gives Tamed-Dashed its vibrant factor. Altogether, the three elements come through and make Tamed-Dashed‘s background fulfilling and electrifying. My reservations for Tamed-Dashed comes into play when I focus on other aspects of the song. The vocals, while were decent and brought a youthful factor, just didn’t seem satisfying. I wanted more from the members, and I feel that there was a lot of opportunity for the members to flourish throughout Tamed-Dashed. The melodies were good and they caught on, But I feel without this unique instrumental backdrop, the melodies would have fallen flat (as the instrumentation seems to be the only aspect that gets me to come back to the song). Overall, a satisfying song thanks to the instrumental, while the other elements underwhelm.
Do I have the slightest clue on what is happening in this video? Nope. My wild guess (and I am grasping at straws here) is that this video reiterate the theory that they are vampires, which was a theory that I had from their Drunk-Dazed music video. It explains to me why they have remained youthful despite travelling through different eras (as depicted by their outfits). The burning of the skin also seems to be a major part of this theory for me. At one point, they couldn’t reach for the ball without their skin burning. But something happened (not sure what) which enabled them to go into the sun without burning and play some rugby, which has stayed with them through the eras. Aside from the plot, there isn’t much else to the video.
The performance was okay, but feels like the weakest of all their title tracks thus far. It looks a bit plain and constricting. I am impressed that they would be throwing the rugby ball around during the bridge. While it looks like they slowed down the choreography to ensure they can catch the ball without it hitting any other members or overshooting it completely, it still looks risky.
Song – 7.5/10 Music Video – 8/10 Performance – 7/10 Overall Rating – 7.6/10
Returning last week was N.Flying with the repackaged version of their first studio length album. For those who may have missed their last comeback, N.Flying returned with Moonshot and Man On The Moon back in June of this year. On Wednesday last week, the group reissued their first studio album and renamed it Turbulence, with it being lead by the title track Sober.
Sober is a decent song, if you are looking for a heavy and emotional rock ballad type of song. For me, it was pretty much a miss a week ago and is still a miss a week after. There isn’t anything wrong about the track. It just didn’t meet my expectations (more on that in a second). The band does well within the confines of their style boundaries for this release. The band instrumentation was standard, but substantial. There wasn’t anything special about it per say, but I liked how it had that lurching momentum that most rock ballads tend to have. I was waiting for a bit of a kick to come in, as I feel like there was room for the band to go into even deeper emotional territory with this song. We did of get a bit of intensity towards the end from the instrumentation front, but it was a tad too late for me. Similarly, I was expecting a similar effect with the vocals. The members nailed the emotional brief that Sober was all about, and I liked the mixture of soft rapping and vocals throughout the song. But there was so much potential for the vocals to go further. The bridge and Hwesung’s high note was definitely a teaser of what I was looking forward to hearing, but those parts alone just wasn’t enough. I was also not a fan of the abrupt ending to the song. However, the song still some appealing points. The first comes in via the melodies. Sober managed to still evoke that swaying effect that I tend to mention on this blog, despite me not being entirely into the song. So I give them points for that. I also give them points for the song’s hook, as that was memorable element and Seunghyub’s delivery was definitely made it sound good. Overall, Sober had potential in terms of direction that it just didn’t really navigate towards, hence the disappointment and ‘doesn’t meet expectations’ comment above.
The music video definitely compliments the tone and emotional vibe of the music. I am not a fan of the hazy filter that they had going on, but it works for this release. It was more so what the video was trying to show us that I am not entirely sure. It appears that the members are travelling on a plane, which I presume is their trip towards their relationship. But the plane enters a period of turbulence, which I am guessing is a relevant representation of a rocky relationship. The members are worried that the plane would crash, but they managed to get to the other side. Based on the lyrics, this ‘other side’ is a breakup, as appears the members had popped off the plane into the field, rather than the plane’s destination (i.e. their partner). I guess that kind of makes sense, though the really bright ‘heaven’ scenes leave me scratching me head and so do those bubbles (maybe the action of ‘bursting the bubbles’ meant that the members realize that this relationship isn’t good for them (i.e. not smooth sailing as depicted by the plane ride at the start).
Song – 6/10 Music Video – 7/10 Overall Rating –6.4/10
The next album to be reviewed is Part 1 of CRAVITY’s first studio-length album, The Awakening: Written In The Stars, which officially dropped mid-August. It features the title track Gas Pedal and the follow-up promotion track VENI VIDI VICI, both of which I have reviewed separately (their reviews will be linked below). As this is a Starship Entertainment album release, I am not surprised that this studio album comes in two parts. As this is only Part 1 of their album, we can expect Part 2 some time in the future. And with Starship really pushing CRAVITY since their debut with back to back comebacks, I don’t think we will be waiting around for a long time.
The Awakening: Written In The Stars (Part 1) Album Cover
1. Intro: New Horizon – New Horizon starts off with a whistle that beckons you into the album, before we are met with an abrasive EDM piece that no doubt aligns with CRAVITY’s works thus far. I can imagine a powerful and impressive dance routine associated with this intro track. The whistle towards the end pulls us further into the album, taking us to the album’s title track, Gas Pedal.
4. CHINGA-LINGA – CHINGA-LINGA is one of those rare EDM tracks that I personally find overwhelming. It felt like there was a lot going on in CHINGA-LINGA thanks to the EDM centric instrumental backing, which falls more so on the trap territory of the EDM spectrum. There isn’t anything wrong with that, but combined with the constant changes in momentum, tempo and effects, the song comes off a bit much. Balancing out the instrumentation are the rapping and vocals, which I thought were well-handled by the group and I appreciated that they stood out over the loud ‘noisy’ instrumentation. If only said instrumentation was toned slightly to be a little more enjoyable. (7/10)
5. Celebrate – Celebrate still sits in that same EDM territory, with their song also taking on board a hip-hop influence. While hip-hop influences aren’t my personal cup of tea, I find that Celebrate strikes a balance between all its elements, especially with the fun melodies, which makes the song more palatable and approachable. It does come at a cost (i.e. less dynamic vocals), though I don’t think it was a huge sacrifice as I quite liked the song as a result. The rapping was my favourite part of this song. The rappers were much slower with their delivery, but they still delivered their lines with bite and impact that a usual rap sequence would have. (8.5/10)
6. Grand Prix – I like the impact and the groovy nature of Grand Prix. The impact comes in via the chorus, which features a very quick warp of energy to kick things off in this segment of the song. It caught my attention and made me fall for the song. The groovy nature comes via the bigger picture (i.e. instrumentation), which falls into the electro-pop territory. The hooks in this song were short and snappy, but also memorable at the same time. (9/10)
7. Divin’ – I like the refreshing nature of Divin’. The pop nature of the song was definitely a nice change up in sound for the group, despite the song still being heavy handed on the synths. I particularly enjoyed the pre-choruses and choruses of the song. The pre-choruses had a very likeable ramp up in energy that I am vibing to every time the song plays. For the choruses, they felt like they need to be played while late night drives around in the city. It felt breezy and was also quite light natured, which I thoroughly enjoyed. (9/10)
8. GO GO – CRAVITY’s final song on the album slows and tones down the energy. GO GO is still upbeat in its own way, but they trade heavy handed synths for guitar riffs and feature a heavy reliance on vocals. The song overall felt easy to get into, especially with such catchy hooks and nice harmonization between the members. After a very dynamic and powerful album, it was nice to end with something a lot more soothing and calming. (8.5/10)
Overall Album Rating – 8.3/10
The Awakening: Written In The Stars (Part 1) Teaser Image
As mentioned earlier today (and throughout the past week), I would be posting the album review for Golden Child’s second studio album and its repackaged version today. GAME CHANGER (released at the start of August this year) is the group’s second studio album and features the title track Ra Pam Pam. Earlier this week, the group returned with the repackaged version, retitled DDARA, and features the title track of the same name. In total, there are 13 tracks on the album which I will be reviewing today. This album release was a banger – a small hint of what I thought about the albums overall.
GAME CHANGER Album Cover
DDARA Album Cover
1. Game Changer – The album kicks off with the eerie intro track Game Changer. The eeriness is only around at the start though, with the intro track opting for suspenseful classical vibe. This too is quite brief, as EDM kicks in right after to bump this up into very dynamic territory. I feel like this track would be awesome for a movie trailer, hinting towards twist and turns. For this album, it leads right into the likes of Ra Pam Pam.
4. OASIS – The other new track added to the repackaged version is OASIS. To me, the track is an impressive display of vocals from the group. Those successive high notes we get at the end sound so good. It felt almost like the members were in a ballad mindset for this song. But OASIS is no ballad. The instrumentation falls into the EDM side of music. It definitely made OASIS impactful and dynamic enough for me to give the song a 10/10. The rapping also reiterates the fact that this is no ballad, going with a powerful approach, which fitted in really well. (10/10)
5. Bottom of the Ocean – Bottom of the Ocean is a full English track that brings me back to the ‘00s thanks to its pop rock sound. The track feels just right for the summer season, with its vibrancy and energy fitting right into the hallmarks of a summery song. Golden Child handles the song exceptionally well, which is worth a mention, as this is their first English track. The harmonies were a really nice touch. (9/10)
6. Fanfare (빵빠레) – Fanfare is my pick for favourite side track for this album. It was hard to pick one, but I settled on this one!. It is a dance track with a really great retro and funky instrumentation. The brass elements in this song really give it so much colour, while rest of the funky and retro instrumentation is so vibrant and lively. The bass adds extra groove as well! The members bring solid vocals and rapping in this song, with the standout award going to the main vocalists for their high note and ad-libs. Overall, a home run with this track. (10/10)
9. Spell (주문을 걸어) – The album breaks away from the unit/solo track with a bit of an interlude in the form of Spell. It is similar to Fanfare in the sense that it has a funky and groovy energy oozing from it. But it is different in a way that it is more reliant on synths and EDM to get this energy across. Not that it matters, as Spell is an equally good track and the EDM makes it a dynamic number. I really like the idea of the delayed drop in this song, especially since I feel the delay allows Golden Child an opportunity to showcase a mature vibe in the chorus. The hooks in Spell are also quite dynamic and really appealed to me. (10/10)
13. I Know (난 알아요) – The album ends with a ballad. Common sense tells me that their vocals would be on full display, and that is the case with I Know. But what makes their vocals even better (and so the ballad as a whole) is the instrumentation. Not only does the thumping in the instrumentation makes the ballad more upbeat, it adds impact to the song and a breathtaking element to the song. The rest of the instrumental falls into the same motif as well. Ending off the album with a song like I Know felt just like the perfect ender. (10/10)
The final side track from Golden Child’s second studio album which I will be reviewing ahead of the rest of the album is Out The Window, which is performed by Daeyeol. Daeyeol was the only member from the group to have a solo track, with the other members participating in unit tracks. After this review, it is full steam ahead to their Game Changer and DDARA album review, which I will be posting shortly after this. Until then, this is my review for Out The Window.
Daeyeol’s solo song comes in the form of a mid-tempo ballad. Overall, I find Out The Window to be a pleasant song that highlights Daeyeol’s vocals. While the song itself is pretty straightforward and simplistic, it is still a really nice song and doesn’t fall on the boring or typical side of ballads. The melodies are what pulls me in and I think Daeyeol’s vocals do an amazing job of bringing Out The Window‘s melodies to life. As mentioned before, the song is rather simple, with a nice acoustic instrumental to form the backing of the song. It helps with making everything palatable and really compliments Daeyeol’s vocals in my opinion. To be honest, the song is similar to what we have heard in some of the other side tracks that I have reviewed separately over the last day, in the sense that there isn’t anything special about it. However, I do think that Out The Window has a bit of a edge over the other tracks. Every time I hear the song or watch the music video for it over the past couple of weeks, I found myself thinking the song can be a great OST choice for the right drama. Based on the lyrics, it seems like this ballad would be best played when the lead characters of the drama are reminiscing about their memories of one another.
For the music video, I liked its more rustic approach with its out-of-focus home video style approach. It is quite different to what we get nowadays when it comes to aesthetics, and I find this video speak volumes this way. I think the particular style is intention though, as the content that we see are actually memories that are being played back. This would align with the lyrics of the song. I am not exactly sure if I saw things right, but the scene in which the female character withdraws/retracts her hand from Daeyeol felt like it was in a rewinding motion.
Song – 8/10 Music Video – 8/10 Overall Rating – 8/10
Coming up later today is the album review for Golden Child’s second studio album (and its repackaged version). But as mentioned yesterday, there is still a few more unit and solo tracks to review off the album before I can post the full album review. First up today is the unit track That Feeling, which features Seungmin, Donhyun and Jaehyun.
I too do not have much to say about That Feeling. It isn’t a mind blowing track, but That Feeling comes off as a nostalgic listen to me. It is as if I have heard the song before. This does not mean that it is a direct copy off another song. Instead, thanks to the song’s warming and mild atmosphere, That Feeling comes off as familiar and inviting. And I quite like that aspect of this unit track. I also find the song to be quite sweet-sounding, which can be attributed to the the likes of Seungmin, Donghyun and Jaehyun. Similarly, the melodies, especially during the pre-chorus and choruses, were so nice and soothing to listen to. I also appreciate the lightness of the song and how it is easy of the ears. From the vocals to the trumpets we get in background, nothing overwhelmed and contributed to that overall inviting and warm feeling. Overall, That Feeling was quite a likeable track.
There isn’t anything too crazy in the music video. Like the song, it also quite sweet and fits the tone of the song overall. Seungmin, Donghyun and Jaehyun are on a road trip in Korea, with a lot of the footage of them are at a beach and on the road. I did like the combined usage of the Instagram look and the ripped photo/scrapbooking look. Both came together to give the video both a modern and rustic look. but I also thought that both contributed to a playful and fun vibe as well.
Song – 7.5/10 Music Video – 8/10 Overall Rating – 7.7/10
The next step to a completed album review for Golden Child’s second studio album (and its repackaged version) is for the album’s first unit track. This unit, if you cannot tell from the title of the post, is made up of Joochan and Bomin, two vocalists of the group. Their single is titled Singing In The Rain.
I personally do not have much to say about Singing In The Rain, so this review will be fairly short. This doesn’t mean I dislike the song, though. As a matter of fact, I quite enjoyed the song as whole, even though its style just isn’t my cup of tea. Singing In The Rain is a fairly simple song. It is a very typical jazzy style of music, suitable for a coffee shop. There is a bit of rain in the background, so imagine sitting in a n ambient coffee shop on a rainy day whilst listening to this song. There actually isn’t anything that special about the style of song, but something else really captivates and pulls me into the song. Singing In The Rain superbly present Joochan and Bomin’s vocals. The pair sounds quite dreamy and sweet throughout the song and this really fans out to the rest of the song. I particularly like the pairing of Joochan’s higher and Bomin’s lower tone in this song. The contrast between the two was nice and gives the song that extra something to talk/think about. The melodies that the voices are carry are so light and drifty, reiterating that dreamy and sweet feeling you get from the song. Overall, a soothing track to listen to. In the grand scheme of things, it may not be the most memorable side track on the album, but Singing In The Rain is still a worthwhile listen.
There seems to be two theories floating about regarding this video. One of them proposes that Bomin’s character is in love with the female character, while the other proposes that Bomin is in love with Joochan’s character. The video is pretty ambiguous, so either theories feel very valid. Apart from that, everything else within the video fits in neatly with the song. I also like the rainy scenes, with Joochan and Bomin dressed up in suits and holding their umbrellas. It gave the video a bit of variety in terms of range of scenes and infused a bit of something different into the video.
Song – 8/10 Music Video – 8/10 Overall Rating – 8/10
Earlier this week, I flag I would post reviews for the unit and solo tracks from Golden Child’s second studio album, GAME CHANGER, ahead of the actual album review which I will be posting this weekend. To date, I have only posted one (the review of POPPIN’ by Y and Jangjun). But the rest are coming and the album review will definitely be posted this weekend! So, I better get cracking. Next up is the unit release of GAME, which features members TAG and Jibeom.
To me, GAME feels slightly inferior to POPPIN’, simply because it comes off as your more typical dance pop track. It is still a decent side track off the GAME CHANGER album, and its elements (which I will go through in a second) helps the song stand out. But it just doesn’t live up the same standard as POPPIN’ had set. I just don’t find GAME as striking as the previously reviewed song, with the typical nature of the song coming out more throughout the track, and I feel that this atmosphere was the only aspect that hold backs the song for me. To me, the standardness comes from two elements within GAME – forgettable verses that just didn’t stick in my mind, and similarly unmemorable vocals/rapping. Sure, the rapping was powerful and the vocals were nice in GAME, but neither really struck me. Unlike POPPIN’, I am not amazed as I had hoped to be. We did get some memorable hooks (i.e. the ‘LALALA‘ hooks following the choruses), but these felt unoriginal, and I couldn’t really bring myself to say that the vocals/raps were the cause of the memorable factor. However, as mentioned above, I was impressed with the brassy centrepiece of GAME. The heaviness from the piano in the chorus and the bass also gave the song some depth and oomph, which I definitely appreciated. But overall, GAME just didn’t live up to standard set by Y and Jangjun.
TAG and Jibeom play rivals in this music video, and they choose to settle their differences with a bit of gambling. After putting everything they have in, both members were more interested in showing each other who is better (big egos here). So interested that they didn’t see or hear the third person in the room, who knocks them both out (with a very soft tap from the looks of it). Once tied up, they realize that they were played and shouldn’t have worked against each other. Now, both of them have lost everything on the table and someone else (unknown to us all) has run off with both TAG and Jibeom’s money. Aside from the plot, I quite liked the visuals from this music video, particularly the various photo shots we get throughout the video and how they were intertwined with the video’s scenes.
Song – 7/10 Music Video – 8/10 Overall Rating – 7.4/10
Since their debut in 2020, it has been a traditional for CRAVITY to follow up promotions of their main title track with a side track off their latest album release. Following their debut, the group released promotional materials for Cloud 9, another song (other than Break All The Rules) off their debut mini-album. For their second mini-album, the group followed up with Ooh Ahh, while their third mini-album was followed up with Bad Habits. Today, CRAVITY returns with the release of a music video for VENI VIDI VICI, which follows up the release of Gas Pedal from their first ever studio album, The Awakening: Written in the Stars. An album review is being prepared as we speak. But ahead of that, here are my thoughts on VENI VIDI VICI.
Compared to their EDM-aligned title tracks, VENI VIDI VICI sounds much more sophisticated. It is quite an interesting dynamic to be honest. I do miss that striking nature and boldness that their title tracks have thanks to the EDM. But VENI VIDI VICI sounds a lot more mature (without really trying to sound mature at all), showing us a different side of CRAVITY we just haven’t really delved in yet. VENI VIDI VICI opens up with soft brass and guitar work, before soft vocals comes into play. As we progress through the verses, the song steps more into generic territory. But that changes once we approach the pre-chorus, which brings a heavier presence of those guitars (revealed to be electric guitars). I find the pre-chorus leads us appropriately into the chorus, which is more dance territory, but nothing like their EDM. Once again, it is definitely showcases a mature vibe, with the focus being on rather than the raps which is the usual centerpiece of their title tracks. The second verse is probably their least memorable sequence, with the raps going into trap territory and the pre-chorus is then repeated. The bridge focuses on instrumentation. Just when you thought the song would really amp up and return CRAVITY to EDM territory, the song throws a bit of a curveball. VENI VIDI VICI‘s bridge is a dance break and it does amp up, but it keeps itself in line with what we have heard so far. The instrumentals here carry more of a rock influence that I am totally digging. The electric guitars is just so electrifying and the drums just give the sequence that oomph it needs. The brass also returns, reminding us and adding that sophistication I touched on above into this sequence. Overall, VENI VIDI VICI explores a different side of CRAVITY, and I am satisfied with the choice of song as a follow-up to Gas Pedal‘s promotions.
The music video for VENI VIDI VICI is more so a performance video. There were a few close ups, and I like how the producers made sure that Julius Caesar’s words were reflected in the music video (for those who don’t know, VENI VIDI VICI is Latin for I Came, I Saw, I Conquered – famous words from Julius Caesar). At the start, we saw a door, the sword in stone, a painting and one of the members holding and placing a crown on their head. These correspond to each of the three parts of the famous line. I Came (arrival at the door), I Saw (looking at the painting and the sword in stone – i.e. attractions), I Conquered (the crown). Regarding visuals, I didn’t like the video’s hazy look, as that dulled the video for me. However, I did like the lighting and I think the choreography was shown off well.
It is a good routine overall. I did like how the moves were drawn out to compliment the vocal deliveries. The most memorable aspect of the performance has to be the dance break. I did wish they went harder with the dance moves there, as I think it would have been more suitable for such a sequence given the music.
Song – 8/10 Music Video – 7/10 Performance – 7/10 Overall Rating – 7.5/10
Also making his comeback yesterday is WOODZ, with his new single WAITING. The new single is featured on his third mini-album, Only Lovers Left, which was also released yesterday. This comeback follows his comeback, Feel Like, from March of this year.
WAITING is rock-influenced pop track that really pulls you in. Since it has been a few days since the song was released, I have had many opportunities to listen to WAITING. And each time, it has been a likeable experience. The instrumentation was good, but not as epic as it could have been. While the rock influences were really good, I feel that the song’s arrangement could have taken more of a rock sound (you know, full on band instrumentation, electrifying electric guitars etc.), rather than just a rock influence. This would have taken WAITING to the next level for me. But the background aside, everything else was great! The vocals are a constantly solid element throughout. Time and time again, I have enjoyed WOODZ’s vocals, as the soloist just knows how to captivate. In WAITING, WOODZ puts a lot of his own style into the delivery of the lyrics, which instantly gives the song a lot of character and individuality. This definitely helps takes the song to the next level as it avoids any doubt of the song being generic or plain, especially if the instrumentation might come off that way. I also find this vocals to be sleek throughout this track, which really helps balance out the song. I think WAITING needs a bit more rapping in it. I feel the energy of a profound rap sequence would slide in very nicely into this song and fit the overall dynamic. We do get a brief few seconds of rapping in the second verse, but more (and something energising) would make it even better. Overall, WAITING is solid release from WOODZ.
I really like the dark and eerie atmosphere of this music video. Like the song, this makes the music video quite captivating for me. For the storyline in this music video, I think it is clear that there are two versions of WOODZ, both of whom are addicted to his lover (the girl we see at the door). There are a few theories floating about, though I want to suggest a different one that I don’t think I have seen yet. The first version of WOODZ (dressed in white) is the version that is driven insane by his lover. He is haunted by her presence, but cannot stop thinking about her. It drives him to the point where he would even contemplate taking his own life. The second version of WOODZ (dressed in black) is addicted to her, follows her and is obsessed to the point where he would take creepy pictures of her. Either versions end up dead. The first version is killed at the end of the video (the gun shot scared me!) by the girl, whom is waiting off screen. We see the second version lying down in the hallway mid-way in the video, with the female character walking away. I assume that she also approached the door in a similar fashion to the ending, but with this version of WOODZ, he was willing to open the door straight away due to his obsession, while the first version was more hesitant about it. A sad ending either way. What I really need to commend WOODZ on throughout this video is his acting. Nothing felt exaggerated or over the top, especially all those ‘going insane’ scenes, which actors tend to overdo. Again, it was all captivating and amazing to watch.
The performance is the least captivating part of this comeback. But that doesn’t mean it isn’t good. WOODZ doesn’t really participate in the choreography, so he can focus on the live aspect of his performance. He kind does his own during the first chorus, follows the dancers moves in a manner that enables him to continue to sing live and have the dancers mould around him for the rest of the performance.
Song – 8.5/10 Music Video – 10/10 Performance – 7/10 Overall Rating – 8.7/10
Another comeback yesterday was made by aespa, who returns with their mini-album since debut (titled Savage). The title track of the mini-album also shares the same name. This comeback follows the successful release of Next Level from earlier in the year. If you were to flick to that review, you may find that at the time of writing that review, I wasn’t much of a fan of Next Level. Fast forward a few months, and Next Level has grown considerably on me. I still don’t think highly of it as the rest of the world seems to do, but I have warmed up to the song through a lot of replaying. Let’s see how Savage fairs (keeping in mind that it may change down the track).
Honestly, I don’t think the song will grow on me whatsoever. I don’t think I have listened to a song with such a straight face before and where I had to dig my way through the song to figure out any positive aspects. So, it isn’t good at first glance. I did find some, but I think Savage is case of the bad outweighing the good. It is another song that seems to jam a lot into the four minutes of air time. There is so much change throughout the song, with each sequence feeling very different to every other sequence in the song. It is quite overwhelming. Savage begins with the most eye-rolling toned introduction in KPOP that I have heard. I hope this was intention, as it fits in with the title. Otherwise, I would be concerned. Metallic twangs and heavy bass form the basis of the first verse, with Karina and Giselle rapping. The verses were largely forgettable. Then, the pre-chorus comes in, bring vocals and (admittedly) a suspenseful energy that I liked. I like the rock influences (though I think they are more synths) we get here. While the climb to the chorus was good, I was utterly left down by the chorus. The anti-drop and the lackluster (and excitement killing) hook just didn’t work for me. We get more of a hip-hop influence in the second verse thanks to the added instrumentation and rapping, though there is that similar backing as the first verse. The second pre-chorus remains the same, while the second chorus adds extra percussion to ‘change it up’, though I am left with the same disappointment. We then get a vocally driven bridge, before we are lead into a very abrasive EDM dance break, an unfitting (but well executed) high note, and finally a messy and over complicated layered sequence to end the song. A prime example of how doing too much at once doesn’t look good. I have to say that the vocals and rapping throughout Savage definitely showed talent. That’s one of the positive aspects that I concluded with. And I feel the bridge and the rapping in the verses definitely showed this (despite the latter being unmemorable). Pity the music just didn’t come together cohesively (especially that ending).
While I don’t like the song, I did enjoy the music video. SM Entertainment has managed to outdo themselves with the production and quality of this particular music video. My favourite bit has to be any scene with the Black Mamba (the snake, not the song in this case) in them. The detail of the scales and the wrap around the members was so good. The rest of the music video was also riveting thanks to the post-production, CGI and camerawork. Aside from visuals, there is also the plot side to the video. Personally, I am not too sure of what the story line is, though my best guess is that the aespa members are still on a mission to reunite with their virtual counterparts. It is obvious that we are still in that SM cinematic universe, given that aespa are the main drivers of that universe. But it is quite confusing where the story is at now.
I liked the performance for this comeback as well. Firstly, it has attitude, which made complete sense to me given the title of the song. Secondly, it had intensity, which matches up with the song’s own intensity. But the best part has to be the dance break. The intensity and hand/arm work looks really cool and is definitely the peak of the performance.
Song – 5/10 Music Video – 9/10 Performance – 9/10 Overall Rating – 7/10
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