Category: KPOP

[Review] DDARA – Golden Child

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Part of today’s comeback lineup is Golden Child, who has returned with their repackaged version of their second studio length album. The new album has been re-released with the title DDARA. The title track for this release also shares the same name as the newly titled album. DDARA follows the release of Ra Pam Pam from early August. In Golden Child related updates, I will be posting reviews to Golden Child’s unit and solo tracks from their Game Changer album over the coming nights, ahead of their album review later this week. The new songs on DDARA will also be included as part of this album review! But until then, here are my thoughts on DDARA.

DDARA falls into what I would consider to be a niche within the new jack swing genre of music. The new jack swing style tends to be quite in your face, but DDARA seems to hold back on that upfront nature. Because of this, and the sleekness of the song’s main hook and the overall approach of the Golden Child members in this song, DDARA comes off very mature and elegant-sounding. It is very different from what Golden Child has put out more recently, which fell more into the EDM space. What stands out to me in DDARA is the various delivery of vocals and raps throughout the song. We hear a lot of different styles, including acapella at the start of the song, the raspy nature of the song’s main hook (which is quite catchy), the strong vocals that brings vibrancy to the chorus and soft vocals elsewhere, and (finally) refined yet dynamic hip-hop style rapping in the second verse and rap-speaking elsewhere. And there is probably a bit more to add to the list if I had space. As touched on above, the hooks (not just the main hook as already mentioned) were quite catchy. They seemed to bring a dynamic energy to the song, particularly the ‘Yeah this is how we do it‘ chants, which adds contrast. Contrast was also the main theme at the end of the song as the producers throw a bit of a curveball, changing it up by adding altered voices into the background. It was definitely a change up that I thought was needed as the song would easily attracted a (negative) repetitive complaint had that change up not been there. Contrast seemed to be present up to the very last second, as well. In the final line, we got a duo combination of vocal styles. All the members start off chanting one of the song’s hooks, before one member ends the line by himself (not sure who). I thought that was a dynamic and impactful line. Overall, DDARA is a different style, but a good sense of style.

The music video also taps into that sophisticated side. The room (painted pale green room with gold detailings on the wall that I am sure other KPOP idols have filmed in before) was classy and vintage-looking. The props in the room were also gave off that same vibe, though I am not too sure of the food items they had on the table when everyone was in the room (cheeseballs, sauce bottles and decorating donuts – someone didn’t get the classy and elegant memo for that aspect of this video). The choreography scenes were quite simple. A black and white filter, with the member dancing over a white background. The sophistication here comes from the members who are dressed in suits and looked very dapper and proper. Not the most amazing music video, but it works.

The choreography for this comeback shows off both style and flair, which stands out for me. I quite liked the leg flicks. They were soft moves, but quite sharp in execution. It looks quite good. I also like how the rest of the choreography amps up right after the leg flicks to match the energy and beats from the new jack swing elements in the instrumentation. It is a strong routine that matches their concept for this comeback, overall.

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

[Review] Vibin – Youngjae (GOT7)

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After seven years, the members of GOT7 are finally getting their well deserved solo careers. Some members were able to make their own solo start prior to leaving JYP Entertainment, but other members had to wait until after they were released left to begin their solo journeys. Youngjae was one of the final members of the seven to go solo, kicking it all off with his acting debut in the Netflix sitcom So Not Worth It. Today sees the release of Youngjae’s solo debut mini-album, Colors, and the title track Vibin.

Due to his status as GOT7’s main vocalist, I was expecting to hear the title track to go down the typical direction of R&B or a ballad. So it caught me by surprise when I heard something upbeat in the teasers for this song last week. Vibin is a very neat pop track that is extremely pleasant. For this review, I use the term ‘pleasant’ in a positive manner, as I quite enjoyed Vibin. I liked the subtleness of the funky elements in the song, which definitely made the song more energetic and fun-sounding. A lot of songs nowadays are very upfront with their retro or funky profile. There is nothing wrong with being upfront, as this is how the retro and funkiness can be its most impactful. But in Vibin, holding back on those elements, almost felt refreshing. I also like the wholesome feel of the song, and that is all thanks to Youngjae’s vocals in Vibin. He just imparts that feeling onto you with his clear vocals. I also liked the energy he brings via the vocals to the song, which compliments the dance pop nature of the song. The repetitive hooks for Vibin are also quite catchy. If I had to be critical, I do think the hooks could have been taken a step further. I also think that Vibin could have been improved with some sort of textural element. The song had this constant smoothness to it (which was very appreciable), but it could have been balanced out. Overall, I think Youngjae’s solo debut single sounds well done and is a decent showing of his skills.

I think the music video did a good job of encapsulating the vibes and tones of the song. The outdoor scenery, even though was very desolate, felt refreshing and breezy. I guess this was the movement of the camera, especially when Youngjae is driving, that allows that feeling to come through. I think the sun and the denim outfit also adds to that vibe. In the more darker scenes, there is this golden aura that felt appropriate and kept the video from being overtaken from the darkness. The glow from the lighting also helped here. Content wise, I do think the video falls on the dry side. But overall, a decent music video.

Based on the challenges on TikTok and the snippets of the choreography in the music video, the choreography isn’t that overly complicated, which matches with the straightforward nature of the song. I also like the energy he brings to his performance (based on what I saw in the music video), as he is literally all smiles throughout the performance, which comes off very positively on the viewer. I am also excited for his pairing with the female dancer. Looks like an interesting dynamic.

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

[Review] POPPIN’ – Y & JangJun (Golden Child)

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Golden Child’s latest album, Game Changer, featured a bunch of unit and solo tracks. And as part of the promotions for Game Changer, Woolim Entertainment has released a music video for each of those tracks. Over the next few days, I will be reviewing each of the unit and solo tracks from the album that have a music video, ahead of the album review that I will releasing over the weekend. First up (chosen at random) is POPPIN’, which is a unit track featuring Y and JangJun.

My first impression of POPPIN’ is that it screams fun. The pop song is a party track that brings together Y and JangJun. It is extremely upbeat, maintains a fun party vibe throughout and is definitely memorable for a number of reasons. From the very first second with the electric guitars at the start, POPPIN’ teases the energy that was about to come. Right after that, we constantly served with low yet smooth vocals from Y, and powerful and dynamic rapping from JangJun throughout the entirety of the song. Both came through with their parts and kept me captivated. I am floored by JangJun’s delivery in this song, especially since his delivery The blast of energy that we get in the chorus was very impactful and stays in your head even after the song finishes. The most memorable part is when the two comes together for the second half of the chorus, concentrating everything we have heard around it into a sequence of its own. The anthem style delivery and the simplicity of this sequence was super catchy and addictive. Overall, I think the pair really excelled in POPPIN’. I personally am not familiar with both members, but POPPIN’ definitely gives me reason to delve more into the pair. And the song? Well it is definitely POPPIN’. It leaves me with the feeling of when you want more of something, which results you in dragging your cursor to the replay button to satisfy that craving.

Fitting in with the fun vibes of the song, the music video for POPPIN’ features an employee and boss dynamic. Y plays the role of the employee, who is constantly scolded or shouted at by the boss, who is played by JangJun. Their acting was funny and lighthearted throughout the video. At the first chorus, we see Y imagine confronting JangJun and yelling back at him. In the second chorus sequence, we see that imagination become reality, which causes JangJun to remembers his time as an employee. Both forgive each other, as the pair proceed to party it up in the office at the end. Though I guess some actual office workers won’t be impressed by the mess which the pair makes during these party scenes. I liked their CCTV perspective and the use of technology to film this music video (though the constantly moving made it a bit overwhelming for me).

Song – 10/10
Music Video – 9/10
Overall Rating – 9.6/10

[Album Review] Zero: Fever Part 3 (7th Mini Album) – ATEEZ

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After more ATEEZ? Well, you have come to the right place. As promised in my Eternal Summer review, here is my album review for ATEEZ’s latest mini-album, Zero: Fever Part 3. This mini-album features the title track Deja Vu and its contender, Eternal Sunshine, along with four other new songs. This mini-album is a strong one, especially its second half (spoiler: I dish out three 10/10 songs). It is not their strongest one, however. That title belongs to the album release before this one, Zero: Fever Part 2, which featured Firework (I’m The One) as it is title track.

Zero: Fever Part 3 Album Cover

1. Eternal Sunshine – Click here to read the full review for Eternal Sunshine. (7/10)

2. Feeling Like I Do – Following from the bright and energetic nature of Eternal Summer, Feeling Like I Do continues that vibe with a decent track. I liked the upbeat nature of this track, with the synths bringing an enjoyable intensity to the song. The popping effect was a neat addition to the song, matching the vibrancy but also giving Feeling Like I Do some extra and unique energy. The drumming ties everything together. I also like the liveliness of the vocals and rapping. I do wish Feeling Like I Do had a more pronounced climax. It was the only aspect within the song that was missing for me. (8/10)

3. Deja Vu (Title Track) – Click here to read the full review for Deja Vu. (7/10)

4. ROCKY – Drawn from the films that share the same title of this song, ROCKY is a bombastic and fierce song that talks about determination and succeeding as the underdog. Personally, I think ROCKY is better placed to be the title track, in place of Deja Vu, just because the energy in ROCKY is so impactful and memorable. The rock styled hip-hop influenced instrumental is very bold, and I love the swinging melody in the chorus. I think ROCKY could have worked with a boxing concept (pretty unique in KPOP) and lays the ground work for a pretty powerful choreography that will definitely scream of ATEEZ. (10/10)

5. All About You – All About You tones down the energy of the album with a more calming and soothing track. It is more of a contemporary track, not really falling into any of the standard sounds for a calming and soothing track. All About You has an synth heavy that literally simmers in the background for majority of the song. The vocals and harmonies adds both smoothness and textures, while the rapping gives the song additional momentum. Jongho’s high note is exceptional and the repetitive hooks make this song very catchy. I find it hard to fault this song and thoroughly enjoyed it. (10/10)

6. Not Too Late (밤하늘) – Not Too Late continues with the energy downtrend with a R&B track. Everything in song is quite dreamy, from the vocals to the R&B synth dominant instrumentation accented by piano and guitars. The rapping also follows the same mindset and the hooks are quite easy on the ears, easing us into the song and off the album. Another strong song and ender to this album. (10/10)

Overall Album Rating – 8.6/10

Zero: Fever Part 3 Teaser Image

[Review] Eternal Sunshine – ATEEZ

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Kicking off this new week in the KPOP industry is ATEEZ’s music video release for Eternal Sunshine. As this single now has a music video, it is eligible for a full review on my blog, which is the purpose of this post. Eternal Sunshine was one of the contenders for the main promotional track for Zero: Fever Part 3, which was released in mid-September. But it was outvoted by Deja Vu, which was admittedly expected given Deja Vu aligned with ATEEZ’s image and profile more. But as I predicted in that review, the music video for Eternal Sunshine would still be released. On a quick side note before I jump into reviewing the song, if you are still after an ATEEZ fix, keep your eyes open for my album review, which I will be posting later today.

For ATEEZ’s range of title tracks, Eternal Sunshine is very much unexplored territory for the group. The song opts for the synth-pop subgenre that comes off as energetic and refreshing. Usually, we get very intense and edgy sounds from the group, so this is definitely a new and refreshing take on the ATEEZ we know. For the most part, I think it is a solid track. It is well suited for summer and is much more colourful than anything we have heard from the group before. The vocals were very nice and allowed the vocalists to explore pop with their melodies. The rapping was also decent, bringing more of a 90s influence via their delivery. The same can also be said about the chanty anthem that formed the bridge, which also felt like a substantial throwback to that same era and had good energy. The electronic humming was a great centrepiece of Eternal Sunshine and was quite memorable. However I think there were ways that ATEEZ and their producers could have made Eternal Sunshine more bold. The song lacked a climax. We got a high note from Jongho, which usually signifies a climax. But it just wasn’t exciting enough for me. I also wished they changed up the instrumentation a bit in the final chorus to spice up the song a bit and somehow close the song in a much profound manner. Eternal Sunshine, even though is new ground for the group, could have been better, with what we got being fulfilling but not gratifying.

To match the refreshing and summery tone of the song, the music video was extremely bright, vibrant and colourful. It definitely made the video very appealing to watch. The sun is constantly shining, which makes complete sense since the song is titled Eternal Sunshine. Out of all the scenes, I really liked Hongjoong’s solo scene, where he is being dragged across the train’s floor. It made me chuckle, but also added a lighthearted tone. This was reiterated towards the end of the video with all the members sitting on the floor and via their group scenes at the end of the video as well. The only confusing point in this video is the snow – not too sure what that represents. There is a line about Christmas in August, but I can’t really decipher that as well.

I feel that lighthearted tone of the music video also carried over into the performance aspect of this release. It also looked fun, energetic and the members looked like they were enjoying their time on stage, especially during the bridge of the performance. The moves didn’t feel intense, but the performance still carried that ATEEZ flair.

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

[Album Review] Queendom (6th Mini Album) – Red Velvet

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Next album review is Red Velvet’s Queendom, the group’s sixth mini-album. It is the group’s first comeback since the release of The ReVe Festival: Finale in 2019, which is headlined by Psycho, which was unfortunately cut short due to a stage accident involving Wendy, which left her and Red Velvet absent as a whole group throughout 2020. Queendom (the mini-album) is headlined by the title track of the same name, both of which was released mid-August of this year.

Queendom Album Cover

1. Queendom (Title Track) – Click here for the full review of Queendom. (8/10)

2. Pose – Pose seems to find a balance between Red Velvet’s Red and Velvet side (again, do they still categorise their releases between the two?) and reminds me of their past hits. Pose had that quirky element within in its synth pop instrumentation. It made the song lively and quite fun. I also like the bass that we got as part of the background, which gave it depth and an intriguing influence. The smoothness of the vocals, especially in the chorus, and the rapping gave Pose a level of sophistication that aligns with the group’s Velvet side. It isn’t a mind-blowing say, but it was nice overall. (8/10)

3. Knock On Wood – Knock On Wood is another pleasant pop song. The synths in Knock On Wood definitely added to the song, making it more interesting, and added texture to the otherwise plain song. It isn’t an overwhelming amount, allowing the song to achieve that ‘pleasant’ description. The vocals further showcases, especially when the members sing together in the chorus. There was a bit of catchiness in the ‘Knock Knock’ hook. My only gripe about the song is the high pitch ‘Knock Knock’ that Yeri (for the first post-chorus hook) and Irene (for the second post-chorus hook) delivers in the background as an echo of the hook. (8/10)

4. Better Be – I personally liked the direction in which Better Be was going in. The song has this really smooth urban chicness feel to it, which stood out for me. This is thanks to an instrumental. The consistency (which tends to be a sore point for me) worked incredibly well in this song and aided the members to bring out that chicness through their contributions to the song. I really like the husky whispering of the song’s main hook, and the amazingness of the vocals during the verses and choruses. The harmonies also boosts up the song, while the rap-speak was well suited for this song. (9/10)

5. Pushin’ and Pullin’ – We get a bit more oomph in Pushin’ and Pullin’ thanks to the drums and bass. It is what is missing from the album. While it does align itself with the rest of the album, this is my pick for the strongest song on the mini-album. This is simple because of that oomph and that extra serving of vocals we get in Pushin’ and Pullin’. It was their strongest effort yet (on this album), as evident by the ad-libs. The R&B instrumental had a striking factor to it, thanks to the piano and drums. (9/10)

6. Hello, Sunset (다시, 여름) – We have heard sophisticated, pleasant and chic sounds from Red Velvet. And now it is dreamy Red Velvet. I really like how light the group’s vocals, especially when they sing together for the chorus. It was warm and definitely soothing. Instrumentally, the song is quite simple, tapping into the R&B genre, and there isn’t anything special about it. But if you were to take away one thing from Hello, Sunset, it definitely has to be the vocals. (7/10)

Overall Album Rating – 8.2/10

Queendom Teaser Image

[Review] Splash – MIRAE

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Next up on the reviewing block is MIRAE’s first comeback, Splash, which occurred at the end of August of this year. This comeback follows their debut with KILLA (the title of both their debut single and debut mini-album, the latter has not been reviewed).

When I sit down to compare Splash with KILLA, I am left disappointed. You would hope that the first comeback following debut would be better than the debut track (regardless of how good the debut track was). But with Splash, it seems like the opposite is happening. While Splash does line up well with KILLA in the sense that it is an intense and edgy EDM track, Splash feels very plain and boring in comparison. The instrumentation isn’t exciting where it needs to be (i.e. the chorus) and leaves you wanting a whole heap more. It isn’t as bombastic or epic as KILLA was. I am not too sure whether we can blame the hip-hop influence being the main cause of the generic nature of the song, but I feel like past experience says that is the case. The vocals and rapping fair a bit better, as they members really tried to drive up the dynamic nature of the song. The rapping, particularly in the first verse and the bridge, was quite impressive. The vocals did suffer from the generic nature of the song, with the melodies being quite plain and unoriginal. But that being said, the members were pretty clear and were definitely at the forefront of the song. Other than that, I don’t much else to about Splash. It is a step backwards and I hope that their future comeback is able to make up for this.

I think the music video was the strongest aspect of this comeback. The budget and post-production (i.e. that big wave, which makes sense with a song titled Splash, though I feel a capitalised stylisation would have been more suitable as that wave would only lead to a big SPLASH) really gave the video that wow factor that I am usually after, while the sets and the outfits worn by the members really emphasised the edgy factor from the song.

I like how powerful their routine is. It isn’t the most memorable choreography this year, but I liked their intense energy and stage presence. I thought the dance break was pretty cool. It doesn’t seem like much, but it was the highlight of the performance for me.

Song – 6/10
Music Video – 8.5/10
Performance – 7.5/10
Overall Rating – 7.1/10

[Album Review] My Collection (4th Mini Album) – Park Ji Hoon

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Park Ji Hoon’s My Collection album review was supposed to be release last week. But as usual, I was a little behind (can’t remember why I ended up being behind schedule) and decided to hold back the review for this weekend. My Collection features the title track, Gallery, which was released back in August of this year, along with an intro track (which will be factored into the final album rating) and four other new songs. This is Park Ji Hoon’s fourth mini-album to date and follows his first studio album, Message, which was released at the end of last year.

My Collection Album Cover

1. Present On The Stage (Intro) – Personally, I am not a fan of this particular intro track. It isn’t terrible, but just not my cup of tea. While it is pleasant and has a bit of a hip-hop influence to it, I wasn’t liking the drawn nature of the vocals and the stagnant feel it provided. If I had to base the album on the first track, things wouldn’t look too bright. Present On The Stage may have made me skip over this album. (6/10)

2. Gallery (Title Track) – Click here for the full review of Gallery. (9/10)

3. Lost (feat. LILBOI) – Once again, Lost isn’t my cup of tea. I am just not entirely drawn to the song, mainly because it didn’t feel like it got anywhere once Lost wrapped up. I do admit that the pop track was light and rather chilled. Park Ji Hoon brings some falsettos to the song, while LILBOI brought some dynamic energy to the song via his rapping. Neither was enough to convince otherwise about the song, however. (7/10)

4. Strawberry – You might think that I would apply similar comments as the preceding comments to Strawberry. And I would say you are partly right. Strawberry felt pretty linear and didn’t really feel like it developed as it progressed along. However, I do like Park Ji Hoon’s vocals in this song more. His hoarse voice was definitely shown off in this song, and it was a nice accompaniment to the soft R&B coffee shop-like instrumentation. His falsetto notes were pretty nice here, drifting in and out when it was added to the song. (7.5/10)

5. I Wonder – After two paced and vocally driven songs, I Wonder refocuses the album with an upbeat track, which to me is familiar territory for Park Ji Hoon. I much prefer this side of the artist. I will admit the song is pretty plain and simple, but I am sure that the performance for I Wonder would have been enjoyable to watch. I liked the slight dynamic nature that is brought into the song via Park JI Hoon’s vocals, and how upbeat the chorus was thanks to the heavier presence of the synths. It added meat and definition to the song, which I quite enjoyed. (8/10)

6. Remember (파도에게) – Ending the album is Remember. Like the intro track, Remember is also quite pleasant. But electronic synths in the song gives it a nice kick that I thoroughly enjoyed and sets it apart from the into track. Remember bundles all my comments above about Park Ji Hoon’s vocals and rapping into this one song. You get the dynamic nature from his rapping, and the hoarse vocals throughout the song. Both give this smooth instrumental nice and pleasant textures, and everything comes together to be quite dreamy. (9/10)

Overall Album Rating – 7.8/10

My Collection Teaser Image

[Review] Blind – Ciipher

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I disappeared once again this week. I didn’t take a break, but spent majority of the week writing out those ‘Looking Back’ posts (who knew making a YouTube playlist would be so time consuming?). But now I am briefly back to review some albums and other tracks from this week and earlier. First up is Ciipher’s first comeback since their debut with I Like You back in March of this year. Earlier this week, the group dropped their second mini-album, Blind, which featured the title track of the same name.

I Like You had potential, but failed to fully encapsulate that potential in the three minute song. If I had a chance, I would have reserved that song to be a side track and bumped up Blind as the debut title track. It would have been a much better launching pad for the group and surely attracted more attention towards their debut (which is definitely something one would need in this current competitive climate). What really stood out for me in Blind was the instrumental. Blind has this edgy kick to it (via the synth selection), which makes Blind so much more appealing to listen to. This, combined with the other elements I usually focus on, results in an booster version of the group. The guitar riff we hear throughout the chorus makes the song’s centrepiece electrifying, and I thought the plain and simple hook line at the start of the chorus was quite catchy and punchy. I did wish the guitar riffs were a little more pronounced, as this would have heightened the energy and bring forth a much stronger electrifying feeling. I also like the buildup and hype towards the choruses in the song. The drums and concentration that occurs here definitely teases the energy that we got in the chorus. The rapping in Blind is definitely satisfying and adds to the energy of the song. The sequence we get at the end was probably one of my personal favourite moments of the song, as it continued the momentum from the final chorus and helped end the song on a strong note. The vocals were also quite good. While there was some vocal processing, Blind featured clear vocals. I did find it a bit odd that autotune wasn’t used in Blind as much as their debut track. In their debut track, the use of autotune didn’t feel right and its use here instead would have aligned better. Overall, a strong and much better song that I wished was their debut track.

I think with the sound in which Blind had gone for, the music video could have gotten away with a slightly darker concept. I am not thinking horror or dark lighting to the point where you can’t make out the member’s faces. Rather, the producers of the music video could have gone with something edgy, but also keeping it casual as well. Maybe outfits that brings out rock influences, given the guitar riffs we get in the chorus. Or a stage, instead of an office. I understand the more youthful approach of the video, given the energy that comes from the song. but I feel the video as it stands felt more fitting for a pop sound. Some elements within the music video already head in that direction, such as the blue the outfits they wore in the office set for one of their choreography sequences. But like in that example, they looked out of place.

I like the energy they bring to the performance. It definitely works well with the energetic and upbeat side of the song. Other than that, it was a good performance. Not exactly memorable, but it was fun to watch.

Song – 8.5/10
Music Video – 6/10
Performance – 7/10
Overall Rating – 7.5/10

[Review] BAD LOVE – Key (SHINee)

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Also making his comeback yesterday was Key (from SHINee), who returns with his first comeback as a solo artist. In 2018, Key made his solo debut with One of Those Nights (ft. Crush) and the studio length album, Face. In 2019, Key did make a comeback, but it was marketed as his first repackaged album, which was retitled I Wanna Be and featured the title track of the same name (ft. Kim Soyeon from (G)I-DLE). Yesterday, Key returned with his first mini-album, BAD LOVE, which is lead by the title track of the same name and the pre-release single Hate That (ft. Taeyeon from SNSD – which I haven’t reviewed yet).

I may have already teased my thoughts on BAD LOVE yesterday with a subtle reference to Key’s new song in AB6IX’s CHERRY review. I mentioned that I was glad that there wasn’t two overwhelming songs yesterday, which means I was hinting towards BAD LOVE being the other overwhelming song. I am kind of glad I did give myself an extra day to recalibrate my senses, as I don’t find BAD LOVE as overwhelming anymore. Multiple listens has really warmed me up to this song. But is the chorus still a bit too thick for my liking? Yes, I felt there was a lot going on and to digest as the song’s synths really ramps up in the chorus and you can tell that Key was really pushing his vocals to be in the forefront of all the synths. But, I do see how memorable the chorus is, how Key really shows and impresses with his vocal chops when his vocals soar in the song and the constant delivery of those high notes, and why some people might consider it a ‘out of the park’ song. Unfortunately, those initial thoughts still seem to float around in my head when I listen to BAD LOVE, so I can’t really share the exact same perception. Elsewhere in the song, BAD LOVE really flourishes with its retro and electronic mix. While this sound isn’t original, I feel that BAD LOVE really (and literally) takes the sound profile to the next level. I am not keen with the synths at the very start of the song, but everything else in BAD LOVE was definitely rocking and shows the creativeness of the producer. The bridge was very interesting with the really deep and raspy ‘I’m not thinking of you‘. That was wow moment for me that stood out for me initially.

The only thing I am a bit wary of in this music video is that red outfit in the choreography scenes. I think that was the only negative aspect of the music video. Aside from that, the music video was equally as aggressive as the song (but obviously in a visual sense). From what I can tell, Key seems to be portraying a celebrity who is starring in his own BAD LOVE sci-fi story (that ultimately ends with his demise). It drives Key insane and he wants out of the story, as he doesn’t want to relive the events that he himself had already gone through. I really enjoyed his acting and Key definitely makes the video a worthwhile watch. While a lot of the sets seemed to bring forth that modernish vibe, I feel the stage platform with the disco balls above it was a nice tie in of the retro influences to the video.

Also like the song and music video, the choreography for this comeback also took an aggressive approach that felt very fitting for the song. From the scenes in the music video, you can feel a lot of artistic flair within the choreography. I would also like to see Key replicate that ending (with the dancers lying down on stage) on stage, as that was a very memorable image to finish on.

Song – 9.5/10
Music Video – 9/10
Performance – 10/10
Overall Rating – 9.5/10

[Review] CHERRY – AB6IX

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One of the comebacks kick starting the final week of September 2021 is AB6IX’s CHERRY. This new single is the latest from the group and is featured on their second studio length album, MO’ COMPLETE. This comeback follows the release of their fourth mini-album from April of this year – MO’ COMPLETE: Have a Dream and its lead single CLOSE. It is also their third comeback of the year, which makes this another busy year for the group.

Right off the bat, AB6IX blasts us with CHERRY‘s colourful energy. This sets the tone overall and continues on throughout the song. It isn’t an overwhelming blast of energy though, which was great. Personally, I probably would have taken the night off and avoided dealing with two overwhelming songs in one day (more on that in my next review – to be posted tomorrow). CHERRY‘s bright energy follows on from The Answer, one of AB6IX’s comeback tracks in 2020, as that too was quite an upbeat and funky comeback for the group (in comparison to their previous releases). However, CHERRY is much more concentrated when it comes to the funky direction they had chosen to go with. I quite like the chorus, but probably not for the reason you would think of. It was definitely dynamic, especially when it comes to the member’s delivery, matching the energy we got from the instrumentation. However, the scene-stealing element was the ‘YUM‘ in the chorus. It was so straightforward and serious, which made me laugh. Not exactly sure if that was the intended effect, but it made the song memorable for me. What I also enjoyed was how the members also brought out that dynamic tone to the verses and bridge, making CHERRY a very satisfying listen. I felt that the verses could have been very plain, but the dynamic delivery definitely liven up the sections in question. The post-chorus following the first and final choruses was probably the weakest element of the song in my opinion. I felt that they toned down the energy by the slightest amount, which felt noticeable to me. I wished they just continued the momentum and had a stronger hook in this part, which I am sure would have CHERRY even more memorable. Overall, CHERRY was a great song that I thoroughly enjoyed.

The music video was quite fun and colourful, just like the song. I wished there was more to the video however, as it is just a bunch of closeups and choreography. They seemed to hint at something more with the members staring off screen at some parts, as if their crush had just walked past behind camera. It was a nice detail to add to the video, but I think it would have been better with an actual person on-screen, kind of like GOT7’s A. I did like the extra graphics they had in the background for one of the choreography shots, and the various effects we saw throughout the video.

The choreography for this comeback is definitely energetic and intense (in the sense that it is continuous and doesn’t offer many moments to catch your breath). I particularly those air punches they do just before the choruses and their expressions on stage make this performance even more interesting to watch.

Song – 8/10
Music Video – 7/10
Performance – 8/10
Overall Rating – 7.7/10

[Album Review] Right Through Me (2nd Mini Album) – Even of Day (DAY6)

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The next album that I am reviewing belongs to Even of Day (DAY6’s first subunit), titled Right Through Me (which is also the name of the title track, as well). It was released at the start of July of this year, which makes this album review almost three months late. This appears to be the unit’s (comprised of Young K, Wonpil and Dowoon) last release for a while since Young K (who recently made his solo debut with Guard You) will be enlisting at the end of the month/later this week, with Wonpil and Dowoon set to follow down the track. So let’s have a listen to Right Through Me (the album) and see what we think of the album!

Right Through Me Album Cover

1. WE (우린) – WE is a pleasant synth band track that eases you into the album. I liked how the song is light throughout and its inspirational tone and message. While I usually make negative comments about consistency, I think it was well played in WE. It kept the song grounded for me, especially since Wonpil and Young K vocals make it feel as if you are floating away on a cloud. The drums are well defined in this song, preventing us from forgetting the presence of Dowoon. Overall, WE is a soothing and calming listen that begins Right Through Me (the album) on a positive note. (9/10)

2. Right Through Me (뚫고 지나가요) (Title Track) – Click here to read the full review for Right Through Me. (7/10)

3. WALK (역대급) – WALK enters a much more upbeat and vibrant territory (compared to the moodier title track) with its synths. It, combined with the rock influences, in the chorus definitely exudes a pop rock feel that I find to be extremely likeable. The energy that comes off the song (especially in the chorus) is quite intense, but it is also bright and positive. I do find the hooks subtle, but that doesn’t mean they don’t work. But if I did have to pick what made the song memorable for me, it would be the vocals, especially the vocals that are positioned in the background of the song. They really made the song feel wholesome and complete. (10/10)

4. all the things you wanted (네가 원했던 것들) – Returning the album to the more paced and slow side of the album is all the things you wanted. This song is a pop ballad, with a heavy influence from the 80s/90s. The particular synth selection that reminds me of that era brings forth a nostalgic effect, and the ballad as a whole elicits the swaying effect that I use as criteria for a good ballad. Their vocals are well highlighted in this song, with a strong portrayal of heartbreak and pain. While it sounds like I do have just praises, I find the song to be on the more typical side of ballads, sans the synths. (8/10)

5. from the ending of a tragedy (비극의 결말에서) – For from the ending of a tragedy, the unit steps back into rock territory with a much more concentrated sound. I just love the drumming in this song, especially in the chorus. It is very fulfilling and definitely gave from the ending of a tragedy some bite. Similar comments can be made about the rock guitars in this song, but I think Dowoon and his drums prevail. If I were to be critical, I wanted more from the vocals. They sounded good (as always), but were largely forgettable for me. (8.5/10)

6. Home Alone (나 홀로 집에) – Words that I usually use to describe songs like Home Alone, like ‘upbeat’ and ‘vibrant’ feels more so like an understatement for Home Alone. This synth pop song is without a doubt the unit’s most colourful and retro song on this album, more so than WALK. This colourful nature comes through multiple avenues, including the expressive vocals we get from the members and the intense rush of energy in the chorus. The highlight, however, has to be Dowoon’s inclusion at the mid-point of the song. It was surprising and unexpected, but definitely worthwhile addition to the song. (10/10)

7. LOVE PARADE – The final song on the album is probably the unit’s heaviest track, in terms of sound. LOVE PARADE is quite dynamic song, and it is a very satisfying track to listen to. Constant throughout the song is the heavy drumming. Once again, this is a testament to Dowoon’s skills, as the drums felt relentless and drove the song forward. Young K and Wonpil counters the drumming with their vocals, keeping the song from being too heavy. Dowoon also makes a few appearances in the song as a vocalist, with another one-liner after Young K and Wonpil, and also in the ‘Ba Dam Bum’ sections of the song (i.e., the ending sequence of LOVE PARADE). Overall, a strong ender to the album. (10/10)

Overall Album Rating – 8.9/10

Right Through Me Teaser Image

[Review] Lemonade – Lee Eun Sang

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More time jumping, but this time is back to the past with a catch up review. This particular post focuses on Lee Eun Sang’s solo comeback Lemonade, which was released at the start of September. Lemonade is featured on his second single album, titled Beautiful Sunshine. It is also the first comeback by the soloist since his solo debut with Beautiful Scar last year, which also featured fellow labelmate Park Woojin (from AB6IX).

To me, Lemonade is another song that I would describe as pleasant at best. I think if I had sat down and reviewed the song when it first came out, I would have raved about its pleasantness and calming nature in a positive light. But now that the song has aged a few weeks, I feel like whatever effect that Lemonade was intended to have on the listener has fizzled out. Think of a flat lemonade soda, this is what Lemonade now feels like. This doesn’t make Lemonade a terrible song in my point of view, rather it just didn’t hold its ground. Vocally, I thought there was a degree of sweetness in this element. And while I am convinced that sweetness is still present, I do think Lee Eun Sang’s vocals would have been more appealing had there be some insertion of personality (I felt the same way about Beautiful Scar). They felt typical and lacked much energy. Similarly, the same could be said with the instrumentation. Initially, I would describe Lemonade‘s backing as bubbly. But now that I think about it. more vibrancy in the consistent strumming we hear in the chorus would have emphasised this. I did like the synth drums, as they did add some flair, but it was not enough to really consolidate and concentrate the vibrancy. Hook-wise and melody-wise, I think Lemonade still had these elements come through as I do remember them more somewhat compared to the rest of the song, but had the vocals and instrumental been more so what I mentioned above, I am sure the hook/melodies of Lemonade would have been enhanced. So overall, more could have been done to really help Lemonade become and stay appealing.

Concept wise, this is 180 degree flip in terms of concept when we compare Lee Eun Sang’s two solo works. Here, Lee Eun Sang looks much more youthful and the concept is a lot more casual and brighter. It fits the Summer season quite nicely and works well with the song. Unfortuately, I didn’t see anything special within this music video. And honestly, I haven’t gone back to watch it since it was first released. I personally prefer the more mature side of Lee Eun Sang and thought his last solo music video was a lot more interesting to watch.

The performance is more so the same as the music video in terms of concept. It fits well with the song. But like the music video, I didn’t see anything special within the performance (though I did like the squeezing move they had in the chorus). That being said, I did think there was added layer of vibrancy in the choreography, which pulled me towards the performances, rather than the music video.

Song – 6/10
Music Video – 5/10
Performance – 6/10
Overall Rating – 5.7/10

[Review] LOCO – ITZY

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From a review focusing on the major release from the start of the week, I am now time jumping to the end of the week to review the major release of today, ITZY’s LOCO. It is the title track off their 1st studio album since debut (titled Crazy In Love), which also dropped today. This is the group’s second comeback of the year, following April’s M.A.F.I.A (In The Morning).

I felt that LOCO was a return to form for the group, following the not-so-good M.A.F.I.A from earlier this year. If you want to know about my thoughts on M.A.F.I.A, feel free to read that review. LOCO still retains that edgy side of their previous song, but the new song also re-enters that vibrant arena in which ITZY’s earlier releases lie in that I have mentioned. What really stands out to me in LOCO is the song’s energy, which to me, is thanks to the bass and the electric guitars we hear in the background. The bass was like a common thread tying the different and distinct sections of the song together. It also added that definition and helps the song pack a punch, which complimented the rock influence. The electric guitars in the background delivers this rock influence, taking the song to a whole new level of me. I do think LOCO has potential to be more electrifying and hardcore. I think if the producers did this, LOCO would have been boosted to new heights. The bombastic nature of the start was a great entrance into the song and I liked how that was also continued throughout the song as well. LOCO also had a Latin influence, which was an intriguing influence to have in this mix. When it comes to the vocals and rapping, I thought both elements were rather strong and bold, which was definitely necessary to stand out over the instrumentation. The members definitely had a good handle on this. The melodies in the chorus and elsewhere were appreciable and felt like it did a good job of balancing the high energy that came from the raps. Overall, I thought LOCO was a strong song and definitely it took me back to their earlier days. However, I am definitely of the opinion that the song would have flourished if all their influences were more concentrated and intense (i.e. more of that rock!).

The music video for this comeback is fantastic. While the song doesn’t have that colourful tinge to it as per their earlier works, I felt this colour was definitely made up in the video. I also liked how that the video managed to convey edgy side of the song as well, which helped made the video feel so much more dynamic. I also felt a bit of epicness from the video when it came to the ‘Crazy In Love‘ billboard and the stage performance we were treated to, following the interlude within the video. I just wished the producers of the video CGI in a crowd for that part, as that would have really heightened the energy and ended the video on such a high note. Elsewhere, the post-production in this video really highlights the high quality of the video.

The performance was another highlight of this comeback. I really liked the powerful energy that came through, especially for the chorus, along with the attitude that sends a ‘you don’t want to mess with us’ message. This just really highlights their stage presence. The main move seems to be the holding of and shaking of the head, which makes sense, given that ‘LOCO‘ is Spanish for ‘crazy’. It is definitely a worthwhile watch.

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

[Review] BRAIN – Yang Yoseob (HIGHLIGHT)

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After taking a few days off after my album review blitz, I am back with a review of Monday’s main release, BRAIN, by Yang Yoseob (from HIGHLIGHT). The new song is featured as the title track of Chocolate Box, Yoseob’s first ever studio album since his debut 12 years ago. This is also Yang Yoseob’s first solo release since Star and Where I Am Gone in 2019 and his release from the military. Earlier this year, Yoseob returned with his fellow members of HIGHLIGHT for Not The End and The Blowing promotions, marking the end of a two year hiatus for the group.

To me, BRAIN is a fairly straight-forward R&B track. It is always nice to hear something that you can describe as pure and not overly processed or potentially muddled by other influences (which is more so the case of today’s KPOP music). It is also a nice throwback to how Yoseob started his solo career, which was also an R&B track (see my review for Caffeine).I wasn’t a fan of his debut song back then, but I would say my music tastes have matured over the many years since then and can appreciate a song like Brain now. A few elements pop out at me in the newer song. Within the instrumentation, I found the muffled flute to be quite an intriguing centerpiece. At first I didn’t like it, but it drew my attention in quite quickly and dragged out a few additional listens out me. The bass was a much needed element in BRAIN, adding definition to the instrumentation and the song overall. The rest of the instrumentation was more on the typical side of the spectrum and hence the muffled flute and bass really did wonders to make it more attractive. Another element within BRAIN was Yoseob’s vocals. His vocals are smooth and perfectly suited for the R&B genre, and I felt that BRAIN really highlighted that and presented his vocals extremely well. I particularly like Yoseob’s vocals during the bridge, as they seemed to push the song’s boundaries. It might be minute, but it was definitely appreciated. The melodies that he brings to the song also gave BRAIN a tinge of memorability, which works hand-in-hand with the other memorable elements of the song. Overall, BRAIN is a pretty decent song. I am not head over heels for the song, but it is a great return to form for Yoseob and highlights his skills in a manner that is clear and pure.

As for the music video, it is fairly typical. But it was still fine to watch. I did like how the stylist(s) for this comeback changed Yoseob’s image for this comeback. He looks very mature in this music video in his outfits, which is rather different to the image that I am more familiar of him (for those who are wondering, I am much more familiar from his youthful image back in the early days when he was promoting under the name of Beast). Elsewhere in the video, I felt some of the sets provided a bit of sophistication and classiness to the music video. The lighting added a bit of a dramatic flair, especially around the peak of the song.

Choreography-wise, it matched the vibes of the music video. I thought it was classy looking and there was a tinge of sensual energy. It was also elegant and smoothing looking as well. I particularly like the slow shuffling in the chorus and the slow swinging of the legs in the post-chorus hook. I feel like the choreography really lifted up the song, for me.

Song – 7/10
Music Video – 7/10
Choreography – 8/10
Overall Rating – 7.2/10

[Album Review] MUST (7th Studio Album) – 2PM

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It has been a while since we heard from this particular group. To be precise, five years. I am talking about none other than 2PM, who have been absent from the KPOP scene due to military enlistments over the last five years. At the end of June of this year, 2PM regrouped to release their 7th studio album, MUST, which features the title track, Make It. Amongst the new tracks alongside Make It is the acoustic version of their 2015 hit My House, which rose on the charts earlier this year once again. As per my album review rules, I will not be including this new version of My House and the intro in the final album rating score. This is also the final album on the album review blitz I have been working on over this weekend. Feel free to return to the home page to see the seven other albums I reviewed this weekend. Otherwise, here are my thoughts on 2PM’s latest release!

MUST Album Cover

1. Intro – The album begins the sophisticated jazzy intro, which I think is a great reintroduction to 2PM. It is mature. It is classy. It is everything that 2PM has pumped out prior to their military enlistment hiatus.

2. Make It (해야 해) (Title Track) – Click here to read the full review of Make It. (8/10)

3. OK or Not (괜찮아 안 괜찮아) – For OK or Not, there are many great elements to this song. Firstly, the instrumental was quite dynamic. I liked the synthetic violins that were used in this song. It helped the song exude a mature and classy tone, but also fitted in with the rest of the synth instrumentation. Secondly, I liked how the members were in the forefront of the song. Their voices were clear and crisp, throughout. I did like the autotune filtering they applied to some of the vocals, particularly the hook, which added depth to the song. Lastly, the song’s hook was repetitive and catchy. It was also quite simple and clean, so it was super easy to appreciate. Overall, OK or Not is a strong and likeable side track. (9/10)

4. On My Way (보고싶어, 보러갈게) – I was lowkey waiting for a drop in On My Way, which ultimately didn’t come to fruition. The instrumental hinted towards a drop on multiple occasions, especially as the song was building up to the chorus. But instead, the song opted to just transition from pre-chorus to chorus without much flair, and this made On My Way slightly frustrating. Other than that, On My Way was a pretty straightforward song, with good textures thanks to the consistent use of clickity clacks in the instrumentation and the autotune. (7/10)

5. Champagne (샴페인) – Champagne is the first standout song on this album. The instrumentation was very cool, with the contrast of bass and metallic xylophone being one of the most memorable aspects of the song. The synths take on an almost screechy profile, but they work cohesively with the rest of the song. Another memorable aspect included the dynamic that Taecyeon and Jun.K brought to the song via their rapping. It added drive and additional cool points to the song. I also liked the subtle use of brass in the song. (10/10)

6. The Café (집 앞 카페) – The Café is a fun and bright pop song that remains within the classy parameters of the album. It is super easy to get into and enjoy, with melodies that I am sure will make you smile. I liked the additional highlights within the instrumentation from the xylophone tapping. The vocals and rapping were really nice here, as well. (9/10)

7. Moon & Back – Moon & Back is a R&B song that I find to be quite well balanced and thoroughly enjoyed from start to end. The instrumental is quite texturally packed, thanks to all of the small details we get throughout the song (i.e. the disc scratching, the taps and clicks etc.). The vocals brings the smooth texture that one would usually associate with the R&B genre. My pick for standout member in Moon & Back is Taecyeon, with his really deep vocals. They just had such a strong effect and brought a different colour to the song, despite being one of the briefer elements of the song. (8/10)

8. Two of Us (둘이) – Continuing the R&B on the album is Two of Us, but this time over jazzy instrumentation that brings out a warm and happy atmosphere. You just can’t help but smile whilst listening to this song. The chorus of Two Of Us exudes an undeniable sweet tone. The best part of the song has to be the ending, when the members harmonize with one another in an overlapping manner. It isn’t like your typical harmonization in a ballad, where the members come in at the same time. In this song, it appears that one member starts slightly later than the other, but they still come together cohesively. (8/10)

9. Hold You (놓지 않을게) – Hold You is a ballad, with a tinge of jazz in the background. I really liked how breathy their vocals are throughout the song, which gives off the appeals that fit right into 2PM’s wheelhouse. What makes Hold You even better are the harmonies we get between all the members following the chorus. I also thought the brass in the chorus adds definition to the ballad, making it much more dynamic than your typical ballads. (8.5/10)

10. My House (우리집) (Acoustic Version) – Click here to listen to the acoustic version of 2PM’s 2015 release, My House.

Overall Album Rating – 8.4/10


MUST Teaser Image