Category: KPOP

[Review] Breathe Again – BLITZERS

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Another group to make their debut this year is BLITZERS, debuting mid-May with Breathe Again. The group is currently under WUZO Entertainment, and consist of seven members (Go-U, Juhan, Jinhwa, Sya, Chris, Lutan and Wooju). Prior to their debut in May, the group has been active with pre-debut singles in 2020 (title of these songs were BLITZ and Drawing Paper, and both of which were re-released on the group’s first mini-album). Back then, the group was vastly different and were known as WUZOCIRCLE. Now that the group has officially debuted, it is time to check out their title track, Breathe Again, which is featured on their Check In (their first mini-album).

Out of all the debuts/comebacks I have reviewed on the blog this weekend, Breathe Again is probably my favourite release of all. It is also the release and group with the most promise, from my point of view. What is really great about Breathe Again is that it is very exciting, which is thanks to the rock elements that are present in the instrumentation. There is a lot of bursts of energy and continuing momentum that makes Breathe Again extremely likable. I will admit the opening seconds of the song was a bit meh, but it did enable a great launch into the rock elements of Breathe Again. In addition to the rock instrumentation, the group also had a hand in amping up the song with their strong vocals and powerful rapping, keeping the song dynamic on many fronts. I quite like this. Not only did the song attract my attention, but it really sold the members’ skillset. This is a really good impression to leave on a listener (not just myself) and it gets me excited for their future works! The chorus is dynamic due to the combination of the vocals and rock instrumentation. But it unfortunately lacks a robust hook to drive the memorability factor up. What we got were powerful backing vocals and electronically muffled rapping. While it was good enough, I did think that Breathe Again would have benefited greatly had it had that addictive hook. Then, it easily would have slipped into the 10/10 region. The bridge slows down before we are launched back into the rock elements. Bridging the slowdown and the final chorus is this very memorable head-banging moment with the repetition of the ‘We Breathe Again‘. It was perfectly executed and brought in at the right time to really allow the song to hit the home stretch and wrap up. And as you you can tell, it is my pick for the song’s highlight. Overall, Breathe Again ticks all the boxes for a debut song and I do look forward to what is to come out next as part of BLITZER’s discography. However, it doesn’t salsify all boxes in being the ideal song.

The music video for this release is appropriately edgy, which compliments the rock sound. I am a bit unsure if the group is leading a rebellion or just making themselves known. It seems like a lot of work for the latter, but we didn’t actually see the former happening. Other than the plot, the settings chosen for this video were really good, matching up with the edgy feel. I particularly liked how they took it to that mining site. Even though there was a lot of dirt and brown to this selection, they went all out in this setting. The use of pyrotechnics and their hoodie outfits gave the video an additional cool feel. And the cinematography made this video even more breathtaking. Overall, a good video.

I liked how they channeled the edgy vibes of the song into the choreography. They also did a good job of channeling the energy of the song. To me, the best part of the choreography is when they pull their hoodies over their heads at the start of the chorus. It is different, but gave off that edgy feel in a matter of seconds. The flip at the start and the human staircase were also memorable moments in the choreography.

Song – 9/10
Music Video – 8/10
Performance – 9/10
Overall Rating – 8.7/10

[Review] VAMOS – OMEGA X

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Next up this weekend is OMEGA X, which is a fairly recent debut (two weeks ago, actually). OMEGA X launches their career with the single VAMOS and mini-album which shares the same name. What makes OMEGA X’s debut interesting is that the members of the group are all former members of groups that unfortunately never took off. It is quite disappointing to hear that some of these groups are now defunct or disbanded, as they released catchy and great tracks back when they were active. OMEGA X’s lineup include Hangyeom (former member of Seven O’Clock), Jaehan (former member of Spectrum), Hwichan (former member of LIMITLESS), Sebin (former member of SNUPER), Taedong (former member of pre-debut group GIDONGDAE), Xen and Jehyun (both of which former members of 1TEAM), Kevin, Junghoon and Hyuk (all former members of ENOi) and Yechan (former member of 1THE9). Let’s see if VAMOS has what it takes to relaunch their careers once again.

VAMOS (which is ‘go’ in Spanish) is a pretty plain song. And this would be troublesome for a debut song (let alone a redebut for the case of OMEGA X). It features an repetitive instrumentation and lacks a lot of elements to make VAMOS memorable. The main star of the song isn’t the members. They were unfortunately very forgettable and didn’t stand out. I did like how the rest of the members echoed the lyrics by shouting them out. But that was an echo, and intended to be in the background, not the foreground where the vocals/raps should have really been prominent. Rather, the ‘main character’ of VAMOS are the heavy brass synths that dominates the instrumental. They were off-putting when I first heard the song. But because the song doesn’t really have much to work with, the synths interestingly emerges as the song’s memorable aspect. Not only do the synths start the song, they actually feature in the chorus, as well. This pretty much dulls whatever intended effect it was supposed to deliver. The chorus also lacks a strong hook, making those synths do the talking, rather than the members. The second chorus attempts to change the song up by incorporating pan-flutes, but they replicate the same sounds of the primary brassy synths, and hence delivers no further impact. The bridge of the song is where things get a bit more interesting. The use of the whiny electric guitars is a bit different from any release in general, and gave me something to ponder about briefly. The chorus returns, once again. But rather than leaving it there, VAMOS ends with an ending sequence that reminds me of how iKON ends their songs. It gave the song that breath of life that it needed. But sadly, it was too late to really leave any lasting impression on the song. Overall, OMEGA X’s redebut doesn’t really live up to my standards. I do hope that the group are given another chance to release something else. And hopefully that something else is more dynamic and memorable.

What a great music video! While I didn’t have high expectations given that they were from a much smaller company (SPIRE Entertainment), I was pleasantly surprised at how good the video watch. Even their use of green screen puts a much larger company to shame! I really liked all their choreography scenes. Some of them were set up to mimic the outdoors, and these actually looked good. The best was the circular set, with the gold detailing, black and white visuals on the screens and the red lighting used in the background. It all gave off the impression of depth and that there was more to the set than just the circular stage. I also thought the members looked great, especially in their red and black outfits.

The routine was good and energetic. But it was riddle with the same issues experienced by the song itself. It was plain and didn’t have anything memorable within it. If I did have to point out which section I did like best, it would be the bridge. I think it was the most appealing part of the choreography.

Song – 5/10
Music Video – 9/10
Performance – 6.5/10
Overall Rating – 6.5/10

[Review] Lock Down – EPEX

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Yesterday, I focused on the female rookie groups that debuted this year. Today, the focus will shift to male groups. And there is a fair bit to cover in this space. First up is EPEX, the latest male group to debut under C9 Entertainment, which is also the home of CIX. They are made up of 8 members in total, including Wish, Keum, MU, A-Min, Baekseung, Ayden, Yewang and Jeff. ‘EPEX’ stands for eight apexes, with each member representing an apex. They debuted more ‘recently’ at the start of June with their single Lock Down and the mini-album, BIPOLAR Pt.1 : 불안의 서 (BIPOLAR Pt.1: Prelude of Anxiety).

To me, I find that EPEX’s Lock Down gives me P1Harmony’s Scared vibes. However, the more recent release (i.e. Lock Down) is plainer and doesn’t really have that memorable factor that Scared had via its instrumentation. This doesn’t mean it is a bad song. EPEX’s debut single still manages to hit the mark as a hip-hop dance track, heavy with its sound that helps deliver an edgy sound. This also makes way for the showcase of rapping abilities, which (based on this release) appears to be EPEX’s greatest asset (I think over half of the members were rappers in this song). I just really like how the rappers of the group are continuously coming at you with their delivery, particularly in the first verse. Definitely a great first impression to make. Furthermore, the energy they channel is relentless. One of the rappers (Baeksung I think is his name – sorry if I got it wrong) also brought a wow factor to the song with his fast rapping. It was brief, but it is an attraction in this song. While it isn’t the first time we have heard such delivery before, it is also amazing and literally breathtaking to hear someone rap so quickly. While the rappers were showcased, the vocalists of the group also did a good job. As Lock Down opted for hip-hop dance influences, they really didn’t have much opportunity to show their abilities. However, with the parts they did have, they made really good use of their parts. Props to the members who partook in the bridge of the song. Just that part alone tells me that there is some unexplored talents in this group that I hope they bring forward in future releases. I also liked how the bridge slowed down the song, and brought in classical and music-box-like instrumentation. It was bit of a change, but it made the final chorus that bit more impactful. Talking about the chorus, it is a very forgettable sequence and wished it was more dynamic. Their shouty style was monotonous and just didn’t appeal to me. Maybe a chorus hook with a powerful melody could have done the job. For me, the best hook in the song ended up being the whispering of ‘Everybody Lock Down‘. Effective and got my attention. But as a whole, Lock Down is a good first step for EPEX.

I am not entirely sure what is going on in the video. Based on the lyrics, the song is all about the bad side of the social media. I guess they liken social media to locking down (as we have been doing since last year due to the pandemic). The isolation caused by social media being a prime example of this. Based on this interpretation, I figure the members are going to the extreme to get back control of their lives. They trade out the ‘million dollar hoodie and padding’ for bombs to make their statement against the evils of social media. Not sure if my interpretation is right, though that is what I have managed to make sense of the video and lyrics. Aside from the ‘story’, I liked the moodiness of the video and the use of the abandoned buildings to heighten that edgy feel. In addition to that, I think their main choreography set (i.e. the one in the thumbnail for their YouTube video) was nicely designed and fitted in with the rest of the industrial look of the video.

I really like how the choreography for this comeback was continuous and never really stopped. It really fitted in with the song’s aggressive nature. Even during the slower moments of the song, the members continued moving. I particularly enjoyed the bridge of the performance, with the members following and pausing in various positions to show pain, before regrouping to do that turn when the music box-like sequence and ending up in that kneeling position before the final sequence.

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

[Review] RUB-A-DUM – TRI.BE

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Next up is a review for a group that debuted in February of this year and (gasps!) a group that I actually reviewed before (check out their debut single DOOM DOOM TA and my review for their debut). TRI.BE made their first comeback since their debut with RUB-A-DUM mid-May. Since then, the music video for RUB-A-DUM has garnered almost 12 million views, which is a remarkable feat for a rookie group from an agency that isn’t that well-known. This is also just under double the amount of views their debut music video got! Amazing! it is definitely a sign that this group is garnering interest, which is definitely what a rookie wants to do in such a competitive industry. Let’s see what TRI.BE’s new track has to offer.

RUB-A-DUM is a very energetic and fun track. That was my initial impression of the song when it was first released (hard to forget such a song like this, for reasons that will become apparent) and it still forms part of my impression now. Currently, not only do I find RUB-A-DUM energetic and fun, I also find it overwhelmingly so. The song is a bit much. I am not one to be overwhelmed that easily. But I reckon RUB-A-DUM could have been toned back a bit and it still would have been as energetic and fun. Moderation, as they all say. There was also a lot going in the song, especially in the body. And I feel this is a main reason to why I feel that the producers of RUB-A-DUM could have toned it back. It would have made everything a lot more enjoyable and less overwhelming. So what do we get in RUB-A-DUM? Well, you get this Middle-Eastern influence in the instrumentation. I am assuming the high pitch whistling/flute we get is also a Middle-Eastern influence, though it was carried over to be a centerpiece in the instrumentation. We also get some deep bass, giving the song some depth and channels some energy. In addition, we get a bit of a pop melody for the chorus, a sudden move from chorus to the second verse with no break, and a slowdown to let us to listen to smooth vocals, before returning with the pre-chorus, But wait there is more. What was supposed to be the second chorus was replaced with lighter vocals and less harsh raps in which all the members participated in (I assume is the bridge), before the second chorus kicks in to end the song. If you think all of the above is a bit much, well, join the club. It is quite a mess and I also wish the producers of the song really cleaned it up to make it more inviting to listen to. On a more positive note, all those elements above are actually quite good on their own. RUB-A-DUM also features good vocals and rapping from the members, and the energy that comes off the combination of Middle-Eastern influences and that deep bass is quite prolific and powerful. But a neater and cohesive track would have been better and still would have retained that fun impression that you get when you listen to RUB-A-DUM.

The members of TRI.BE just continually multiply in this music video. First there is just the group. Another another copy of the group appears. Then we see three, four and fives times the same member. By the end of the video, we see 98 of them. Needless to say, it is a freaky video. The concept of the spaceship from their DOOM DOOM TA music video appears here, which is the cause of how the members multiply, zapping them into existence as we see at one point in the music. Other than the freaky generation of TRI.BE, we get a well put together music video that compliments the music and looks good as well.

The choreography for this comeback has this hip-hop style to it, whilst also bringing out the fun vibes of the song. There is also a playful energy to it, which makes it really appealing to watch. I really like the crab bounce they do during the chorus. I also really like the ending, when they make that ring with their thumbs and fist around on the members. It would have been cool for the move to be dynamic, with a different member in the centre at the end of each performance.

Song – 6.5/10
Music Video – 7/10
Performance – 9/10
Overall Rating – 7.2/10

[Double Review] Wings + Let Me Know – PIXY

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PIXY is next up on the reviewing schedule. And to date, I have missed both their debut and first comeback, so I will be reviewing them both here today! For those who don’t know PIXY, they are a six member female group formed through a collaboration between ALLART Entertainment (home to Park Jung Min, one of the members of the now inactive SS501) and Happy Tribe Entertainment (home of the currently inactive Boys Republic). The group consist of Ella (former member of Cherry Bullet), Lola, Satbyul (former member of GsA), Dia, Sua and Dajung (former member of SUPA). The members made their debut back in February with Wings and ‘recently’ returned mid-May with their first mini-album (Fairy Forest: Bravery) and the title track, Let Me Know.

First up is their debut single, Wings. Wings start out with very creepy whispering that really sets the scene. It is a very bold and intriguing start that brings forward horror and cult-like vibes. The rushed manner of this whisper felt like the member was inciting some sort of spell. As we move from the whispering introductions, the dance track becomes plain. Wings is essentially any other release out there that taps into the world of dark and angsty pop music. The instrumental feels familiar as a result and doesn’t really bring anything new to the game. And it is this that I didn’t pay much attention to it at first. I did like how the music continued the horror theme, however, giving the song that uniqueness to very well needed to stand out. As per most songs, casual listens have managed to snowball me into liking the song. What really grew on me was the shouty chanty style of the chorus. It might be overwhelming for some, but I felt it was what really sold me with Wings. It was addictive and felt very aligned with their horror concept for their debut. The final chorus was definitely set up to leave an impression, with the members sing-screaming their name over consistent percussion. It did, for me, at least. Elsewhere, their vocals and rapping were definitely shown off. Wings may not have started out as the promising debut. But it got there in the end.

Let Me Know faired a lot better initially, compared to Wings. While Let Me Know does fall more on the mainstream side overall, I think Let Me Know really nailed some aspects that I thought really helped me enjoy the song more. From the start, the song opens up with guitar riffs and complimenting synths. It isn’t as apparent here, but it actually become a refreshing piece in this song, especially following the chorus. I felt the vocals and rapping in the first verse alone already leaves a strong impression on you. If you feel the same way, then just wait for the rest of the song. The rapping in the second verse is a personal favourite of mine, along with the sweetness that the vocals in the bridge bring to the song). The pre-chorus brings in more percussive instrumentation that creates a great incline towards the chorus. I am a bit torn with the chorus, but I am leaning towards liking it at this stage. It takes on this brassy EDM style, which feels pretty standard and does also feel heavy-handed. I would have liked for something a little more vibrant and not so much heavy, like what we got here. I feel something more vibrant would have been a better fit for the song and the rest of the instrumentation in the verses. But it does have a level of explosiveness and definitely continues the momentum from the pre-chorus. Overall, Let Me Know does have an air of typicaliness to it. But it still shows off PIXY’s abilities, which increases my excitement for their future releases.

The music video for Wings earns big praises from me. The horror vibes we get from the song are translated extremely well into visuals for the music video. The start with the members in a corridor and the lights from the room flashing was very bold. Their black dresses, huge shoulder detailing and headpiece looked really fashionable and stylish as well! I also really liked the erratic nature of some of the scenes to match the erratic synths in the song, which helps give off that impression of going crazy. The crashing chandelier was also quite something. The members’ acting and facial expressions also needs to be acknowledged. The music video for Let Me Know is connected with the former music video, with flashes of Wings appearing throughout the video (although you blink, you will miss those flashes) and elements of Wings appearing in Let Me Know (i.e. flaming tree and butterflies). I would love to sit down and see what other connections there are. In a visual sense, Let Me Know has a bit more colour and mixes said colour with the black to create another stylish atmosphere. The closeups also highlight the visuals of the members and really helps create an aesthetic vibe.

Let Me Know impressively opens with five of the members holding up the last member with their legs. While it isn’t anything too crazy to execute, it is definitely a bold image to start your performance off with and it definitely got me intrigued to watch the rest. In addition to that opening, the animalistic side of the group comes out with this powerful choreography. For Wings‘ performance, I really liked how they didn’t hold back and their synchronisation made this a really strong choreography as well.

Wings
Song – 7.5/10
Music Video -10/10
Performance – 8/10
Overall Rating – 8.4/10

Let Me Know
Song – 8.5/10
Music Video – 8.5/10
Performance – 8.5/10
Overall Rating – 8.5/10

[Review] GRATATA – HOT ISSUE

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Next up on reviewing block for this weekend’s focus on rookie groups is HOT ISSUE. For those who may have missed the debut of this group on 28 April 2021, HOT ISSUE is a seven member female group (consisting of Mayna, Nahyun, Hyeongshin, Dana, Yewon, Yebin, and Dain) under S2 Entertainment. They kicked off their careers off as a group with the single GRATATA, and the mini-album, Issue Maker. Previously, like many of the new groups I will be covering today and tomorrow, some of the members participated in trainee survival shows such as Produce 101 China and Cap-Teen. Other members were part of pre-debut groups.

I liked the aggressive nature of GRATATA. It is bold and intense, which is what I do enjoy when it comes to some songs. And I liked how it was aggressive throughout. And this aggression really helped to show off the rappers, who really showed off their skill set with their robust delivery. To offset the intensity and angry energy of the song, GRATATA opts to include vocal-centric pre-chorus. It gives the song a moment of piece, before GRATATA comes swinging again for the chorus. The vocals here are quite good. Just within the first verse, the members of HOT ISSUE have already established their skills and talents. And while the chorus has this bombastic feel (thanks to the pre-chorus), the lyrics are what I would consider to be the song’s misstep. The English that was used was extremely reliant on onomatopoeia and didn’t make much sense. While the chanty style and vibe that comes of the English is great, I cringed at its use. It is hard to take the song seriously following such a chorus. Following the second and final chorus was this heavy electronic instrumental sequence that I thought was a great distraction away from the chorus. It continued the same momentum of the chorus just that bit further and gave the song an even more dynamic touch. The bridge opts for the same vocal-centric pre-chorus sequence, which I thought was a little disappointing. I wished they changed up the sequence further to keep the song dynamic in that way. But that is only a minor issue compared to what came about the chorus. Overall, GRATATA was heading in the right direction in terms of energy and atmosphere. It was also a strong song to debut with, as it showed off the members’ ability. If only the chorus didn’t make me cringe.

The visual game within this music video was very strong. I did like the sets that were used for the closeups and choreography. I particularly thought the set which had the flowy silk over their heads to be quite cool. I also like their black, white and silver approach to the colour palette of this music video. It felt very industrial which also bumped up the cool factor of the video. The lighting was used to infuse a bit of colour, which I thought was clever. But overall, not much else to this strong visual music video.

With references to snipers and shooting in this video, there was a lot of sniper forms throughout the choreography. I also liked how they transferred the bombastic nature the chorus to the choreography, as well. Other than that, the moves were bold and intense, reflective of the song. I also appreciate the synchronised nature of the performance. It made everything look so much more polished.

Song – 7/10
Music Video – 7.5/10
Performance – 8/10
Overall Rating – 7.4/10

[Review] Vanilla – LIGHTSUM

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As previously mentioned, I will be focusing on newly debuted groups this weekend. I tend to pass over these groups for more well-known and established groups who I am personally more familair with. But I do still keep my ear open for new groups And I have selected 4 new female groups to focus on today (ambitious much, we will see). First up is LIGHTSUM, which is a newly formed group under Cube Entertainment, the home of BTOB, CLC, Pentagon and (G)I-DLE. LIGHTSUM is an eight member female group consisting of Sangah, Chowon, Nayoung, Hina, Juhyeon, Yujeong, Huiyeon and Jian. They made their debut exactly a month ago with the single Vanilla.

When I think of Vanilla (not the song, but rather the flavour), you think of something rather plain but flavourful when it is done right. When I listen to Vanilla (not the flavour, the song), you feel that there is an explosion of colourful sprinkles. But not a pretty or happy explosion. Think rough and unsettling. And while that does sound like a criticism, I actually mean it in a positive manner. It has taken me a few listens over the month to really form an opinion on the song. Initially, my first few impressions of the song is that it is one of those messy songs that combines styles together that don’t really go hand-in-hand. But through casual listens here and there, I have developed a liking towards Vanilla. Certain parts of the song are subtly sweet, such as the chorus and the verses. It is bouncy and energetic. All great selling points of Vanilla, but the sweet appeal comes from the members’ vocals. The chorus features a marching band instrumentation. I personally enjoyed this aspect of the instrumentation, given that it added more energy and flair to this certain part of the song. And the song’s main hook (i.e. the “Vanilla-illa-illa“) is pretty catchy. Certain parts are a lot smoother and showcase more of their vocals, such as the pre-chorus. While this is the case, I would say LIGHTSUM’s vocals, overall, were so-so. And finally, other parts are harsh, but interestingly, quite refreshing. This is obviously in reference to the post-chorus breakdown. It is what I thought didn’t fit at first. But it grows on you (well, for me at least), and now I find it to be Vanilla’s highlight sequence. It also gives off a unique flair. I also actually look forward to this breakdown every time I listen to the song now. I also enjoyed how they ‘transformed’ the final breakdown. It is exactly the same breakdown, just layered with vocals and ad-libs on top, which helped create a different feel to the previous breakdowns in the song. Overall, Vanilla catches your attention. Now, I would like to see LIGHTSUM show off more of their skills in subsequent releases.

The music video is neither cutesy or girl-crush, concept wise. Rather, the music video for Vanilla takes elements of both and combines them into a hybrid. Pretty much like the song. The really bright colours of the sets reminds me of some of CLC’s music videos, while the bright smiles we get throughout the video joins up to create the cutesy vibes. The parts that align with up the girl-crush concept are slightly more darker and evokes a party-like vibe. I likes what they did with the first breakdown. It was out-there and had unique transitions. The second and third breakdowns in the music video were relatively plain and lost the cool effect visually. If I would change the music video, it would be incorporating other cool effects in those other breakdowns.

The performance was fitting for the song and it was pleasant to watch. But there really isn’t much to really talk about. Not sure if that is a good thing or not. But for now, I would say it is.

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

[Review] Weekend – Taeyeon (SNSD)

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Taeyeon is officially back with a new single! Earlier this week, Taeyeon made her solo comeback with Weekend. This is her first release since What Do I Call You?, the lead single from her December comeback and fourth mini-album (of the same name). It has been relative quiet for Taeyeon since then. However, this quietness from the soloist may be a good thing, with rumours of a SNSD comeback happening later this year. It was rumoured earlier in the year that the eight members of SNSD were lining up their schedules for a mid-year comeback. Well, we just passed the mid-year point of 2021 but no confirmation yet. But no confirmation doesn’t mean anything, particularly since none of the members are actively promoting (aside from Taeyeon for this comeback) and could pretty much well be preparing for an under-wraps comeback. Fingers-crossed!

But first, a closer listen to Taeyeon’s Weekend. For me, Weekend is one of those ‘pleasant but nothing more’ types of song. It is enjoyable and has a nice polished energy to it. I wouldn’t mind listening to it when it is on my playlist. But it isn’t a song that I would really go out of my way to listen to. Weekend taps into the current growing retro trend, combining the likes of city pop and disco elements together to create a song that appeals to the listeners and fans of both trends in KPOP. While the music is upbeat and chilled in a way, it isn’t as memorable as per some of previous works. And that is also compared to other works from other artists who have dabbled in similar sounds and music. What I did like was the lightness of the instrumentation, which in turns compliments the soloist’s vocals. Taeyeon sings Weekend with at a higher note than what she usually does and with falsetto. And this in combination with the retro instrumentation gives off the lightness illusion, which helps create an appealing pleasant tone for the song. I also enjoyed the ascending melody we get in the pre-chorus (and lesser so in the bridge of the song). The most interesting part of Weekend has to be the rapping in the second verse. I personally liked it and the way it was handed to us felt like it was a no-commitment style to something that could have disrupted the light tone. It also helped keep the song falling into that consistent trance that would have otherwise neutralised any appeal of the song. Overall, Weekend is enjoyable and pleasant. I felt more can be done to make the song more appealing, but it is still a nice listen to chill to.

And chill is part of the message of Weekend‘s lyrics. To be more exact, Taeyeon tells us to enjoy our weekends with no hesitations to do what we like. And the music video appropriately shows Taeyeon relaxing in the clouds, after a lot of work. For the music video, it conveniently features a time-stop concept, allowing Taeyeon’s relaxation to be extended indefinitely. We unfortunately do not have that luxury, though we should always try to do something we enjoy other than work (whatever that may be). I like the pastel colours of the music video, which compliment the light tone of the song. Nothing is harsh and the music video has a feel-good type of feel to it, which is appropriate for the message. A decent music video, overall.

A strong centre of balance is required for the chorus for the music video. It might not look too difficult, but combined with everything else you need to do on stage (remembering choreography, lines, live singing etc.), I am sure it is remarkably difficult. Altogether, the performance is equally as pleasant as the song was.

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

[Review] Right Through Me – Even of Day (DAY6)

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I am really bad with reviewing nowadays. As a result, I have decided to refocus on reviews tomorrow instead of my original plans to focus on rookies tomorrow (as well as on the weekend). Hopefully, with this extra day on hand, I can catch up on some of the releases this week. The next release of this week’s reviewing agenda is Right Through Me, the title track from Even of Day’s (DAY6’s subunit consisting of Young.K, Wonpil and Dowoon) second mini-album, which dropped on Monday this week. This release follows the subunit’s debut with Where The Sea Sleeps, which formed part of DAY6’s The Book of Us series. The five member band also recently wrapped up the series with The Book of Us: Negentropy and the title track You Make Me, which was not promoted.

Right Through Me is a pretty decent song. It took me a few listens to actually get into it, but it got to me in the end. At first, I passed over the song because it felt dull and lacked much momentum. Boy, do I feel so bad for thanking that way. After those extra listens, I felt that Right Through Me had that necessary colour and drive. It might not be as prolific as DAY6’s releases, especially compared to their most recent title track. But there was enough there to convince me otherwise (in the end). I will admit that the first verse is a bit lacking and felt very consistent (from the beat to the vocals, to even the whole vibe of the first verse), and it wasn’t until the chorus did the song feel like it was going somewhere (bless those cymbals). In combination with those cymbals, Young.K and Wonpil’s vocals gave the chorus and song a breath of freshness and life that didn’t feel as present in the first verse. This instantly made the second verse, which was largely the same as the first verse, sound and feel more lively. I also liked when the piano came into play in the post-chorus sequence to the first and last choruses, which gave Right Through Me a jazzy vibe. It was an interesting colour and helped create a more lively appeal. And it was this inclusion that caught my attention and changed my perspective of the song. As touched on before, the vocalists did a good job with their lines and the melodies in Right Through Me were quite pleasant. In summary, I wished the song had more of an appeal during the first verse to hook me right on. But Right Through Me still managed to develop into a neat song, provided that you give it a chance and listen to more than the first verse.

Right Through Me is a song about heartbreak, after you lose the love of your life. Young.K’s loss in this video represents this type of loss. We see his partner turn up, leave her ring behind and leaves him. All he can do is stare and when the ring is later lost, he fails to find it. The scratch represents the pain felt from this type of loss – the literal heartbreak. But it doesn’t have to be applied to just relationship. And we see this in the other two members’ scenes. Wonpil represents the loss of family. At the start of the video, we see a family picture with the faces ripped out. We see Wonpil struggle being alone and he rips up his home as a result of this. When he picks up the cage at the end, I think he is reminded of happy memories and hence sheds a tear. I am not exactly sure what the ceiling collapsing mean, but it might be the further destruction of his home. For Dowoon’s scene, he experiences the loss of self. This one was not apparent to me, but upon searching in the comments of the music video, ‘Vincent Van Gogh’ says that because Dowoon’s animal is a dog from previous promotions, Dowoon losing the dog represents the loss of self. Dowoon desperately searches for his pet, but fails. And this results in him looking dejected and soulless. To tie everything together, I think all of this loss has something to do with their music career. We see them perform in that shop window, with pedestrians stopping by to watch and film the performance. But there is something wrong with the Even of Day members as they looked lifeless and monotone. So I think their experiences in becoming musicians were brought into the plotline of the story. The loss of relationships while you are struggling financially is my guess how YoungK’s scene’s link to the video. The lack of family support for a career in the arts is represented by Wonpil’s scene. And the loss of individuality and sense of freedom is represented by Dowoon. Each of which they want to break out of, as you can see at the end when YoungK jumps out of the window.

Song – 7/10
Music Video – 9/10
Overall Rating – 7.8/10

[Review] Tear Drop – SF9

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It is a new week in KPOP and this means new releases! I will definitely get around to reviewing those releases I missed over the last few weeks when I have time (which I plan on making sure I have – all-nighters, here I come). First up on the reviewing block this week is SF9’s Tear Drop, which is the title track off their group’s 9th mini-album, Turn Over. This album release follows SF9’s participation on Kingdom: Legendary War, making them the first group from the show to make their official comeback. Tear Drop also follows the release of Summer Breeze, the group’s last official comeback a year ago, though they did release Shine Together in October (but this was a special release and not promoted).

First and foremost, Tear Drop is an emotional song. You can tell from the title of the song in the first instance. But the emotional side of the song is emphasised by both the vocals and minimalistic vibes of the song. The airy and husky nature of SF9’s vocals brings out a sultry sound, which is fitting for a SF9 release. But at the same time, you can hear a tinge of sadness behind their voices. They don’t really put that emotional side out there, as per when we think of ’emotional songs’. Rather, it felt like they were holding back their sadness. This held-back approach compliments the lyrics, where they sing about pretending that everything is okay despite them breaking up with their lovers. But yet, the breakup is less hurtful for them (though it appears it is to no avail as their lover’s tears ends up wounding them). As for the minimalistic vibes, there isn’t much to the instrumental. Tear Drop is described to be ‘an emotional dance track UK garage style beats and unique bass sounds’. And that is only what we get. But while I did like the cleanness and overall aesthetic of the instrumental, I found it to be lackluster when it came to the rapping. I wished the instrumental changed it up a bit to better fit Zuho and Hwiyoung’s sections. I liked the contrast and texture that their sequences bring, and find they are valuable elements to keep the song appealing. They also helps break up the song from being overly consistent, which I felt was an issue the first few times I listened to the song, but soon realized that wasn’t the case. But I think more could have done instrumentally to get the rappers’ sequences to fit. Youngbin’s rapping sequence is an exception, however, thanks to the whispering delivery he had (which just clicked easily into the minimalist song). As for the memorability of the song, Tear Drop had a repetitive chorus, which worked in the group’s favour and helped give off an aesthetic that I feel SF9 can only do. Overall, Tear Drop hit expectations and the brief.

Talking about aesthetic, there is something about SF9 music videos lately that just gives off that vibe. We saw it in Good Guy. We saw it in Summer Breeze. Now, we see the same aesthetic vibes in Tear Drop. This time in particular, I applaud the transitions, which helped smoothed out the shots and made it so alluring to watch. In addition to that, I noticed some details that further heightened my interest in the video and made it so artistic. I will just list some of them. Firstly, the lack of colour during the ‘coloured’ sections of the music video and the black and white really hones into the emotional aspect of the song. Secondly, in one of the choreography shots, the rocks on the ground were moving in a reverse direction, as in they were flying up. And thirdly, the various solo shots were either confined or constricted by the sets or the props, which made everything feel tighter and hence the focus was primarily on the members. Or the camera angles were abstract, adding flair to that artistic touch.

The sensual nature of the choreography just makes the comeback even better. The chorus was a very elegant and smooth feel to it, which once again, felt like a move that only SF9 could do. The rest of the choreography seems to continue that minimalistic vibe from the song, as there wasn’t much else going on, in terms of complexity. But there was still a substantial routine for the group to perform.

Song – 8/10
Music Video – 10/10
Performance – 8.5/10
Overall Rating – 8.7/10

[Album Review] Dear OhMyGirl (8th Mini Album) – Oh My Girl

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Unfortunately, this will be my final post this weekend for what was supposed to be a focus on album reviews. In reality, I only wrote two additional album reviews that usual. But I have plans to do another focused weekend down the track because I still have so many albums to review. I barely made a dent during the last two days! In the meanwhile, I have decided to review Dear OhMyGirl, Oh My Girl’s 8th mini-album since debut. Leading this mini-album is Dun Dun Dance, which dropped early May. Last year’s mini-album, Nonstop, turned out to be their most successful release yet and that was headlined by the title track of the same name and the side-track Dolphin, which became a long lasting trend in KPOP. Let’s see if Dear OhMyGirl has what is takes to exceed that high standard that Nonstop had set.

Dear OhMyGirl Album Cover

1. Dun Dun Dance (Title Track) – Click here to read the full review for Dun Dun Dance. (10/10)

2. Dear You (나의 봄에게) – Dear You twists the album in a different direction, incorporating a very soft pop track into the tracklist. Nothing in this song is heavy, with all elements being light and feathery. I really like the use of synths in the instrumental, giving the song fresh feeling. The melodies remind me of nursery rhymes, which brings a subtle nostalgic factor to the song. Some of the vocals have been processed to make it feel distant from the instrumental, which helps create the illusion of depth. When the vocals are not processed, they are superb! Each member did a stunning job in Dear You. It is a top pick for me. (10/10)

3. My Doll (나의 인형 (안녕, 꿈에서 놀아) – My Doll continues the soft approach that Dear You add. The synths in this song are a bit more prominent. But this doesn’t shorthand the soft and airy nature of the song The instrumental in My Doll gives the song texture, while the vocals give off that airy feel. The combination of the two amps both texture and airiness of the song, creating an aesthetic appeal that you know I am drawn to. (9/10)

4. Quest – The airiness continues in Quest. This time, the instrumental resembles an 8-bit style that is also relatively paced. For this song, I feel that the airiness doesn’t really appeal to me. If anything, it withdraws any energy that is commonly associated with 8-bit styled music. I wished there was something in the instrumental that bulked up Quest to make it a more fulfilling and satisfying song. I feel the vocals tried to do that, especially how it did develop to having a substantial bite. But I don’t think it was enough. Quest, to me, was the most lacking song on this release. (6.5/10)

5. Who Comes Who Knows (초대장) – Who Comes Who Knows taps in the jazzy style of pop song. Following the title track, it is the first song with what I guess you can say is an upbeat instrumentation (relative to the above songs). It is a pleasant track, especially when the members sing the title of the song. I love how the repetition of the title just floats; it is so beautiful. Who Comes Who Knows also shows off the vocals of the group, delicate and warming. (8/10)

6. Swan – Closing the album is the song is also the heaviest song on the album. Swan has a beat to it, which is a great contrast for the album. The song has this rock influence during the pre-chorus, before it turns into a EDM track for the chorus. In keeping with the album, however, the EDM drop isn’t anything too crazy. In fact, I think it on the softer side of the spectrum of EDM drops, which works well with the rest of the album. I liked the energy that comes from the song, which once again, finds that fine balance between soft and heavy. The vocals give Swan some substance and helps complete the track in a satisfying manner. (10/10)

Overall Album Rating – 8.9/10

  • Mimi and YooA’s teaser image for Dear OhMyGirl
  • Hyojung, Binnie & Seunghee’s teaser image for Dear OhMyGirl
  • Arin & Jiho’s teaser image for Dear OhMyGirl

[Album Review] Hot Sauce / Hello Future (1st Studio Album / 1st Studio Album Repackaged) – NCT DREAM

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Earlier this week, NCT DREAM made their comeback with with Hello Future, which also headlined their their latest album release, the repackaged version of their first studio album (now titled as Hello Future). As mentioned in that review, I have yet to review the group’s first studio album, which they released as Hot Sauce early May. With the current focus on album reviews and their newly released version, I have decided to kill two birds with one stone by focusing on Hot Sauce and fast-tracking Hello Future. So without further ado, here is my album review for Hot Sauce/Hello Future.

  • Hot Sauce Album Cover
  • Hello Future Album Cover

1. Hello Future (Title Track) – Click here to read the full review for Hello Future. (9/10)

2. Bungee – I really enjoyed the shuffling nature of Bungee when it came to the chorus. It was a great texture, offsetting the plainer sections of the song (i.e., the verses). The verses did seem to allude to what was to come, but I just thought of those parts to be quite bare and boring. Similar comments can be said about the vocals and rapping. In the verses, they do not do much to really drive Bungee. But in the chorus, we get more momentum and texture in combination with the instrumentation, which was appealing to me. The bridge was also a nice sequence, with great vocals and Mark’s intense but brief rap line. I wished there was more of this to be honest. (7.5/10)

3. Hot Sauce (맛) (Title Track) – Click here to read the full review of Hot Sauce. (8.5/10)

4. Diggity – Diggity adds to the heavy-handed nature of Hot Sauce by continuing with EDM and deep bass. As a result, Diggity is the probably the album’s most intense track. But this shouldn’t be taken as a criticism. The song actually has a really strong and powerful hip-hop drive. The energy, especially at the start and during the chorus, was delivered via short but sharp releases through the beat. It also has this colourfulness to it, which I thoroughly enjoyed. The chantiness of the chorus was probably the weakest aspect of the song, but it was still catchy nonetheless. (8/10)

5. Life Is Still Going On (오르골) – Life Is Still Going On is the next song the album. It is a soft song that has a twinkling instrumental that would remind you of a music box (as mentioned in the lyrics). Life Is Still Going On brings out the vocals of the group. The melody was quite pace to match with that twinkling effect, which helped Life Is Still Going On to be quite pleasant. Interestingly, the rapping in this song was of the usual intensity and didn’t surrender to the softer and paced profile of the song. While the contrast is definitely extreme, I am not put off by it. The producers did a good job of blending the two sides of the song together, helping it create a cohesive piece. Once again, the bridge of the song stood out. (8/10)

6. Dive Into You (고래) – Dive Into You is one of my favourite side tracks from this album. While I do admit the verses were in a neutral gear, the rest of the track is covers up this minor flaw. The pre-chorus was a really nice redirection from the neutral verse. And it is this redirection that allows for the chorus to standout. The heavy percussion that opens the chorus emphasised the title of the song, and allowed for the rest of the chorus to use relatively heavier instrumentation (i.e. the guitar). But despite the relative heaviness, the entire song (big picture) remains fairly light-hearted and pleasant to listen to. An unexpected outcome. In addition to the music, the vocals and rapping in this song worked well with the instrumental, reflecting the light and “heavy” parts of the song.  (10/10)

7. My Youth (우리의 계절) – Within the opening few seconds of the song, we are gifted with a dramatic introduction and stunning harmonies. Both of which did an amazing job of attracting my attention towards the song. My Youth settles for a bouncy instrumentation that just keeps on going. I would further describe the instrumental as calming, as that is the effect that I got from the otherwise bouncy and continuous instrumentation. I personally liked it, given that it is simple and had an interesting effect. Aside of the instrumentation, the group showcases their vocals. Even the rapping is toned back this time to match with the soft atmosphere created by the song. With the already mentioned harmonisation, My Youth also shows off individual colours in the vocal department. (10/10)

8. Rocket – Rocket returns the album to that upbeat and fun territory. There is such a playful vibe to this song with its funky profile. The instrumental is pretty colourful and full of texture. Definitely quite appealing to my personal taste. I particularly liked how it consistent with its energy and appeal. I also really enjoyed Rocket’s vocals and rapping. Like the instrumental, the energy from their vocals and rapping never really stopped. To me, the standout member of this song is Haechan. I felt like his vocals stood out amongst the members when they all contributed to the chorus. Overall, a quirky but enjoyable song. (9/10)

9. Countdown (3, 2, 1) – Countdown (3, 2, 1) feels like it could easily have been title track material. It follows their hip-hop direction from their last few comebacks. It also feels like an NCT track, given the rollercoaster ride within the instrumental and vocals. There was pretty much bits and pieces of everything embedded in this song that surprising comes together quite well. For me, the rappers were emphasised and showcased really well in this song. Countdown was also quite addictive with its hooks. Put everything together, and you have a track that screams for promotions. (10/10)

10. ANL – ANL returns the song to that subdued side of group, with the electronic instrumental opting for softer and lighter appeal. It also has this bubbly type of instrumental, that feels both different and fitting for the group. The vocals and rapping were also quite pleasant, which worked hand-in-hand with the light-hearted nature of the instrumentation. I just wished ANL had more stronger hooks to be more memorable. Haechan’s high note, though, was. (8.5/10)

11. Irreplaceable (주인공) – As we approach the album, we get Irreplaceable. It too adds to the fun side of the album with a what feels like a street appropriate song. Listening to the song both brings a smile to my face and makes me want to do a bit of a boogie while walking down the street. What makes Irreplaceable standout is the brass and jazzy elements that give the song a different feel from what we heard before. The vocals and harmonisation were also strong additions to the song that helped bring it to life. (10/10)

12. Be There For You (지금처럼만) (Sung by Renjun, Haechan, Chenle) – Performed by the vocalists of the unit, Be There For You doesn’t surprise me that it is a ballad. It is a cliché move by all vocalists, but ballads gets the job done of showcasing their vocals. And Be There For You is no exception. It ticks all the boxes to what I look for in a ballad. Stunning vocals from the trio, really nice harmonisation and a simple yet warm instrumental. Even the melodies they paint with their vocals are beautiful. A definite nice ender to the album. (9/10)

13. Rainbow (책갈피) – The final song on the album is Rainbow. It is a really nice mid-tempo pop song that has this wholesome glow to it that makes you smile along with the group. I really liked the vocals and rapping in this song, especially when they sang together. It reiterated that wholesome feeling I just mentioned. While I did like everything about this song, I wished the instrumental wasn’t too loud during the chorus. I think it was slightly overwhelming in comparison to everything else. (9/10)

Overall Album Rating – 9/10

  • Hot Sauce Teaser Image
  • Hello Future Teaser Image

[Album Review] BORDER: CARNIVAL (2nd Mini Album) – ENHYPEN

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Next up on the album review influx is ENHYPEN, who returned with BORDER: CARNIVAL (the group’s second mini-album since debut) at the end of April. Leading the album is the title track is Drunk-Dazed, which received a positive review from me. This album release follows the group’s debut at the end of November 2020 with Given-Taken and BORDER: Day One, which was also deemed as a very success debut based on the rookie awards they won within two months after their debut (Note; they will be considered for the 2021 KPOPREVIEWED Awards New Groups Awards). And so the expectations for this comeback were high. Let’s see if they reached those expectations.

BORDER: CARNIVAL Album Cover

1. Intro: The Invitation – If you want creepy, the opening few seconds of The Invitation is probably after. The childish nursery-rhyme like melody feels like it was taken out of a movie about a haunted house where the ghost is a young child who tragically died many years ago. But while that does give chills, the song isn’t just a sample from a horror movie. It quickly develops into a hypnotic indie retro synth track, with the chanting ‘Feel like I am in paradise’ line that is quite catchy and Jake’s narration that invites you to the carnival. A great opener, if you ask me. Only downside is that it is short. (9/10)

2. Drunk-Dazed – Click here to read the full review of Drunk-Dazed. (8.5/10)

3. FEVER – FEVER follows the title track. It is also the follow-up promotional track to end their BORDER: CARNIVAL promotions and was given the music video treatment (which I will revisit in the future). FEVER starts off as a slow dance track, taking on what sounds like a R&B mix. The entire song is kept in this slow gear. It personally isn’t my cup of tea. But I guess fans would enjoy this sultrier and more mature vibe from the group that the slowness managed to bring out. I do wish we got to hear more of their vocals with less vocal processing. It did feel a bit much in this song, to be honest. (7/10)

4. Not For Sale – The next song on the album is Not For Sale, which seems to mash up more R&B with a tropical house influences this time around. It comes out to be a nice and pleasant mix, one to definitely enjoy in this current summer season. Once again, the vocals are heavily processed in this song. I am not sure why the producers felt it was necessary in this song. I felt the ENHYPEN members could have done an amazing job with rawer vocals. And as a result, I enjoyed the live performances more (they promoted this track during their comeback week). And it here that I find the song more wholesome sounding and warming, feelings in which I didn’t get initially when I listened to the official audio. (7.5/10)

5. Mixed Up (별안간) – For me, Mixed Up was the best side track on this mini-album. I found myself drawn to the rock vibes that we get in the song, peaking through the heavier hip-hop influence of the instrumentation. I kind of wished it was more dominate, especially since it made the pre-choruses feel so powerful. For once, I think the vocal processing is justified. It gave the song that tiny bit of rough texture that felt appropriate for the instrumentation. It also helped infuse some edge in the song. I found the beat and chorus to be memorable and catchy. Overall, a great addition to the album. (9/10)

6. Outro: The Wormhole – Leading out the album is The Wormhole. It is quite an atmospheric minute and half, and I liked how the song built upon itself. It gave off the effect as if you were being pulled into a hole, which essentially is a wormhole. Jake returns to narrate in this track. I do question the need for the vocal processing over a narration, as I found it hard to understand him (Note: I speak with an Aussie accent, so I think I can comprehend him pretty well). I felt that the instrumental did a good enough job of drowning his narration as it inclined. But I guess it could be an artistic choice. But overall, a great track that gets me excited for their future releases. (8/10)

Overall Album Rating – 8.2/10

BORDER: CARNIVAL Teaser Image

[Album Review] MO’ COMPLETE: HAVE A DREAM (4th Mini Album) – AB6IX

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As I have mentioned on my blog several time this week, I will be focusing my effort on reviewing albums this week. This is all in a bid to help me catch up on the many albums that I should have reviewed weeks (or months, in some cases) ago. First up on this album review influx is AB6IX’s 4th mini-album, MO’ COMPLETE: HAVE A DREAM. The mini-album was released alongside their title track, Close, at the end of April, which makes this album review two months over due (sorry!). This release follows their 3rd mini-album, which was later repackaged into Salute: A New Hope (headlined by the title track Stay Young). As you can imagine, I have a lot more work to do. So let’s just get right to the album review.

Album cover for MO’ COMPLETE: HAVE A DREAM, AB6IX's fourth mini-album. The album is rather simple, with a pale teal background and all writing in a cream colour.
MO’ COMPLETE: HAVE A DREAM Album Cover

1. HEADLINE – HEADLINE opens up the album with bold sounds, via its use of bass, house elements and funky influences in the instrumental. It is a great opener and sets up the album on a very positive note. When it comes to the vocals, they quite strong, which is suitable for the song. It brings it on par with the instrumentation. The melodies and hooks in this song are also quite catchy. I wish the rapping had a bit more oomph to it. I do like Woojin’s technique, but I think his section could have gone further than what it did, in terms of energy and dynamism. (8/10)

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

3. LULULALA – Next up is LULULALA, a pop track that feels just right for the summer season. Aside from being upbeat and fun sounding (which is everything you want in a summer song), the song is also a great platform to showcase the vocals from each of the members. In particular, Lee Daehwi’s vocals were superb in this song, working extremely well with the rock influences that made up the pop track. For me, this is my favourite song on the album. I liked the rapping here, as opposed to the first song, as it worked well with the rest of the song. (9/10)

4. MERRY-GO-ROUND – MERRY-GO-ROUND continues the same sound from the previous song. But it isn’t as energetic and as Summery as the previous song. The song tones down that energy and this gives off a very standard type of feel. While I do like the energy that the electronic influences in the instrumental especially when we got to the chorus, there isn’t really much to the song in terms of appeal. As a result, I put MERRY-GO-ROUND as the weakest song on the album. But that being said, it was still a decent song to listen to. (7/10)

5. A LONG WINTER – A LONG WINTER is probably the outlier on the album. It takes form as a R&B song, with a rock band instrumental. This in particular was a highlight for the song, as it spoke to my personal tastes. It was also nice to ease out the album this way, which was full of energy. A LONG WINTER had a good showcase of vocals and rapping, as well. Overall, a soothing ender to the album. (8/10)

Overall Album Rating – 8/10

AB6IX poses in white shirts whilst brushing their teeth in this teaser image for the release of MO’ COMPLETE: HAVE A DREAM.
MO’ COMPLETE: HAVE A DREAM Teaser Image

[Review] Hello Future – NCT DREAM

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Also making their comeback on Monday is NCT Dream (apologies for the long delays in getting this review out). The NCT subunit unveiled their latest title track, Hello Future, and the group’s first ever repackaged album which shares the same name as title track. Hello Future follows the release of Hot Sauce (both title track and name of the group’s first ever mini-album). The full-length album featuring both Hello Future and Hot Sauce will be reviewed tomorrow as part of the Album Review focus this weekend. In preparation for that, I will need to write my full review for Hello Future, so here are my thoughts on their new song.

Hello Future finds that middle ground between their very youthful tracks that they began their careers with and their more mature sound that they have opted for in their more recent releases. How so? Well, the pop instrumentation that sits in the background gives off a refreshing and pleasant vibe that feels like a throwback to those early days. And it feels like a great Summer track, overall. Hello Future may not start off in this manner (thanks to that deep gurgling-like effect), but it does give off such impressions when we get to the chorus. It actually took me a few repeats to warm up to the opening verse because of that gurgling-like effect in the background, but getting through it to reach the chorus was definitely worthwhile (more on this in second). In addition to the youthful reminder via the instrumentals, the groups vocals in both rapping and singing brings forward that matureness. Compared to their early releases, NCT Dream’s voices (particular the rappers) have gotten pretty deep, which I assume is the reason why NCT Dream ended up going down the mature route of KPOP releases. For Hello Future, I liked how they capitalised on this unavoidable change. The singing vocals brought this insane level of smoothness to the song and kept the song grounded in a positive manner. The melodies we hear in the chorus are so captivating and stunning, and this is all thanks to the vocalists in NCT Dream. For the rappers of the group, their sequences provided some interesting contrast that made the song memorable and well-balanced. In particular, the sequences we get after the second chorus have the song some nice brief punches of intensity, which acted as a superb offset to the song’s pleasantness. But while Hello Future is an awesome song already, I do feel that the song had opportunities to be more dynamic, especially when it came to the ad-libs at the end of the song. It felt pretty safe and ‘in the box’. What they needed was to venture out of the confines of said box to ensure this song hit a home run. But as of now, it was still a very enjoyable song from the group.

To me, the group are portrayed as hippies in this music video. From their outfits, to the ‘natural’ accessories, to the peace signs we see on their posters and signs, everything felt very influenced by the hippies we associate from the 60s. Note that everything has been modernise to fit this era. I doubt hoodies and sweatpants were the 60s hippies go to attire. But I think this was a smart concept for the group to follow through with. The song’s message was ‘overcoming struggles to grow together with love and trust’ (taken from Soompi) which is a very hippie type of messaging. And they did so by crashing a very competitive Soccer game, bringing the two teams together to join them in their pursuit for love and trust.

I really enjoyed the choreography for this comeback. It might not be their best work out there, but I feel like it was a good fit for the song. I liked the incorporation of – what I like to call – the royal hello (cupped hand and a slight turn of the wrist). I also liked their ending sequence, which brought a rush of intensity to end of the song with. This is a nice example of contrast, as I note their choreography beforehand was quite slow and mellow looking. But this intense rush at the end reminded us that the performance was a NCT performance nonetheless.

Song – 9/10
Music Video – 8/10
Performance – 8.5/10
Overall Rating – 8.6/10

[Review] PTT (Paint The Town) – LOONA

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And I am back to finally review the rest of the week’s releases before I move onto focusing on album reviews this coming weekend. First up is LOONA’s latest comeback, PTT (Paint The Town), which officially dropped on Monday. This is the group’s first comeback since their quite addictive Why Not? comeback back in October 2020. PTT is featured on the group’s fourth mini-album [&] and also marks the return of Haseul, who has been absent from LOONA’s lineup since the release of So What due to mental health issues. Welcome back to Haseul and LOONA! In other related news, LOONA will be gearing up for their Japanese debut, with a Japanese version of PTT released alongside this comeback on Monday as well.

PTT is a bold release, incorporating Indian instrumentation with ‘aggressive dubstep and 808 bass sounds’. While we have heard of foreign influences in KPOP songs in the past, I don’t think any were really featured as prominently as PTT had. It definitely helped create a dynamic atmosphere that was quite alluring and catchy. The song opened with this (what I presume is an) Indian chant before we are introduced a full suite of traditional instrumentation. Some of this traditional instrumentation retained as we move along into the verse (i.e. the tabalas), which is also accented with pounding percussion that strengthened the energy and appeal of the song. As we move closer to the chorus, the hip-hop side profile of the song emerges through the melody, along with the electronic touches mentioned above and the occasional appearance of some traditional instrumentation detailing. This buildup to the chorus felt very clean and felt logical to bridge the verse and chorus. For the chorus, the aggressiveness of the dubstep dominates the first half of the chorus with the Indian touches taking more of a backseat allowing that aggressive nature to appear. It playing field switches in the second half of the chorus, with the Indian instrumental elements emerging from the darkness and the aggressive nature takes a more subtle approach. For the second verse, I liked the boldness of their rapping. The instrumental for this part works well with the rest of the song and doesn’t break the flow of the song, like in some other songs. For the bridge of the song, the slowdown was nice and allowed for Chuu’s high note to pull the song back up to the final chorus, which really hit the song home. Haseul’s vocals in the bridge was also a highlight. Elsewhere, the vocals in PTT were really good and continued to show that clear and crisp vocals that the group has been showing us in their releases. To me, the reason to why PTT is not a perfect song is the chorus. While I did like the instrumentation as I had mentioned above, I felt it was rather weak. The ‘Latatata‘ they went with was pretty dry, bland and didn’t add momentum to the song, as I would have expected a powerful chorus to. It did have some catchiness to it, but I don’t think it was nearly as much as it could have been. I also feel like it didn’t match the aggressive nature of the chorus, which resulted in the chorus feeling rather disappointing. Overall, I think PTT was a strong song from the group. But what should have been the song’s centrepiece was lacking.

While the aesthetic of the music video is reflective of what we have seen from LOONA since So What, it also brings visual elements of their predebut unit releases and their animal representations that formed part of their pre-debut package back into play. And this is all alongside what I am guessing is a new story. But while it is always great to get back in touch with your roots, the music video for PTT is quite overwhelming to watch. There was just so much going on. Maybe when I have some more time, I will try to figure out what this new story is and how it relates to their predebut works. Until then, I will only make comments on the visual display we saw. PTT has some really bold imagery and this imagery works extremely well with the music. The choreography shots, especially when it came to the more aggressive side of the choruses, really honed in that aggressive imagery with the dark and stormy atmosphere and angry colour choices. On the flipside, the verses feature more calming and innocent colours (i.e. white and yellow) to match with the song’s vibes during such parts. And the solo shots of each member we see shows off their beauty really well.

To reflect well with the music, the choreography is quite powerful and artistic at the same time. I don’t think this is their best work but it was still quite great to watch! I really liked the domino effect they had in the second half of the chorus (i.e. one line of members performed first, then the second performed the first set of moves when the first line of members were on their second move etc.), which made that section look really nice.

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