Category: KPOP

[Review] Make It – 2PM

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Kick starting this week’s comeback rush is 2PM, with their long awaited return with Make It. For those who don’t 2PM, they are a second generation male group signed to JYP Entertainment who were known back in the day as beast-dols (as they brought really masculine and powerful choreography to the stage during their heyday). We last saw the group in full in September 2016 with Promise (I’ll Be). Since then, the members (aside from Nickhun) enlisted into the military, and progressed their solo music and acting careers. In late 2020, the group resurfaced with their 2015 single My House. And today, the group returns with their 7th studio length album, Must, since their debut in 2008, and the title track Make It.

Right off the bat, 2PM’s new song encapsulates what I feel are the charms of the groups in their more recent releases. While they were known for their beast-like looks, concepts and physiques back in the day, the group have matured into a more sexy type of sound. And I feel Make It really concentrates that vibe. But it is not a sexy sensual sound. Make It feels more flirty and playful in that manner. And this set up reminds me of My House. All very suitable for 2PM. Music wise, Make It is simple. It isn’t as complicated like some of their previous tracks. The song opens with up some clangy guitar sounds, which reminded me of when you strum more tighter parts of the guitar. This effect progresses into acoustic guitar soon after, and then later some piano work. What spokes volumes in this part (the first verse) are the members’ vocals. They felt extremely clear and crisp, not muddled by vocal processing and other effects that we commonly get in today’s music. I appreciate that, quite a bit. And it is definitely nice to hear 2PM in their full glory once again. The chorus takes the song up a level, by giving us more bass and more of a beat to cling onto. It adds a bit of a bounce, which is a great contrast and differentiation point the verses. There is also a bit of saxophone (the ultimate instrument that completes any ‘sexy’ song) in the chorus. The melodies are quite enjoyable and adds a smoothness to the chorus that I find quite appealing. Following the first verse is Taecyeon’s raps. There are two things I like about this rap sequence. Firstly, it is layered over the top of the same instrumentation from the start. For once the rap sequence fitted right in perfectly without changing the flow of the song in any way. I also like the classy feel that Taecyeon’s deliver gives. When you think of rapping, you think if speed and intensity. But Taecyeon’s rap sequence does not give into either, hence why I feel it felt classy and mature. While I am talking about the rapper, he is also my pick for standout member in the song. His husky vocals during the first half of the final chorus was definitely fitting for the song’s concept that I had outlined above, and it really drew me into the song as it was practically a breathtaking moment. But the other member’s must also be commended for their amazing vocals as well. Overall, Make It definitely ensures that it is a simple song. It might be boring for some (I do acknowledge this, as it may not have the really catchy hook or addictive energy that other songs out at the moment have), but Make It is like a blank canvas that shows off the members’ charms for this highly anticipated return.

Make It is all about this pull that cannot be avoided. And in the music video, they just cannot avoid the pull that the lead actress has. Even in an apocalyptic event involving meteors crashing down just metres away from you and the rest of the world running away from the danger. I thought it was funny, but it does work well with the lyrics of the song. I like how they brought that flirty vibe I mentioned from the song into the music video. Taecyeon’s solo with the actress with his arm on the wall, cornering her was probably the most smoothest in the video. Junho’s solo with the actress was the weirdest, with his un-bottoned top buttons and water spraying on him.

It is great to see 2PM perform on stage once again. For this routine, similar comments about it being sexy and flirty at the same time can be applied. I might also throw in a classy descriptor for the choreography, as it felt that way as well. But what makes this performance even better is the charisma and stage presence that they managed to showcase. They have been on stage for 12 years now and they still got it, even after a five year break!

Song – 8/10
Music Video – 8.5/10
Performance – 8/10
Overall Rating – 8.2/10

[Review] WE GO – fromis_9

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It is time for another review for a release way back in May that I should have written much closer to the song’s release date. I am talking about fromis_9’s long-awaited comeback, WE GO, which dropped on 17 May. Definitely a long overdue review! This is the group’s first song in a while, with their last comeback being Feel Good (Secret Code) in September 2020. And over the last couple of years, fromis_9’s comebacks have become scarcer and less frequent. Since Love Bomb (my pick for the group’s most catchiest single yet), their comebacks have been an annual occurrence and this really disappoints me. They had a really optimal opportunity back in 2019 to continue the Love Bomb popularity, but that ultimately fizzed out after long hiatus. Hopefully, WE GO isn’t the group’s only single in 2021 and we get to hear more from the group soon!

It seems Summer returned earlier this year than what I have previously mentioned on this blog. Released in mid-May, WE GO seems to now be the first Summery song of year. But who knows, I might be reviewing another song down the track released even earlier that also fits Summery description. But let’s deal with that when we get there. WE GO takes on a simple pop sound that isn’t overcomplicated in both its structure and tone. For me, I think the best way to describe WE GO is pleasant. Pleasant is a good descriptor, but it could also be a bad one from my point of view. And I feel that this song tethers on that fine line that separates the good and the bad. WE GO isn’t a boring song. It has a nice melody and is easy on the ears. The vocals add a nice sweetness to the song. It also decent hooks that have potential to be catchy. I will also say that the song feels fun and refreshing, which is where the Summery description I mentioned at the start comes from. But on the flip side, pleasantry doesn’t necessary equate to being memorable. And this was the issue with WE GO. It just wasn’t memorable enough. Since the song’s release, I don’t think I have gone out of my way to actually search up the song. I also feel if the song was more memorable, then I would have ensured that this review was published much earlier, rather than a month and half later on. I think one way the song could have overcome this issue is with bolder instrumentation. I feel that would have peaked my interest a bit more and given the song a bit more heft in the memorability department. Overall, WE GO is a decent track, but also forgettable for the most part.

I really like the creativity behind the music video. The editing for this music video must have been insane. Essentially, we see a video being edited of fromis_9 imagining themselves on a holiday. It felt very relevant to current times, where we don’t have that freedom to travel. I really like when they changed various shots by changing the sky through the ‘editing’ we see. I also really like how relevant they made the video. Aside from just the concept, I liked how they used different frames (i.e. the editing tool, Zoom interface and Instagram) to transition the shots into each other. Pretty dynamic. The Facetime ringing caught me off guard (literally made me jump) each time I play the video, though it is a great tactic to get me refocused onto the video to watch the final chorus. I also see an emerging trend with the greenery and white platform that music videos use. It worked well here, given the boldness of the shot.

The choreography for this comeback was also nice. Not exactly the most spectacular, but definitely helped made the song feel a little more memorable (in a visual sense) when I watched the stage performances.

Song – 6.5/10
Music Video – 9/10
Performance – 7/10
Overall Rating – 7.4/10

[Review] Higher – A.C.E

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Making their latest comeback today is A.C.E with their new title track, Higher. Higher is featured on their fifth mini-album SIREN:DAWN, which will officially drop tomorrow at 6PM KST. This is the group’s first comeback since the release of HJZM: The Butterfly Phantasy and Goblin (Favorite Boys) in September 2020. Fun fact (before we proceed to the review): This is A.C.E.’s second song with the word ‘Higher’ in the title. The first was Take Me Higher, a single released back in 2018.

When I first played Higher, I found myself torn between two sides. Conceptually, I think it is a good song. But on the other hand, I felt like the song was a bit much. But the more I listen to the song, the more I find myself enjoying the song. I think Higher was produced to be an aesthetic song. There was a lot of contrasting occurring in the song, playing with future bass and progressive house in an alternating fashion. The verses were a lot simpler and softer, whereas the chorus was explosive. Initially, I felt the contrasting was like a like a double-edge sword for Higher. I felt that the chorus was overbearing, especially when you are listening to the song the first couple of times. And these initial listens are very important, as it would be decide whether someone would return to a song or not. Furthermore, especially with the ad-libs at the end of the song, there was a lot coming at you in the chorus. Now, I find the intensity to be a very A.C.E thing to do, as I find myself reminded of the EDM tracks they put out when they first debuted. The common thread between these two distinct extremes of music in Higher are the vocals, which neatly ties together the two halves. So while the song does a lot of contrasting, there is still that bit of cohesion. And the vocals do a good job standing out over the abrasiveness and potentially overpowering energy of the future bass chorus. Though, I do feel that A.C.E treads a very fine line with this aspect. Elsewhere (i.e. during the progressive house sections – verses), their vocals sound quite nice and bring a pleasant stability to the song. I do feel like the song is lacking a rap sequence, which would have given a different dynamic to the song, and could have eased us off the contrasting technique they employed from start to end. One aspect I definitely dislike in Higher is the abrupt ending. Never have and never will. I wished they eased us out, rather than leaving the song hanging. Overall, I acknowledge my initial split thoughts on Higher. But, as suggested above however, I am growing to like the song more, especially thanks to the multiple replays of Higher in order to write this review.

I think it can be agreed on that A.C.E’s music video have become aesthetically pleasing and Higher‘s music video is no exception. A theory for the video has already popped up on YouTube (from Donghun’s beautiful eyes) that I think explains the video very well and matches up with the teaser photos:

Aside from story and aesthetics, I liked the sets (especially the use of the trending platform surrounded by greenery that A.C.E performs on at the end). And some of their outfits look really cool (like what I am presuming to be a sea urchin outfit, worn by Donghun).

With a song that goes between extremes of music, there was also contras between some of their dance moves. Some of which were intense and others looked graceful, fitting for the part of the song they were corresponding to. The mini jumps they do work really well with the lyrics, and their outfits gave the performance a lot of a sensual energy that I am sure fans are enjoying.

Song – 8/10
Music Video – 9/10
Performance – 8.5/10
Overall Rating – 8.4/10

[Album Review] The Book of Us: Negentropy – Chaos Swallowed Up In Love (7th Mini Album) – DAY6

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After exactly two months since its release, I am finally getting around to writing an album review for DAY6’s seventh mini-album, The Book of Us: Negentropy – Chaos Swallowed Up In Love. It featured the title track, You Make Me. This is the band’s first comeback as a full group since the release of Zombie and The Book of Us: The Demon last year. And like the release of that album, You Make Me and The Book of Us: Negentropy was not promoted. Before we proceed onto the album review for DAY6’s new release, there are some things we need to make clear. This is DAY6’s last release as a full group for a while, as Sungjin enlisted into the military just prior to the release of the album (and the other members will follow suit in the future). But don’t worry, DAY6’s subunit Even of Day, made up of YoungK, Wonpil and Dowoon, will be return early next month! But until then, here is the seventh mini-album’s album review!

The Book of Us: Negentropy – Chaos Swallowed Up In Love Album Cover

1. Everyday We Fight – I find the opening song to the band’s latest album to be somewhat quirky, despite it falling into the band’s usual style of mid-tempo rock. The quirkiness come through via the odd synth that appears in the instrumental. I suppose that this gives the impression of ‘light at the end of the tunnel’, which I think goes well with the song’s message that each fight between partners will resolve. Minus those odd synths, the mid-tempo rock reminds me of some of their earlier workers, and their vocals are solid in Everyday We Fight Overall, a nice opener to the album. (8.5/10)

2. You Make Me (Title Track) – Click here to read the full review for You Make Me. (8.5/10)

3. Healer – Healer seems to be DAY6’s most innovative track on the album. It is quite upbeat, combining EDM and band instrumentation to create a really fun and groovy number. The relentless energy, the song’s catchiness from the chant-style chorus and the autotune processed over the vocals make Healer a standout track and the hidden gem of the album. I don’t have much else to say to about the song, so I am just going to spend the rest of my time typing out this section by dancing in my chair to Healer ^^. (10/10)  

4. Only (둘도 아닌 하나) – Only is a substantial song that showcases DAY6’s formidable vocals. It has a pop-rock style of instrumentation and features the message of sincere love. I enjoyed the old-school vibe of the instrumental, particularly the fade out we get at the end of the song. This entire prose gave Only an easy on the ears effect, which I tend to like. It is pretty much ideal following a high energy track such as the one preceding Only. It isn’t instantly the most recognisable song on the album, but it still a good listen. (8/10)

5. Above The Clouds (구름 위에서) – Opening Above The Clouds is the calming nature of the beach. Right after, Jae leads us into the song with his soft vocals. The song was written by Jae, and based on the title of the song and the lyrics, it was for someone close who he had loss. But rather than being a sad song that opted for the balladry effect, Above The Clouds ended up being a strong rock song, which works well with the acceptance of loss message behind the lyrics. In addition to the lyrics, the passionate and resonating vocals make Above The Clouds another stand out track on the album. (10/10)

6. ONE (무적) – While I do enjoy the odd curveball when it comes to music, I stayed away from ONE for its curveball. I appreciate the innovation and uniqueness of the song, but I felt the synths (in combination with the drumming and other band instrumentation) made it a bit hard for me to focus on the song. The rock side of the song does dominate and their vocals sound fantastic. But ONE just feels unnecessarily complicated for me. (6.5/10)

7. So Let’s Love (우리 앞으로 더 사랑하자) – The final song on the album and the final song on the entire The Book of Us series is So Let’s Love. Without even reading into the lyrics, you can hear the hurt and emotion behind their voices. It just makes the song so much more impactful. So Let’s Love brings forth a more traditional rock instrumental, which I felt was an interesting direction to end the album on, given the direction in which the rest of this mini-album took. But I am not complaining, as it was a passionate and heavy song for the group. (9/10)

Overall Album Rating – 8.6/10

The Book of Us: Negentropy – Chaos Swallowed Up In Love Teaser Image

[Review] Ready To Love – SEVENTEEN

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Making their comeback yesterday was SEVENTEEN with their latest title track, Ready To Love. The new song is the title track off the group’s 8th mini-album since debut, Your Choice. This is the group’s first comeback since the release of HOME;RUN last year in October. More recently, we saw SEVENTEEN make their Japanese comeback, Not Alone, while member Hoshi also made his solo debut with the single Spider back in March of this year. On a separate note, Ready To Love and Your Choice is the second part of SEVENTEEN’s Power of ‘Love’ project. Very little is known about project from what I can find on the internet. However the group did drop a concept trailer for it, hinting it as the recurring theme of SEVENTEEN’s forthcoming 2021 work. The first part of the project was the release of Bittersweet, a single featuring members Wonwoo, Mingyu and soloist Lee Hi I have yet to review this single, and will do so when I have a bit more time. But in the meanwhile, here is my review for Ready To Love.

Ready To Love opens up with a sentimental introduction, before the song starts incorporating a thumping beat to get the momentum going. From there, Ready To Love remains quite constant, with the occasion burst of energy. We get a small-ish dose of energy part way into each of the verses, and then one substantial one to amplify the chorus. For the chorus, that substantial dose of energy turns the instrumental into a pop rock-style, which I thought was extremely satisfying. I like how this energy doesn’t stop or pause between the two halves that make up the chorus, keeping it all thoroughly connected. While on the topic of connection, I feel that Ready To Love is the a good example of how constant and consistent a song can be, but remain engaging and doesn’t result in a bore. That being said, I do think Ready To Love isn’t as powerful or memorable as like many of SEVENTEEN’s past comebacks, but it is a different side of the group. And this different side of the group comes from the matureness they display in the vocals and raps. Sure, the group have had their fair share of serious and dark styled comebacks. But Ready To Love feels like they have aged liked fine wine. From the vocals and rapping, nothing felt like their usual fun or upbeat ways. Instead, each of their members sound like they are tapping into an emotional side that we know SEVENTEEN has but never really gotten to showcase until now. Similarly, the song’s melodies also give off a similar vibe. I particularly liked the second half of the chorus, which felt almost chant-like. It works well with the instrumentation and gives the song a catchy melodic hook. Overall, I like the song. But Ready To Love isn’t my favourite release from the group. But who knows? Maybe a few more replays of the song might change that.

To fit with the more mature vibe of the song, I think the music video opted for that same dynamic. For the first part of the music video, we see the members walkthrough their relationship with the female character. One of these moments is when the members make the decision of being friends or lovers with her. I think the video shows the members choosing to be friends, which how this whole song came about and this is back up by the face Mingyu makes while he is in the lover phone box and the presence of the friend phone box in THE8’s scene with the female character. Throughout the video, we see the members wanting to make that change from friendship to relationship, which is backed by the English phrases present on the walls and on the bus (which are some lines in the song). It isn’t the most SEVENTEEN video out there, but it is still a good video to watch. My only complaint is regarding the heavy raining at the end. I didn’t see the point of it, given that we could barely see the members amongst the rain. I wished the rain was toned done, so that we can see the members more clearly.

For the choreography, I feel that the performance (and I forgot to mention it above in the music video part of this review) takes a page out of their Japanese works. It looks quite aesthetic and pretty, which is something that recurs in their work in Japan. I really like the formations they are in, especially the formation which allowed them to form three units in the second half of the second chorus (and how the members who are not the centre of the choreography are still moving in the background). I also really liked how they ran to switch places in such an organised manner for the final sequence. That looked pretty cool.

Song – 8/10
Music Video – 7/10
Performance – 8.5/10
Overall Rating – 7.8/10

[Review] Chi Mat Ba Ram – Brave Girls

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Brave Girl’s comeback this week has to be the most anticipated comeback of 2021. Earlier this year, Brave Girls experienced a resurgence on the Korean music charts with their 2017 now-hit Rollin’ after a performance went viral. Similarly, their 2020 release of We Ride also experienced a similar resurgence on the charts. What makes this resurgence remarkable is that Brave Girls went from no schedules to many full weeks of schedules, and the group revealed that they were considering disbandment in the weeks ahead of this unexpected event. Now all eyes are on their latest comeback, which officially dropped on Thursday this week. Chi Mat Ba Ram, which translates to Swishing of My Skirt, is the title track off the group’s fifth mini-album, Summer Queens.

There is a lot of unload with Chi Mat Ba Ram. And while that potentially sounds like a bad thing, don’t worry! I am totally digging the new track from Brave Girls. The first aspect that I noticed about the song is its summery energy. It is pretty much undeniable with all the saxophone and tropical house that the producers of the song employ to drive the song forward. Like a lot of songs nowadays, this mix isn’t the most innovative combination in music at the moment. But it doesn’t mean the song doesn’t come off as refreshing and upbeat. And I really like how the energy feels even more than that. In a way, it is in your face (but in a more positive manner). The second aspect of Chi Mat Ba Ram that gets me excited is its catchiness and addictiveness. Even though I have been off the blog for the last few days, once the song dropped, I was (madly) repeating the song because I just couldn’t get enough to it. The hooks are fantastic, and I noticed even the smallest of details within the hook and melodies were what I was looking forward to. I do agree with a lot of people who say that this doesn’t have the same level of catchiness as Rollin’ did. I felt the hooks were probably a step below Brave Girl’s biggest hit. But that doesn’t mean that Chi Mat Ba Ram is a weaker song. The third aspect has to be the vocals. This bleeds into the performance aspect of my review slightly. But I feel that Chi Mat Ba Ram showcases more of what the group has to offer when it comes to the vocals department. I don’t think any of the members were shortchanged into this song and each had their chance to perform, which is what you would want in any song. Overall Chi Mat Ba Ram is a solid effort from both Brave Girls and Brave Brothers (the team behind the group). It may have its differences from Rollin’. But as mentioned before, I am really into their song and look forward to replaying it even more in the future.

It is also undeniable that this is a Summer themed comeback with a music video like this. While it shot at a beach, there were some post-production applied to the video to show us various skies in the background and some additional props throughout the video such as the mini-plane with the Brave Girls banner and the massive airplane at the start of the video. Elsewhere, it looked liked the video was shot in a studio. I wished they kept to the outdoors for the video, as I think that would have been a better image for their comeback, given it is a Summer concept. Though, I guess anything is better than the dark stormy skies that got as part of the Rollin’ comeback. Visually, I think the group looks fantastic and their smiles bring a fresh colour to the video.

I really liked how this performance had a lot more going on, than compared to Rollin’. It might seem much, but it was always refreshing to see something different than the same key moves repeated over and over. It might have worked for Rollin’, but it would not for every song out there. I really like the skirt pinch move they do. It is sexy and looks really refreshing, but not over the top where it would cause a lot of criticism. I think the only thing I would have liked to be different in the performance was their ending pose. It looks a bit meh to me.

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

[Review] Rain To Be – ONEWE

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The next group to be making their comeback this week is ONEWE. Today, the band dropped their latest single, Rain To Be, which headlines their ever mini-album (Planet Nine: Alter Ego) under the name ONEWE. For those who are unaware, ONEWE was formerly MAS before their re-debuted under RBW with new branding (hence the name ONEWE) in early 2019. Since then, the group have made a number of comebacks which lead to their first studio album, Studio We: Recording, in 2020 which was headlined by Parting. They also made a comeback later in 2020 with the single A Book In Memory.

Within the already niche sub-category of KPOP, Korean bands each bring a different individuality to the industry. While the bands do experiment with their sound between releases, going between moody rock tracks to warm ballads to upbeat rock tracks, there is always a distinct sound for each Korean Band that you would recognise. While ONEWE is a relatively new band, they have too already established a sound for themselves. It is a bit hard to describe, but for ONEWE there tends to be a moody aesthetic and delivery that I associate with their name. And I feel Rain To Be is an excellent reflection of that. And what better to show just that than a ballad (at least that is what I thought at first). The introductory verse of the song featured an instrumental background that slowly built up, starting from soft mellow guitar work and it gears up to something a bit more substantial. In combination with the solid vocal work from mostly Yonghoon in the first verse, I was convinced that Rain To Be had tapped into only the ballad genre. But when the chorus came around, Rain To Be changed up is aesthetic, amping up more of the rock influences. Rain To Be is no intense rock song, but it seems to direct the song more into the rock-ballad genre. I liked the tempo change here and the subtle intensity and dynamic they brought to the song. Despite it going into the rock sound From the second verse onwards, we pretty much get a repeat of the first verse and chorus setup. The second verse slips the song back into a ballad mode, though we get to hear more of the other vocalists in the group (Dongmyeong and Cya). Following the second chorus, Cya further amps up the intensity of the song with a pretty good rap sequence. For the bridge, I am glad they brought in something electrifying. It changes up the song, so that it just doesn’t become a repeat of the repeat we got for the second portion of the song. I am glad they did this, or else the song would have been too boring for my liking. The second portion of the song was already on the way of feeling like this, so a third repeat would have gone overboard. But overall, Rain To Be is another good song from the group that reiterates their ‘associated’ sound, differing ONEWE from other Korean bands.

To also reflect the moody aesthetic of the song, I liked the direction in which the music video headed in. For the entirety of the video, we saw the members perform the song (with their instruments) in a rising pool of water. The pool starts off empty and by the end of the video we see the water levels rise to just below their heads. It is definitely a unique take on the whole idea of rain and water that we see commonly in music video. Usually, rain would be represented in less intense manner, like rain drops running down the side of the window or the occasion scene where we see the characters of the video stand soaking wet in the rain. This video is definitely on a whole different level.

Song – 8/10
Music Video – 9/10
Overall Rating – 8.4/10

[Review] riBBon – BamBam (GOT7)

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Since GOT7’s departure from JYP Entertainment earlier this year, the members have gone their separate ways, vowing to return on a yearly basis to great fans as a seven-member group. But while we awaiting new of a GOT7 comeback, the members have been doing a lot of solo work. Some of them have gone into acting, while others have gone onto release solo music that shows their individual colours. Today, we witness the solo debut of BamBam, who has signed on with ABYSS Company, the current home of fellow JYP Entertainment alum Sunmi. The title of BamBam’s solo debut single is riBBon (I like the play on his initials within the song’s title), which is also featured on his solo debut mini-album of the same name.

When it came to the GOT7 members, it was clear to me which style of music certain members would go towards for their solo work. But the biggest question mark for me was placed over BamBam, who didn’t really have a chance to showcase a musical style as much as the other members during his GOT7 days. So, to hear riBBon, which is quite upbeat pop sound that has a tinge of hip-hop to the song was a surprise for me. But I guess that really fits in with his cheerful and vibrant personality. To me, riBBon is a pleasant pop song. Nothing more, nothing less. To facilitate the review process, I have had a couple of listens to the song. And each time, I found myself taking a mental step back and appreciating the song for its enjoyable and sweet nature. I have tried to sit down to really tear the song apart. But I just can’t help but take it all in as a whole piece rather than break it up. I think this is a good effect, showing me how wholesome and good the song is. In addition to that, I also liked how ‘riBBon‘ sounded like ‘reborn’. I think that is quite intentional, especially given the lyrics of the song which talks about being a better version of himself. That being said, riBBon is no perfect song. There are some wrinkles throughout the song that need some attention. Firstly, the song could have reduced the autotune it used to process BamBam’s voice. While I believe this is his thing (based on some of the work we have heard during promotions with GOT7 and the fact that it gave the song a good sense of texture), I think this would have cleared up some English pronunciation issues. Personally, I was a bit confused on what he was singing in the opening lines of the chorus without the aid of the lyrics side-by-side on the screen. I know BamBam is a strong English speaker, so I think the issue comes down to the vocal processing. I am also not a fan of the rap inserts in the pre-chorus. I feel that muddled the pre-chorus a bit. Overall, riBBon is pleasant solo debut for the GOT7 member.

Like the song, the music video can also be described as pleasant. it was an extremely well styled music video and all worked in harmony with one another. From the black background at the start, the black suit worn by BamBam and the use of multi-coloured flowers on the ground and on the suit complimented one another. In the more colourful scenes, everything was pastel and nothing was overwhelming or harsh to look at. The video definitely showed a good side of BamBam.

The choreography is pretty good. It is upbeat and bouncy, which fits in with the song. While I am not a big fan of those rap inserts in the pre-chorus, the move that it enables to be in the performance looks quite cool. I also found the moment in which the two dancer used their legs as like gates to which BamBam opens up to be quite memorable.

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

[Review] SPIN OFF – UP10TION

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Kick starting this week is UP10TION with their first comeback of the year! The group returned today as a seven-member lineup (yup, still no Kim Woo Seok and Lee Jin Hyuk, while Jinhoo has extended his hiatus by enlisting into the miltary in November of last year) with the new single SPIN OFF and their second studio album, Connection. This is the group’s first comeback since the release of Light last year in September and re-release of Destiny in November, which I have yet to review (I believe I had flagged the song to be reviewed as part of an album review and the music video as part of a music video catch-up segment, but had since dropped the album review for Light Up due to falling behind on them).

What drew me to the song before it was released (via the teasers) was the energy of SPIN OFF. It has been a long time since I was so excited for an UP10TION release, so the expectations have been raised. And within seconds of start of the song, UP10TION unleashes the energy and hits the expectation bar that I had set for it. This start was more of an introduction, rather than starting with the chorus. But we were still teased for what’s to come and I am already digging the funky vibes that come from the guitar in the instrumentation – very 2021. The funky guitars are removed for the verses, and hence these sequences felt pretty plain. It would disappointing that you couldn’t really feel the funk anymore in the verses. It would have been great for they continued the momentum and energy from the intro, as that would have made the song mind-blowing. But I guess the funky elements in the chorus would not have been as mind-blowing and exciting as they were, if they were left in the verses somehow. What I did like was the pre-chorus, which brought some sleekness to the song by stripping the song more of its instrumentation. It opted for the clear showcase of vocals, and a simple and uncomplicated backdrop. And by stripping back the instrumentation in this crucial part of the song, it made the chorus feel more blastful and impactful. For the chorus, it feels more weighted and substantial in comparison to the introduction of the song. The energy was definitely fulfilling and quite explosive. Same could be said about the vocal work, particular Sunyoul’s vocals. I would have liked the chorus more if it had a more memorable hook within the lyrics. But the instrumentation itself was quite unforgettable already. Right after the chorus, we get the second verse rap sequence. While I was going to say it was a good rap sequence, I was distracted by a really brief, repetitive and high-pitched screech that I found somewhat annoying. But I liked how the overall rap sequence changed up the dynamic of the song, especially with the deep voices of the rappers. Fast-forwarding to the bridge, it is interesting that despite such a high energy track, SPIN OFF was able to be stripped back without really ruining the song in any way. I thought the bridge of the song was really well executed, showcasing Hwanhee’s vocals this time around. I also really like the relaunch into the final chorus, delaying it with an electronic percussion sequence without it feeling like a delay. Pretty clever. It is unfortunate they had to close with another rap sequence that has that same annoying repetitive screechy effect, though this time it was briefer. Overall, SPIN OFF is definitely their best title track in a very long time, showcasing top energy and their skills. Hopefully, the rest of their album reflect the same (hint hint, nudge nudge).

Though the music video does really have much substance other than choreography and closeups, I really thought the mixture of coolness and classiness really made the members look so good. It was a great visual concept! I also really like the kaleidoscope shots throughout the video. They gave off a very unique and mysterious feel to the video. I also really like the set locations for the choreography shots in this music video, particularly the room full of mirrors. That looked really cool. I am not sure if that is a permanent building somewhere in South Korea (please let me know where if this is the case, I would really love to visit it one day once it is safe to travel again) or if it was a specifically designed set. But the aesthetic and architecture look amazing!

For the choreography, I would have liked to have seen some impressive moves. That would have really made the performance memorable. But SPIN OFF‘s choreography (as it is currently) is quite dynamic and matches the energy of the song. I did like the introduction to the performance, along with the twisty moves in the second verse.

Song – 9/10
Music Video – 8/10
Performance – 7.5/10
Overall Rating – 8.4/10

[Review] Son of Beast – TO1

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It is time for another long overdue review for a release that occurred back at the end of May. As you can tell from the title of this post, this review is for TO1’s Son of Beast, which is the title track off their 3rd overall mini-album, Re:Born. If you haven’t heard of TO1 yet, then don’t fret. They were previously known as TOO for their first two comebacks (Magnolia and Count 1,2) last year. But due to a management dispute, the group ended up rebranding to TO1 earlier this year after signing on under WAKE ONE Entertainment and quickly returned with the appropriately named mini-album, Re:Born.

Son of Beast is an edgy sound for the group, more so than their debut single (Magnolia) and their most recent energetic Summer comeback (Count 1,2). But it isn’t a fresh sound for KPOP in a more general sense, with the song taking a page out of what we hear very commonly coming from male groups in the industry. There isn’t anything wrong with that, as we have seen many groups thrive with this typical edgy sound. But given that TO1 had the opportunity to rebrand, I was surprised to hear that Son of Beast didn’t capitalise on this opportunity to showcase some individuality. That being said, I did like the funky influences that were brought to the verses through the use of the bass guitar. I also really liked the rough texture that is brought to the song via the electronic instrumentation in the chorus. In a way, it also felt retro, as I don’t think it settled on the more modern touches of EDM of today. I was hoping for a bit of an instrumental break when we got to the bridge, which would have allowed the song to experiment within itself, bring more intensity and edge to the song, and also give the members a chance to showcase something along the lines of their Road To Kingdom appearance last year. But altogether, the instrumentation for Son of Beast was definitely good, despite it being more typical that what I had hoped. As for their vocals, I think similar comments could be applied. There was a good showcase of vocals, but no member or moment stood out for me. While the hook is related to their vocals in way, I tend to separate it in my reviews, so that it becomes its own element to chat about. I did enjoy the brief and snappy repetition of ‘I’m a Son of a Beast‘. That line practically was keyed into my memory from the first listen, thanks to the textures given to it by the autotuning. I would have liked to hear it in a bolder manner, so that it really zones into the word ‘Beast’ within that line. The rapping by TO1 members in Son of Beast was definitely more memorable, adding that needed intensity and edge to the song that I hoped a dance break could have concentrated. But overall, Son of Beast is a good track, taking the members in a direction that feels right. I just think more could have been done.

The music video for this release is one of those which you watch once and don’t really need to return to it again. It wasn’t that engaging or mind-blowing for me to click the replay button. Aside from the closeup and choreography formula adopted, the members do a bit of body work for some cars. But to me, that doesn’t seem that cool. The only thing that I did like about the music video was the final dance shot, with how the lighting and length of the set. But besides that, it was a ‘meh’ video to me.

As for the other visual aspect of this comeback, the choreography faired a lot better. It actually looked quite cool, especially when the members paired up in the second pre-chorus to bend backwards and the switching of rappers in the final sequence of the song. But like in the song review part of this review, I did want to see a dance break when we got to the bridge. And I feel if the members looked a bit more angsty, then the performance would have been even better!

Song – 7.5/10
Music Video – 5/10
Performance – 8/10
Overall Rating – 6.9/10

[Album Review] Yellow (4th Mini Album) – Kang Daniel

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It is time for another album review! This particular post is for Kang Daniel’s fourth mini-album, Yellow, which was released exactly two months ago (way back in April!). The album features both the title track, Antidote, and the pre-release track, PARANOIA. In addition to these two tracks, there are three other new songs on the mini-album (which I have a lot of thoughts about – whether it is good or bad, continue reading to find out!). Yellow also wraps up Kang Daniel’s color series, with previous album’s titled after the three colours – Cyan, Magenta and Yellow (this album). It will be interesting to see and hear where Kang Daniel would go from here, especially after a substantial and thought provoking (towards the end) trilogy, like this one. But until then, here is my album review for Yellow!

Yellow Album Cover

1. Digital – Just from the loaded tone of album’s opening track, you can tell that Kang Daniel has brought a lot of deep, dark and emotional thought to the song. And I think Digital sets up the album extremely well, as these deep and dark thoughts are carried throughout the album. Digital talks about the experiences of invisible bullies on the internet, who are super critical of what he does, and spread lies and false rumors about the idol. For the song, I really enjoyed the alternative rock profile the song taps into. I really like the deep notes in the instrumental, which really creates that dark atmosphere in which the song thrives on. His vocals are quite good, and I particularly liked how memorable the ‘So critical, enemies invisible’ line ended up being. The song also tethers on the border of being retro, but never really stepping into that domain. Altogether, Digital reminds me of Blinding Lights, which was one of the best releases from last year. (9/10)  

2. PARANOIA (Pre-release Track) – Click here to read the full review for PARANOIA. (9/10)

3. Misunderstood (ft. Omega Sapien) – Misunderstood opened up with a very sinister feeling. I felt the instrumental was like a blur. And I mean that in a good way. I think it works extremely well with the lyrics, which are all about pretending to be okay but as a result ends up with Kang Daniel being misunderstood. And I feel that is because of his status within the KPOP industry. He has to be ‘okay’, or else it would be unprofessional (which is completely upsetting, but that that is the reality of his industry). Misunderstood‘s lo-fi atmosphere remained as the common thread throughout the song, but the instrumentation ends up changing as the song progresses. At the start, we get deep thumping that looms in the background. We then get light taps in the first chorus, a tempo pick up for Omega Sapien’s featuring sequence (who worked really well into the song), followed up by what felt like a slow rock vibe to the song, before returning to the likes of the first verse. It is an interesting and impactful mix. (8/10)   

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

5. Save U (ft. Wonstein) – Save U is my pick for best song on this album. Firstly, it is a warm song following all of the darkness that preceded this song. The messages of reassurance that he will be there and that these thoughts would all pass are very emotive and powerful. Secondly, Kang Daniel sounds so amazing in this song. He channels all his emotions and deep thoughts into this song in a manner that doesn’t overwhelm you in any manner. The harmonization throughout the song is so nice as well. Thirdly, I really like the electronic instrumental we get. It works really well and compliments both the message and Kang Daniel. Fourthly, Wonstein was a great addition to the song, adding a different dynamic that makes the song more interesting. I am not a fan of his ‘Save U’ interjections earlier in the song, but I think I can overlook that minor element. But everything else he does balances out this track nicely. (10/10)

Overall Album Rating – 9/10

Yellow Teaser Image

[Album Review] All Yours (2nd Studio Album) – ASTRO

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It has actually been three weeks since the last album review. But it has felt like an eternity. That might be due to the fact I have so many albums that I want to to really sit down and review. I just haven’t found the time to do so. But I am hoping to sit down over the next two days to smash out some and get them scheduled for the rest of the month. Good luck to me! For today, I have decided to review an album released over two months ago! That album is ASTRO’s second studio album, All Yours, which featured the title track ONE. The album was quite a success, going on to winning three awards from the Weekly Music Shows (MTV The Show, MBC Show Champion and MNET MCountDown). And it is long overdue for a review. So before I delay it anymore, let’s move forward with the review!

All Yours Album Cover

1. Dear My Universe – All Yours starts off with Dear My Universe. It is a pop song that kicks ASTRO’s second album off with a pleasant tone. While many albums kick off the album with powerful energy and high intensity, ASTRO opts to ease us into their album instead. I like this tactic, as it holds no surprises for me. The pop instrumentation has this really chilled and soft approach, which makes it an easy listen. This lightness extends to their vocals and rapping, which compliment the instrumentation by not off-balancing the song in anyway. I really like the melodies and the track is quite enjoyable overall. (8.5/10)

2. Butterfly Effect – Butterfly Effect takes the pleasant pop tone of the previous song and amps up the energy with a more upbeat instrumentation. It really like the aesthetic that is present in Butterfly Effect. This aesthetic comes through the contrast between the verses and chorus. We have pretty nice vocals throughout the verses, before the song ramps up to the chorus. It is preceded by a simply spoken ‘Fly’ before the drop kicks in, adding a level of dynamism and depth to the song. I do like how the vocal and rapping both remained light, as like in the previous but at a level that felt appropriate for the upbeatness of Butterfly Effect. (9/10)

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

4. Someone Else (JinJin, Moonbin, MJ) – The first unit song features the three members listed in the bracket next to the song’s name. Someone Else adds a funky flair to the album, that fits in the album. When the song first started, I expected a hip-hop song for odd reason. But the track ended up tapping into the pop genre. I liked the combination of the soft jazzy style and the intensity brought on by Jin Jin’s rapping that makes up the two halves of the pre-chorus. The chorus also had a really catchy hook, thanks to the melodic repetition of the title. (7.5/10)

5. SNS (Eunwoo, Sanha, Rocky) – The second unit song is made up of the balance of the group (names also listed in the brackets next to the song’s title). SNS brings back the pleasant vibes from the start of the album, with a pop song that leans towards the R&B genre. It also has this mature but feel-good vibe to it, which is an interesting combination to put together. I feel that SNS could have used a superior hook, but instead focuses on melody and that mature profile to sell the song to us. But even without a strong and memorable hook, SNS still has its own charm, coming off as smooth and sleek track at the end of the day. (8/10)

6. All Good – All Good is my pick for best song on the album! I really like the infectious positive energy that the song brings to both the album (and any playlist that you add it to). It also brings a smile to my face and I can’t help but really get into it when it appears on my album. The song’s central part, the chorus, was quite an addictive sequence of the song. I liked the blast of energy it had, along with the super catchy ‘It’s so good, It’s so good’ hook. I also like the layer of the ‘Gonna be alright’ over the top, which added a stunning complexity to the otherwise simple and feel-good track. (10/10)

7. All Stars – All Stars has the difficult task of following the likes of All Good. I think All Stars ended up feeling less energetic and a bit slower paced than the preceding song. However, it did a good job of continuing the positivity and feel-good vibes that are being channeled the album’s songs. There was a nice pleasant showcase of vocals and rapping from the members, and there was a decent hook in the song. I did enjoy the harmonization throughout the song, and the JinJin’s shouty ‘Everything is Okay, Every time is okay, Everyone is okay’ in the second half of the chorus. (7/10)

8. Our Spring (우리의 계절) – Next up on the album is Our Spring, It is the first song on the album that opts for a slower tempo. It is a really soothing song when you think of the vocals. But what I really enjoy is the punch of energy that the song delivery via the instrumentation. It isn’t your typical ballad instrumental as it incorporates electronic synths and drums. The rapping blends the two sides of the song together. You can feel a bit of emotion behind the rappers’ deliveries, but they also have the intensity that is fitting for the instrumentation. It is a good listen, and I highly recommend it. (9.5/10)

9. Stardust – Stardust aligns to the ballad genre, more so than the previous song. This is mainly because of the instrumentation we get. It starts off with a piano as the main core, before slowly bringing in some orchestra influences. The orchestral touch is relatively soft when it does come and goes, but you can tell it is there. The vocals work extremely well against the instrumental. But I just really enjoyed the rapping in Stardust. It is gripping and well-articulated to be appropriate for a ballad. (8/10)

10. Gemini (별비) – The final song on the album is another ballad piece. And ASTRO manages to show themselves off alongside a really dynamic instrumental. It starts off in a similar fashion to the previous song with the piano. But when the orchestral influences come into play, it stays. Hence, I find this instrumental to be quite stunning, creating an amazing background for members. In the previous few songs, I have really been drawn to the rapping. But Gemini also shows off the groups’ delicate yet impressive vocal power, as well as the powerful rapping that fits so well into this ballad setup. (10/10)

Overall Album Rating – 8.6/10

All Yours Teaser Image

[Review] Bye Bye Bye – WEi

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Time to start reviewing the releases from this week that I have missed. First up this weekend is WEi, who made their comeback on Wednesday with Bye Bye Bye. The new song is the lead single from WEI’s third mini-album, Identity: Action. This is the group’s second comeback of the year, following February’s All or Nothing comeback.

Bye Bye Bye continues the influx of Summery tracks this week, by pushing WEi into the pop realm. It is a departure from WEi’s previous high octane and intensity driven sound that they had returned with at the start of the year. The minimal use of synths in this song allows us to hear the members in a more melodic and clearer fashion. Bye Bye Bye starts off with rhythmic guitar, before bringing in percussion that adds a bit of bounce into the verse. It isn’t the most innovative instrumental mix. But I quite like its simplicity and upbeatness. For the most part, the track doesn’t stray away from this sound profile and stay quite consistent throughout. There are appropriate changes along the way to allow us to differentiate between certain parts of the song (i.e. like in the chorus, we get a bit more percussion to amplify the central part of the song), but it isn’t a significant or wild change that breaks up or redirect the flow of the song into something different. You might think I am going to say it is boring, as a result of the consistency (which is something I do tend to bring up). But instead, I think Bye Bye Bye benefits from this. Throughout the verses and choruses, there was this strong stylish and refreshing vibe to the music thanks to the guitar work that is constantly in the background. To help prevent the song from falling into the bad side of consistency, the rappers really gave the song a much needed kick that felt suitable for the song. It was all done over similar or the same instrumentation as the rest of the song. Bye Bye Bye also has catchy hooks, such as the repetition of the song’s title, which helps make the new song even more memorable. If I were to be critical, I felt that the song could have been more vibrant during the chorus, especially in the final one. I think some vibrancy would have really lifted the song up to a whole new level and allow Bye Bye Bye to end off in a more spectacular note. But overall, Bye Bye Bye was a pleasant listen that really feels just right for the Summer season.

While the song missed that tinge of vibrancy, the music video that accompanies the release of Bye Bye Bye was very vibrant, in the sense it had a lot of colour. I really like how the music video looks really stylish, and isn’t necessarily an explosion or mess of various colours. It all felt well balanced and bright. The song is all about letting go of your worries. And the members do this in a literal sense, by performing a disappearing act to another country. The newspaper and milk carton had pictures of the group and captions/headings that labelled them missing. I wonder what worries they had to make such a decision to say ‘Bye Bye Bye‘ like that.

For the performance aspect of the performance, I thought Bye Bye Bye had a good routine. As expected there was a lot of waving throughout the performance. What I also really like was the footwork when it came to the chorus. It looks cool and felt very suitable for the refreshing guitar work in the song’s central part.

Song – 8.5/10
Music Video – 8/10
Performance – 8/10
Overall Rating – 8.3/10

[Review] Alcohol-Free – TWICE

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Two days ago, one of Korea’s leading female groups made their comeback! The group in question is TWICE, who has returned for the first time in Korea since the release of I Can’t Stop Me in October of last year. They also released the single Cry For Me at the start of the year (but I haven’t reviewed this track as there is no accompanying music video). The group also recently released the Japanese single Kura Kura (which I have reviewed). The comeback this time is lead by the title track Alcohol-Free, which was released as a pre-release single ahead of their tenth mini-album, Taste of Love, which officially dropped earlier today.

Even before listening to the song, I have my reservations about the new song. Alcohol-Free is an awkward title for a song, and I feel this is because of the common perceptions of the term ‘Alcohol-Free’. To label something as ‘Alcohol-Free’ is a bit of a kill joy. (But those drinks do have their benefits in society). True to the common perception of the term, I find the song to be equally lackluster as those drinks. TWICE usually have these bold pop tracks that are super catchy and are quite memorable. But Alcohol-Free opts for a chilled track that delves into hip-hop and bossa nova genres. I acknowledge their attempt to change style and sound, but I don’t think this TWICE material. Well, their usual material, to be more exact now. Alcohol-Free, as whole, feels like an extension of elevator music, plain and boring. I did like the use of bossa nova to add that Summery feel. I particularly like the bossa nova element that started up the second verse, adding a bit of a fun vibe to the song. But I also found the song feel like it was stuck in a neutral gear from start to end, never building to anything substantial. I think that is the elevator music side of the song speaking, quite profoundly. But when you listen to the song more closely, you do hear some promising elements. The melody was pleasant to listen to. It did lack memorability and catchy hooks, as you usually would associate with TWICE’s music. But it was still likeable. Similar comments can be applied to the vocal work. I do, however, find their vocals fizzle out as they approach the end of each line, which isn’t really the best effect. The rapping in the bridge was a bit more promising, adding some oomph to the song. But it wasn’t enough to be the saviour element to boost the song to anywhere near the top of my personal list of TWICE’s best title track. But like the rapping, it wasn’t substantial enough to make an impact on my perceptions of the song as a whole piece. Overall, Alcohol-Free isn’t my cup of tea.

To fit the Summery vibes of the song, I felt the music video was appropriate for the music. Shot on the waterfront by the beach is pretty fitting (though I assume the waterfront was a set, and the beach imagery was applied post production). But nonetheless, it all made sense. I also really like other set, the one with the platform, massive cocktail glass and lighting that brings a silver tone to the set, which gave off a modern feel. I also guess, fitting for the title of the song, there are a lot of drinks throughout the video, which I presume to be alcohol free. The term alcohol-free in this song is actually used to describe their drunk feeling towards falling in love. They aren’t drunk from drinking, but rather the feeling of love. And I feel that the members show that well using facial expression throughout the video. They don’t look drunk, but rather blissful and happy at that feeling they are describing in the song.

For me, I felt the performance was quite refreshing, once again suiting the Summery vibes of the song. It also suited the mature direction in which the group had opted for in their more recent comebacks. I do think the performance could have been more energetic, but that is more of a song issue than a choreography issue. I do like their side-ways movements in the second verse, with that being the most memorable part of the choreography for me.

Song – 6/10
Music Video – 8/10
Performance – 7/10
Overall Rating – 6.8/10

[Review] Ring Ring – Rocket Punch

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Finally getting around to writing a review for Rocket Punch’s Ring Ring. The female group from Woolim Entertainment made their comeback on May 17 (a while back now) with a new single album which shares the same name as the title track. This is Rocket Punch’s first comeback since the release of Juicy back in August 2020. A week after the release of their new song, Rocket Punch was confirmed to be making their Japanese debut, so there is a chance you will be seeing Rocket Punch back on this blog with a review of their debut single (provided that it isn’t a Japanese version of their Korean title tracks). But until then, here are my thoughts for Ring Ring.

Ring Ring taps into the retro trend. But while we have heard numerous songs of this style in just this the first half of 2021, I have to admit that Ring Ring actually comes off as quite wholesome and likeable. And this alone is a huge improvement from their previous comeback, which I did not enjoy to say the least. Ring Ring features 80s retro metallic synths as the main instrumentation of the song, creating a fun and energetic sound that is synonymous with the retro genre. Ring Ring is particularly good when the song is turned up. While any song would sound better at a higher volume, the higher pitch at which the instrumentation and vocals are at within Ring Ring really need that oomph to stand out and hence benefits at the high volume. The group’s processed and high pitched vocals actually compliment the retro synths in a good way. While I do feel that their vocals were a tinge too cutesy, I do like how they felt bold at the same time, which is a definite plus when it came to the chorus allowing them to be heard on top of the instrumentation. To me, the weakest part of the song is the rap sequence we get in the second verse. It has a trap-centric approach to the instrumentation which felt generic and didn’t really feel retro, given everything surrounding it was retro based. The rap sequence in the bridge was much better and provided a really strong rebuild, launching us into the final chorus. The best part of the song has to be the pre-chorus. Everything in pre-choruses was very ear-catching and well-defined. It was also a really go lead into the chorus, connecting the chorus with the verse in a really cool fashion. Overall, Ring Ring is definitely their best title track yet. Hopefully, Rocket Punch (and their company) can continue the this trajectory.

I really like the sets. They felt very 80s, matching up with the synths and instrumentation of the song. I particularly really liked the massive gas station set. I know, it is just a gas station. But in this music video, it was really cool and tall. In the video, the members wait around for a phone call. Based on the lyrics (Ring Ring is about choosing between two potential love interests, boldly expressing that the subject of the song will go to whoever rings her phone first – taken from Soompi), the members are awaiting a phone call from one of two partners. There is a lot of ringing of all sorts which the members seem to mistaken for the phone. But in the end, the member answered a ringing phone (which came out of a fridge). I am glad that the video didn’t slip into an overly cutesy concept, keeping me onboard for its three and a half minute run.

The choreography did tap into the cutesy side of things. But I won’t hold it against them. It actually worked well with the song and showed off their youthful charms on stage. I particularly like their moves during the song’s main hook. Don’t know why, but it felt very retro and hence suitable for this song.

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

[Review] Sneakers – Ha Sung Woon

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Also making his comeback yesterday is Ha Sung Woon with Sneakers, the title of both the lead single and mini-album. This is Ha Sung Woon’s first comeback in 2021, with his last being Forbidden Island and Mirage from November of last year. This is also his first comeback since the confirmed disbandment of HOTSHOT. It is always disappointing to hear the disbandment of a group, but at least fans could have some closure with the confirmation of the disbandment, especially since it has been almost three years since we last heard from the group (their last comeback was without Ha Sung Woon and titled I Hate You). But sad news aside, we are hear to listen to Sneakers today!

Sneakers had a slow yet pleasant start. I guess the intention of this is to start the song from point zero, as there was a patient buildup in the instrumentation as we progress through the first verse. The pleasantry of this part is the melody, which brings out Ha Sung Woon’s soft vocals really nicely. What came next is pretty unexpected. I don’t think anyone suspected the burst of vibrant energy and super upbeat nature that was Sneakers‘ chorus. Firstly, it is the highlight of the song for me. The chorus is always the central part of a song, and so it should standout. And that is exactly what we get in Sneakers. Secondly, the vibrant energy (thanks to the influx of percussion) is just so catchy and memorable. I also really like the bounce to the song, which is so cool. Same goes for all the melodies we get throughout this section of the song. And thirdly, the chorus brought a smile to my face. And I guess that is thanks to the same vibrant energy (and may also be due to the music video, but I will get to that soon). Once the first chorus, the second verse doesn’t revert back to the slow pace of the first verse entirely. Instead, it keeps the beat going for a bit, which is great, The slowness does return as part of the pre-chorus, though I think this helps make the second chorus feel even more explosive. We get a brief stripping of the instrumentation for the bridge, before a quick buildup to the final chorus. Ha Sungwoon’s vocals in this part sounds so good and I really like how clear it is. Ha Sungwoon shows off more of this vocals in the final chorus, with high notes and ad-libs. Overall, I really enjoyed Sneakers, as it is vibrant and a super fun track that makes me smile.

I feel the music video is very relatable, especially due to the past year. A lot of us were in lockdown for the most part of 2020, staying away from strangers and the world in hopes not to contract the COVID-19 virus. And Ha Sungwoon portrays that in this music video. However, I think Ha Sungwoon is isolating for other reasons other than a pandemic. He is in bunker and he basically locked himself in there. He also has a lot of supplies that looks like it might last him a while. While he was reaching for a new water bottle, he knocked over a box that contains some sneakers. Memories of times where he was hanging outside start flooding back and he even reminisces about those time. In the end, he decides to leave the bunker to re-experience those memories and it appears to be the best decision he has ever made, enjoying the fresh air and sunlight that he sees for the first time. I guess it helps that your bunker is in a prime location like how his one was. Though scenes of him enjoying the sun and air, along with his memories of those times, brought a smile to my face. It all looked very genuine, and his enjoyment is easily transferred to you.

A really energetic performance accompanies the release of Sneakers. While this is expected, I really think Ha Sungwoon and the dancers went above and beyond, incorporating jumps that are high and take up a lot of your energy. I do think there is opportunity for more footwork throughout the performance, to really show off the sneakers. This is on the basis (and I hope) there are some awesome sneakers worn during the promotional period.

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